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LISTEN TO YOUR CHARACTERS…Or They May Abandon You Forever

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LISTEN TO YOUR CHARACTERS…

      Or They May Abandon You Forever

By Natalie Bright

My novel about a 14 year old boy set in the Texas frontier is a typical coming of age story, which involves him finishing the job of delivering a wagon load of goods after his father died. Ben has a run in with outlaws, is shot by a Comanche arrow, gets lost in the wilderness; just your typical Wild West adventure. The young Comanche brave would not leave me alone. The only thing I could do to get that kid out of my mind was to write key scenes in his viewpoint. I realized I liked him and instead of being my antagonist, the story changed. I inserted Roving Wolf’s scenes where they belonged in the already finished book. I now have two protagonists who become friends.

LESSON LEARNED

Here’s what I learned from that experience: you don’t have to write an entire book chapter by chapter in that exact order. For some of us, Point A to Point B is not how our mind works when it comes to creative fiction.

Don’t be afraid to explore those flashes of imagery in your brain. It might be a piece of dialogue. Maybe it’s a minor character that keeps nagging you about a scene you left them out of. It might be a place that flashes in your mind, and then poof, it’s gone again. You know someone was there and something happened, and you have to write it before you learn why that place is important. For me, it’s like an explosion in my head. The imagery of that character is so alive. Sometimes it’s a conversation that seems so vibrant and real, it can’t be ignored.

TALKING CHARACTERS

Some writers say that their characters never talk to them, and usually it shows in their stories. Their characters are flat, lifeless, with no personality. When you take the time to dig into your character’s head and heart, then their personality will become real. When they are real to you, they’ll be real to your readers.

DIG DEEP: HERE’S HOW

If your book is in 3rd person, rewrite several scenes in 1st person POV. Free write, in your character’s POV, about their childhood, favorite things or people, life experiences, greatest fears. The deeper you dig, their motives, desires, angst will become clearer. That protagonist will begin to tell you even more (truth!). I know, it’s a creepy, strange and glorious experience, so I wouldn’t mention it to your non-writerly friends. I promise, one of your characters will pop into your mind out of and tell you something wonderful. Keep in mind, that the majority of the things you learn about your protagonist and antagonist during this process will not make it into your manuscript. When you’re character is faced with a conflict, you’ll know exactly how he or she will react and that’s what endears them to your readers. We learn more and more as the story progresses.

Don’t be afraid to give your characters the attention they deserve. Allow them to tell you their secrets. Just make sure you’re taking notes.

Alliteration

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Alliteration

by Adam Huddleston

 

This week’s literary term concerns a device often used by poets, but not as much by novelists. Alliteration is defined as the repetitive use of words with similar sounds in quick succession. For example: George the Giant jumped over the garage. It can be very effective in children’s literature (where the reader often enjoys the sounds) or lyrical writing. Most novelists try to avoid alliteration however in that it can distract the more mature reader from the overall story.

Happy writing!

In the Zone

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Outtakes 255

In the Zone

by Cait Collins

 

Have you ever had one of those really productive writing sessions? You know that time when the words almost type themselves on to the document or the pen moves itself across the page. I’m having one of those in the zone moments tonight. It started right after I got off the phone with my insurance company and has continued for a little over two hours. I’ve glanced over the pages and think I’m on the right track. It needs some polishing, but it’s insightful.

So please forgive me if this is short and sweet tonight. You see my protagonist is about to reveal a picture he drew while in a fugue state. I wonder how he’s going to explain how he drew a vehicle he doesn’t remember. The details are sharp and accurate right down to the license plate on the rear bumper. There’s a flat tire and …

 

Happy writing.

Starting Over

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Outtakes 254

Starting Over

by Cait Collins

 

What do you do when you discover the original premise of your story no longer works?

Simple. You start over. That doesn’t mean you scrap everything . Instead you junk what is no longer applicable. For example the nasty brothers no longer have a purpose in the story. Their one scene is trashed.

But what about the PI? He stays, because I know exactly how he fits. And he will play a major part. And the prologue stays. I have to set the basis for the action. There’s the television scene that stays, for now. I’ll also keep the meeting with the mother Sean does not remember. I like that part.

The basic scenes I’ve written are the snippets of the story. Having mentally edited some scenes, I’m in a better position to move forward. You see, this story is a challenge. My previous novels have been about four hundred pages each. I’m attempting to write shorter novels of about three hundred pages. That’s about 25,000 fewer words. My fear is that I will sacrifice plot for fewer pages. But I will keep on because I like my characters and my plot. I just have to get rid of the dead weight.

The Scrivener Corkboard

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The Scrivener Corkboard

By Rory C. Keel

 

The Scrivener writing software by literatureandlatte.com, has a wonderful feature for those who love to storyboard called Corkboard. The way to get to the Corkboard is to first open Scrivener and look in the tool bar for a section called “Group Mode,” It looks something like this picture.

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Now click on the middle button of the three. This should put you into the Corkboard.

In this view, you can find options for your Corkboard in the right-hand corner at bottom of the page. It will look something like this.

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With these buttons you can change the view from “arranged” placement of the cards to the “freeform Corkboard” which allows you to move each card around to change their order.

You will also notice a third button allowing you to set the Corkboard options, such as the size of card, card ratio, spacing and number of cards across the Corkboard.

Another way to access your Corkboard cards is through the “Inspector” button at the top right-hand corner of the tool bar.

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With a click of this button, the Inspector will open on the right–hand side of your screen and contain note sections including your Corkboard notecard. By pressing the notecard button in the inspector view, you can toggle between the notecard or a picture section.

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For even more adjustments to your Corkboard, in the Scrivener tool bar, go to the word Scrivener > Preferences > Corkboard.

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In the tool bar of this view, click on the Corkboard and you can adjust your board background colors and patterns, card line colors, fonts etc…

I hope this helps you use the Corkboard and get more out of the Scrivener writing program.

Left Behind

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POST CARDS FROM THE MUSE

Left Behind

By Nandy Ekle

 

From the outside the building stands tall and quiet. It’s been there for nearly a century, resting, as it slides back to the earth. The windows are dark, the brick is crumbling, and the doors are tagged with graffiti.

As I stand on the doorstep, the oppressive heat consumes the air and I feel as if I am suffocating. I reach up to wipe sweat from my brow and the door on the bottom floor of the old building clicks open.

Peeking inside I find a room with no furnishings whatsoever. The concrete floor is covered with plaster which has fallen from the sheet rocked walls. All around is gray, except the spots directly across from the dusty windows. These spots sport bright sunlight which magnify the dust motes floating through the space.

I turn and walk deeper into the building. The heat is just as harsh without the benefit of a breeze. However, there seems to be plenty more air than existed outside, but the mustiness causes couches to bubble up from my lungs.

The first sight I had of the dark and dilapidated room was that of ancient decay. But then I see movement in the far corner of the room. I follow the line of sight and notice the only color in the place, the only sign of life present.

A single red balloon floats ten feet high as its string descends to the dirty gray floor.

Now, Dear Blog Follower, your job is to finish the story. How did the balloon get there and what does it mean?

Congratulations. You have just received a post card from the muse.

 

Just Right

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Outtakes 253

Just Right

by Cait Collins

 

 

I believe in doing my research when writing a story. In fact, I drop a bundle in Barnes and Noble with nearly every manuscript. In my current work 3×3, my hero is a gemologist and jewelry designer. So naturally I can’t have him facet a gemstone that is normally cut and set as cabochons. Nor can he purchase a green colored gem that is not found in green. Of course, I enhance my knowledge by studying cutting, settings, wax carvings, gems and their localities. But do we reach a point in research where too much knowledge detracts from the story?

For example, would the reader be more satisfied with the description of the finished product or does he want the step-by step process from the design to the showroom? Let’s face it, if I began describing the time spent either at a drawing board or computer painfully creating the drawing, then the wax carving, cutting, faceting, and polishing the stones, a reader would put the book down and wonder if he could get his money back. In fact, too much knowledge leaves little to the imagination. I would rather visualize the design than plough through its creation.

At times too much knowledge can lead to over-thinking which can lead to characters without emotions or with exaggerated emotions. They are no longer real. And the reader cannot relate to them. Without a relationship between the reader and the characters, there is no story.

Using our knowledge of a subject and applying our research is akin to Goldilocks and the three bears. Papa bear’s soup was too hot and his bed was too hard. Mama bear’s soup was too cold and her bed was too soft. Baby bear’s soup and bed were just right. Yes, knowledge adds to a work, but we must be careful to keep these details “just right”. Not too much or too little, but that fine mix that keeps the story on track and adds flavor to the work.

Ok, Where’s the Title?

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Ok, Where’s the Title?

By Rory C. Keel

 

Many good projects have been written with a “working title”. That’s a temporary name given to your piece while you are still working on it. When the writing is done, you will want to give your masterpiece the perfect permanent title. Often, this can be more difficult than completing the actual piece of work.

When choosing the best title, consider these two basic points.

First, the title needs to fit within the theme of the story or work. Consider using the name of a person, place, or thing within your story. A specific kind of action that takes place in your writing could even make a good title.

Secondly, make the title easy to remember. While there are works that carry long titles, the shorter it is, the easier it is to remember. One exercise to help with this is to try and describe your story in one word. Can you do it? Consider the theme, the action, think about the people, places and things and boil the idea down to one or two words.

With this basic formula, you can have the perfect title.

#amwriting Despite Myself

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#amwriting Despite Myself

By Natalie Bright

Self-doubt. I hate when that snarky voice in my head creeps into my work about the time I’m gung-ho in the middle of a new project. The fear of judgment. Is this good enough? Will this book appeal to readers? I can’t write this.

Sometimes it’s impossible to type THE END because of my self-doubt and the battle raging within my own mind. Its so senseless and aggravating, causing your daily word count to come to a screaching halt. Does that ever happen to you?

“Now that I have given myself permission to let the raw side of me loose on the page, I’m finally finding my true voice.” So admits Joanna Penn in her book

THE SUCCESSFUL AUTHOR MINDSET:

A HANDBOOK FOR SURVIVING THE WRITER’S JOURNEY.

I want to share these words with WordsmithSix peeps and how this book has re-energized my goals in regards to my writing. I keep reading the highlighted portions over and over. Ms. Penn covers all of the horrible things that crowd our mind when we should be using that brain power and creative energy to write. She gives readers a glimpse of her own struggles by sharing portions of her personal journals.

Ms. Penn states the problems most writers face and the antidote in clear, concise common sense language. It’s an eye opening read for any writer and a must for every writer’s reference library.

Find out more at the thecreativepenn.com

Malapropism

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Malapropism

by Adam Huddleston

 

Here’s another quick literary term to add to your repertoire: malapropism. It is defined as the use of an incorrect word (with a similar sound) for a correct one.

Why would you do this?

It can be used to show that the speaker is confused, upset, or otherwise impaired. It is important to understand that in order to be effective, the two words must be similar in sound or structure.

For example, in “Much Ado About Nothing” a character states: “Our watch, sir, have indeed comprehended two auspicious persons.” In this case, the speaker substituted comprehended for apprehended.

I hope this helps in your writing!