Tag: character development

  • Jemma Behker Shares All (Or So We Hope)

    Good morning ladies and gentlemen! Usually right now I would be blathering on about some writing topic or entertaining you with a story I spewed out after a few glasses of wine. But today I have something different, something special. I’ve managed to secure an interview with Jemma Behker. You may remember her from my 2011 NaNo novel. She’s a lovely young lady from the Kingdom of Callador and… well, why don’t we cut straight to the interview?

    Good morning, Jemma.

    Jemma: It’s the middle of the night.

    Technically, yes, but…

    J: I’m not stupid. It’s the middle of the night.

    Right, right. Good evening then. Why don’t you tell me a bit about yourself? (more…)

  • Failed Conversion

    (Broadcast transcript provided by Station URHI, Holy Roller Radio. Creators of the forthcoming documentary Glock and Awe: God’s plan for you and your guns.)

    HOST:    Happy Monday, people! And thank you for tuning in to this week’s edition of The Wooly Pulpit, America’s premier destination for hairy men of God and the nation who loves them. 

    As always, I am your host, Cubby Carlson, and boy, do we have a great show for you tonight.

    Joining us in studio, New Argo’s newest Bible Bear, the reverend Mike Mackey. He’ll talk about becoming ordained, forming his own church, and if there’s anyone special in his life, aside from the Big Guy, I mean.

    (Laughs) 

    But before we get to the good stuff, and let me tell you people, from where I’m sitting, it is Very. Good. Stuff. Here’s a quick word from our sponsors. (more…)

  • If they don’t stumble, trip them

    I’ve tried lots of structural things to keep the reader moving through the story. The first and easiest place to start is with mechanics. Things like cliffhanger chapter endings, ominous foreshadowing, alternating storylines, out-of-order plot sequencing. I’ve read lots of good books that use similar techniques, and to great effect. For my own writing, I’ve found that all of these techniques work, at least to a point.

    But none of them are particularly good substitutes for simply writing a compelling plot.

    So, how do you write a compelling plot?

    (more…)

  • One Good Turn

    Go for the unexpected.

    This week’s question is tough. Telling you what I do to keep readers turning the page assumes two things—first, that people do feel compelled to turn the pages of what I write, and second, that I actually do things intentionally to make that happen.

    I don’t have a big enough ego (yet) to be sure of either of those things. All I can tell you is what I try to do:

    • Go for the unexpected. If the story seems to be travelling in a straight line, swerve to the left or right and throw in something bizarre. In my books, this often translates to a lovesick satyr on the doorstep, a unicorn with a skin rash and no virgins around to treat the wounds, or a gremlin waylaying my heroine and dragging her off to break up a fight between his brothers in the tool shed.
    • Drop a bomb at the end of the chapter. Blow something up. Have someone unexpected show up and say something weird, threatening, or ominous. Toss the main character over the side of a ship into shark-infested waters. Have the ex-husband show up and bang on the restaurant window while the main character is on a date. (more…)
  • Subplots: Sexy Enough to Deserve Your Time

    Here’s the thing about subplots. They don’t have to be your best friend, but you should treat them like your best friend’s hot sister. Nobody’s asking you to spend a lot of time getting to know her.  (But let’s be honest. Would they have to ask?) Just make sure the time you do invest is quality.  It’ll totally pay dividends in the end.

    Be good to your subplots. Show them you understand their complexities and you know their worth. Make them believe that their development is as important to you as the other plots that occupy the majority of your day. You wish that you had more time to devote, but it wasn’t meant to be.

    You and your subplots are star-crossed lovers. Victims of circumstance, meeting in the wrong place at the wrong time. Perhaps in another life you’ll have more time for each other. Maybe the universe will do you a solid the next time around.

    But rather than bemoan what the fates have given you, it’s better to seize this moment, this day, no matter how brief. Cherish the time you have together and make it something special. If time is the enemy, then ally yourself with memory. Write a story worth remembering. One that outlives its own fleeting arc.

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  • Bronzing the Imagination

    THE iconic image of Doc painted by James Bama

    Okay, I’m going to say what all the other Confabulators have either hinted at in emails to me or allowed to go unsaid on their blogs: this week’s topic was frustratingly hard to write. That is, until I understood the question (link to This Week’s topic blog post).

    It doesn’t take much to put a vision of a character in a person’s head: The boy with the lightning-shaped scar. The bronze man with the gold-flecked eyes. The masked man on the white horse.

    That’s Doc over there on the right in the picture but maybe you missed the Lone Ranger reference. With a certain group of fans you don’t have to say much more than that about some of the more iconic characters. The same would be true with the Harry Potter fans, I’m sure.

    For instance with Doc Savage, his physical features are so amazing that they only bear mentioning once each time in the original supersagas. He’s very tall, very handsome and he has some interesting habits. One of the more famous ones is how he unconsciously makes a trilling sound when he’s working on a problem. He has a vest with a lot of pockets that he almost always wears and it’s when he’s dressed as a ‘normal’ person that his clothing is gone into with any detail. However, it’s when he’s in a room with others that his physical features are shown rather than described. People ‘look up’ to him, they ‘move around’ him, they are in awe of the force of his personality.

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  • Who are you and what do you want?: Developing characters and finishing what I start

    Back when I never finished anything, I used to just give my characters a name and a situation and watch the ‘fun’.

    But it wasn’t enough, I cannot be pantsless (See Confabulator Ted Boone’s Pants are optional. Plans are not. | Confabulator Cafe.) and I never finished anything! And it wasn’t all that fun, either.  Not that it was their fault. Among other things, I found through this process that I needed to know these people extremely well to have a grasp on how they might act, or react, to other characters and the situations I put them in, and, come to think of it, what the situations might be that they’d be in in the first place.  Is this making sense?  Hello?

    Writers need limits, or this one does anyway, to circumscribe the possibilities, to give boundaries to work in, to pressure the work to make it go.  Willy nilly is too chaotic for me, too many choices (like those giant @&#% menus at chain restaurants) made me a worse writer, and I NEVER FINISHED ANYTHING. Did I mention that?

    Now I use character worksheets to help me think about what these people look like, their backgrounds, relationships, desires; I use screenwriting techniques; I brainstorm with people about what might work; I practice with my characters in situations other than the story I think they want to tell.  I think hard about them:  What do they want to say? What do they want more than anything in the world? What’s to stop them? Then what? Go from the inside out. I’ve ‘finished’ some things, but it doesn’t end there–I’m still trying to make them better in revision, and I find getting down to the base motivations of my characters is a big part of that making that process better, too.

    As for the reader, oh yeah, I do not want to insult the reader with boring, cliché, two dimensional characters, the actions need to flow coherently from who these people are and if they don’t, well, I hope you do shut your laptop or throw down the pages in disgust. I’m lucky to have your attention in the first place.  And that’s a pretty good motivator…

  • Lying on the couch: A conversation with myself

    Character interviewBefore I begin to set pen to paper (metaphorically) on my stories, I like to have several conversations with my main character.

    As with any job interview, questions help me consider whether or not he/she can get the job done. But in truth, these conversations sound more like a prolonged therapy session with a psychiatrist.

    Me: So, tell me a little about yourself.

    Main Character: Well, I have this weird problem with perception. I can’t read words as they appear. I see words, and I can read them, but they make no sense. The sign at McDonald’s may say “Over one billion served” but I see the words “Dolphin spatula green sycamore.”

    Me: I see. So, how long has this problem been going on?

    MC: Since my accident, I think. I don’t remember anything about my life before that. My doctor says I must have learned to read at some point, because I can associate words and pictures in my head. I just can’t read them correctly.

    Me: And how is this going to make for an interesting story?

    MC: Well, lately I’ve been able to read a sign on the side of the road. It seems to be directed at me. It says, “Turn here, Martin.”

    Me: That’s rather specific.

    MC: Yeah. My doctor thinks it’s a good sign, that my brain is trying to repair itself.

    Me: What do you think?

    MC: I think it’s kinda creepy. My wife thinks I should ignore it. But I feel like someone’s calling to me. I want to follow the sign.

    Once I have a good understanding of what makes my main character unique, I can begin to build a story around him. I need to know some things, but not everything about him before I start. For instance, how did he meet his wife? What kind of life did he have before the accident? Answers to these questions may (or may not) come out in the story. There will be time for additional discovery later.

    Depending on the story, I may want to have a similar conversation with my Main Adversary. The MA can be as important as the hero in a story. Think of Lex Luthor in Superman, or Darth Vader in The Empire Strikes Back. Good villains are a counterpoint to heroes. And they have their own reasons, their own motivations, for doing what other people consider “evil.” The trick to writing a villain is to make him/her believable. If they can justify what they’re doing in terms that seem realistic, you probably have someone worth writing about.

    Secondary characters don’t need this kind of detail before I begin writing. Often, I will have characters with descriptions like “love interest,” “best friend,” or “receptionist.” They can be fleshed out later, but sometimes not until the second or third draft.

    The key is to listen: to my characters, myself, and — probably — to a good shrink to sort out all the voices in my head.

  • I Hate You! Please Hang Out with Me.

    Hard truth here: I freaking HATE my characters.  And not just the current batch either.  I’m talking all of them.

    Now before you get all judgmental, hear me out.  Your characters are not your friends.  They are lazy, needy little bitches who expect you to do all the heavy lifting.  I, for one, am tired of it.  So I’ve started fighting back.

    When I’m setting up a scene, or even a story for that matter, I usually start with a goal.  What is the overall story question of the book?  In this particular scene, what is the protagonist trying to accomplish?  Does he or she get it done?  Regardless of the answer, what are the consequences of the outcome?

    I put a lot of thought into the architecture of the story, and along those same lines, I have very specific ideas about what roles the characters will play in each of these scenes.  Ideally, you could add a face and a name to each of these roles, and then wind ‘em up and let ‘em go.  But ideally makes for a shitty read, and this is where characters really start to piss me off.

    (more…)