Tag: character motivation

Categories
Mystery/Thriller/Suspense

Authors as Psychotherapists – Getting into the Mind of Our Characters

mystery suspense thriller

What can authors learn from the world of psychotherapy?

According to the Microsoft Bing definition, a psychotherapist “treats mental disorders by psychological rather than medical means.” Korin Miller offers the reason. “The goal of therapy is to give you the tools and strategies for navigating whatever is going on in your life.”

While I earned my college degree in Human Relations and Psychology, I am no expert, but I can research and ask questions of those who are. Applying psychotherapy technique to our characters is an interesting exercise and may bring an affirming nod from agents, publishers, and readers.

Sitting behind the comfort of our keyboard, we novelists can psychoanalyze our characters’ lives. Of course, we have the advantage since we created those lives! We push them through internal lies, flaws, and wounds as they navigate the storyworld with the tools we provide. The more intriguing the ‘disorder’ we assign our characters, the more invested our readers become.

If our goal is inspiration, our characters journey through hardship and into the light of emotional and spiritual growth. If we leave them in darkness, we may provoke thought, as some novels do, but that makes for a different story than I write. But I recognize the technique.

Most protagonists, and certainly our antagonists in the mystery, suspense, and thriller genre, possess some sort of disorder. The ‘disorder’ falls somewhere on a scale, from what pushes an unassuming village librarian to unravel a cozy mystery to a psychopath bent on world destruction. No matter the genre, our characters’ world is out of kilter and needs righting. A ‘disorder’ can add an interesting element to the process.

Let’s consider a few psychotherapy angles.

Fear, frustration, or hurt

Much of how we respond to life falls under these three emotions. They must be worked through before they lead to anger. If not, anger turned inward can develop into depression, and turned outward, into rage.

For our protagonist – fear, frustration, or hurt can jump-start their journey. They want to solve the murder, figure out the riddle, defeat the bad guy, stop the assassination, wipe out the terrorist. These will either explain their reluctance in acting or push them into their journey. Or it can alter their quest if they spiral into depression or explode into rage. Use this to create twists.

For our antagonist – if they view the protagonist as having initiated fear, frustration, or hurt or one of these emotions has carried over from a difficult childhood, their motivation becomes understandable. Even bad guys can’t be completely bad or they become one-dimensional, boring stereotypes. Everything fuels their rage. Apply these to dig deeper holes for our protagonist.

Reframing the Past

Events stay the same, but the way they’re interpreted depends on the individual and can change the present and future.

For our protagonist – throughout the story they rethink past events. Clues become clearer and redirect their choices, bringing fresh insight. Confidence grows and defeating the foe becomes attainable.

For our antagonist – their reframing is all about putting events in the worse possible light. They see bad where good is, and negative instead of positive, and rush to act. These can create devastating consequences for our noble protagonist.

Three Types of Anxiety – Existential, Chronic, and Acute

Existential anxiety seeks answers for life’s big questions – what’s my purpose? What happens after I die? Ongoing, trying events with no simple resolution lead to chronic anxiety. Acute stress results from a late payment or a mix-up with insurance – something that sprouts up, aggravating but is more easily solvable.

For our protagonist – anxious thoughts drive their actions, and ratchet up tension and conflict. They may stress over life’s purpose or the opposite, feel confident about eternity because of a certain worldview. The chronic effects of a poor childhood may bubble up and alter their journey for a time or they experience a flat tire while rushing for a job interview. Utilize these for cliffhangers.

For our antagonist – the future matters little as making others miserable in the here and now is paramount. Pain from their past drives their actions. Every new decision by our lovely protagonist throws their plans awry, while raising the stakes and their level of rage.

Putting into Practice

Character-building is a challenge for even the seasoned author. Do your research. Throwing in a ‘disorder’ may raise your story’s stakes and create memorable characters. Consider the techniques psychotherapists offer as another avenue to set your story above the rest.

Write well, my friends.

PJ Gover encourages her readers to live the thrill one story at a time. She wrote her first thriller at age nine, all of six pages, but only returned to creating suspense/thrillers years later after unearthing her deceased father’s secret work designing missiles for the government. After thirteen writing awards, including five for first place, her high school English teacher must be shaking her head in disbelief. A ranch in Texas serves as home base. Offer her well-crafted chili rellenos or anything gluten-free and you’ll have a friend for life. Jim Hart of Hartline Literary represents PJ.

She’d love to hear from you!

Categories
Romancing Your Story

What Do Your Characters Want and Why?

What drives your character? What is his or her motivation for pursuing their goals, whether it’s defusing an atomic bomb and saving the world or decorating cookies for a bridal shower?

There are lots of books and articles and blog posts about how to make character sketches and how to know your characters. Some writers advocate filling out spreadsheets with lots of details, including physical descriptions and where they lived in the fourth grade. Others journal in their character’s voices for pages and pages, getting to know them. Some take their characters for a metaphorical cup of coffee and chat with them.

I use a system that asks a series of “Whys” to drill down to a dark moment in their past that’s shaped who they are now. 

For example, we’d start with: Who are you? The answer starts with a noun plus an adjective. For this example, “I’m a prodigal fisherman.” 

Why? “Commercial fishing was a job I could get. Prodigal because I can’t go home.” 

Why can’t you go home? “I messed up.” 

How did you mess up? “I got into a fight at my sister’s wedding.” 

Why did you fight someone at your sister’s wedding? 

And so on. 

We’d continue until we learn he felt rejected by his family as a teenager when they allowed him to leave home to play ice hockey at an elite boarding school. 

This system of noun plus adjective and “Why?” questions is from The Story Equation by Susan May Warren and this character profile is Owen Christiansen from You’re the One I Want also by Ms. Warren.

There are often two sets of goals, internal and external, but the motivation is the same for both. The internal want drives the external goal.

Owen Christiansen wants to go home and feel welcomed by his family. That’s his internal desire. The internal meets the external when his brother finds him and brings him home. Of course, there’s a lot more to the story.

This next example is from my own work in progress. The heroine is Chloe:

Who are you? “I’m a driven widow.”

Why? “I have to open my bakery next month to honor my dead husband on the second anniversary of his death.”

Why? “He died in his sleep of an undiagnosed heart condition.”

Why? “I drove him to his death, nagging and pushing him to work harder.”

Chloe is determined to not fall in love again. Because her father also died at a fairly young age, after working extra hours to pay for a family vacation, she feels she’s toxic to men. (Of course, since this is a romance, she’s going to fail at her plan to not fall in love and will finally get her happily ever after.)

In The Story Equation, Susan May Warren outlines a method for diving into your character’s motivation. It involves digging deep and getting to what she calls their Dark Moment Story or DMS. This is a moment in their past that shaped them into the person they are at the beginning of the novel. For Chloe, it’s her husband’s death. The DMS also contributes to the Flaw, a Lie they believe, and several other factors. I highly recommend The Story Equation if this method of getting to know your characters appeals to you.

Carrie Padgett lives in Central California, close to Yosemite, but far from Hollywood, the beach, and the Golden Gate Bridge. She believes in faith, families, fun, and happily ever afters. She writes contemporary fiction with romance. She recently signed a contract with Sunrise Publishing to co-write a romance novel with New York Times bestselling author Rachel Hauck that will be published in 2022. Carrie and her husband live in the country with their high-maintenance cat and laid-back dog, within driving distance of their six grandchildren.

You can find her online at:

Categories
Becoming an Author

Acting Techniques to Deepen Your Writing – Part 1: Characterization

Over the years, I’ve studied the craft of both writing and acting, and I’ve been amazed at how the two art forms can feed off of each other.

This year—thanks to extra time provided by quarantine—I’ve taken my study of acting a step further by enrolling in virtual classes. And you know what’s crazy? I’ve noticed an increased depth in my writing as well. These acting techniques have helped me to, 1) Bring readers deeper into my character’s POV, 2) “Humanize” my characters, and 3) Portray authentic emotion.

And now I would like to share these tips with you!

For this series, I’ve compiled a list of tips so that you, too, can deepen your writing.

These tips are succinct; however, if you’re serious about deepening your characterization then I would advise doing your own research. Trust me: These techniques will add a layer of authenticity to your writing! (See the end of this post for recommended reads.)

Acting Tips On Characterization…

1. Develop the inner life of your main character: backstory, worldview, ambitions, needs, fears, etc. This will shape who they are today. Thus, their behavior, mannerisms, speech—external life—will be influenced by this inner life.

2. Understand how your main character’s relationships with various people exposes different sides of them.

3. Find the small connection you have with your POV character and portray that with all your might. You might not be a competitive person by nature, but perhaps you can recall a time when you were competitive. Then, if your POV character is a competitive person, bring that connection out as much as possible. Uta Hagen suggests that actors “Play within the territory of you.”

4. A character’s dialogue, emotion, and behavior are triggered by a specific stimulus. Find this stimulus, and then create the authentic reaction for your character at that time. This will keep readers from claiming that they didn’t understand why the character behaved in certain manners, because it will make sense within the context of the scene.

5. Layer your character by assigning mannerisms and styles of speech that reflect who they are. How do they dress? Stand? Walk? Enter a room? How does this reflect who they are?

6. How does your character’s bedroom, “prop pieces,” and wardrobe say about them? Do they have memories attached to specific objects? How is this reflected in the way they interact with the environment/props?

7. Our character’s decisions should be justified. Even if the choices seem ridiculous on the surface, readers should understand why the character reacted/behaved in that manner. The choice should make sense for the character at the time.

8. Bring humanity into stereotypical roles. Yes, stereotypes exist in real life so it’s okay for them to exist in our writing as well. But stereotypes are only a label. As writers, let’s go deeper by rounding out the character, giving them desires, fears, needs, etc.

9. Physical choices can highlight various aspects of our characters. In Natalie Portman’s Master Class on acting, she uses an example of a scene in The Deer Hunter. As Meryl Streep’s character walked down the street in this scene, she took a moment to stop at a shop and fix her hair in the reflection. Use any opportunity you can to show who your character is rather than to simply tell.

10. Your character existed before the story began, so bring your fully developed character into the circumstances of your scene. The character development you do ahead of time will enable them to come across as human rather than a caricature. You will know your character so well that their responses, emotions, and choices will come more naturally and quickly to you since they have already been formed in your imagination.

In the following posts I will share further acting tips that will help you convey emotion, break down scenes, etc. In the meantime, if you would like to do your own study of acting, here are books I would recommend:

Any other characterization techniques we can learn from actors? Let me know in the comments!

Tessa Emily Hall is an award-winning author who writes inspirational yet authentic books for teens to remind them they’re not alone. She writes both fiction and devotionals for teens, including her upcoming release, LOVE YOUR SELFIE (October 2020, Ellie Claire). Her latest devotional, COFFEE SHOP DEVOS, encourages teens to pursue a personal relationship with Christ. Tessa’s passion for shedding light on clean entertainment and media for teens led her to a career as a Literary Agent at Cyle Young Literary Elite, YA Acquisitions Editor for Illuminate YA (LPC Imprint), and Founder/Editor of PursueMagazine.net. She’s guilty of making way too many lattes and never finishing her to-read list. When her fingers aren’t flying 128 WPM across the keyboard, she can be found speaking to teens, decorating art journals, and acting in Christian films. Her favorite way to procrastinate is through connecting with readers on her blog, mailing list, social media (@tessaemilyhall), and website: tessaemilyhall.com.

Categories
Mystery/Thriller/Suspense

How Dark Is Your World?

mystery suspense thriller

Most Mystery/Suspense/Thriller stories are set in the real world, but the realities of that world cover a wide spectrum from light, cozy and optimistic to dark, gritty and despairing. On the light end of the spectrum are cozy mysteries, where crime is an unexpected event that mars an otherwise pleasant world. On the other extreme are hard-boiled detective stories, where crime is rampant and the tough, cynical P. I. or cop sees the world as a harsh place.

Is your story world closer to the light or to the dark side?

The dark side is characterized by:

  • A story world that is a broken place with little hope for improvement, where crime and violence are a normal part of life. This is a tough world that requires tough characters.
  • An underlying assumption that society is basically flawed and there isn’t much hope things will get better.
  • An atmosphere that is dark, gritty, edgy, pessimistic, bleak, or cynical.
  • A flawed main character who fights a losing battle against crime but keeps striving to stave off total darkness.
  • Violence, harsh language, and gritty realism
  •  Murders and victims described in brutal detail rather than being glossed over

In contrast, the light side is characterized by:

  • A story world filled with compassion, forgiveness and hope, where crime and violence are the exception rather than the rule.
  • An underlying assumption that there is hope for redemption in every person
  • An atmosphere that is cozy, soft, gentle, humorous, or optimistic
  • A main character who hopes to solve the crime and restore order to her world. She believes order can and should be restored.
  • Little or no violence
  • Little or no swearing
  • A murder that often happens off the page
  • Limited details regarding the brutal realities of the murder

Obviously, most stories fall somewhere between these two extremes.

Where does your world fit into the spectrum? Do you know why you chose your setting worldview? Is it simply a reflection of your own worldview or did you intentionally choose it to fit your story?

Some considerations when choosing how dark to make your story world:

  • Does it fit the subgenre? Readers who prefer cozies don’t want gritty realism and readers of noir don’t want sugar-coated optimism. Know the norms of your subgenre before defining your world.
  • Does it appeal to your target audience?
  • What are the underlying assumptions of the characters regarding the world you have defined for them? What do they take for granted and how does that affect their choices and attitudes?
  • How does your world augment or conflict with the worldview of your main characters?
  • How easy will it be to show redemption at work?

Choosing the right degree of darkness will enhance your story and attract the right readers, so consider your choice carefully.  

Happy world-crafting.

Lisa E. Betz believes that everyone has a story to tell the world. She loves to encourage fellow writers to be intentional about their craft and courageous in sharing their words with others. Lisa shares her words through dramas, Bible studies, historical mysteries, and her blog about intentional living. You can find her on Facebook  LisaEBetzWriter Twitter @LisaEBetz and Pinterest Lisa E Betz.

Categories
Fantasy-Sci-Fi

The Desires Behind Your Character’s Desires

When he reaches for the cookie his eyes aren’t on the cookie but on his mom in the other room. Why? Because it’s not so much the cookie that he wants, but to get it despite the fact just two minutes ago his mom told him not to.

His desire isn’t simply to eat a cookie.

His desire is to get away with something he knows he’s not supposed to.

While this circumstance may seem cliché by now, the truth behind it may be new to us as writers.

Writing good, memorable characters can difficult. Writing personable characters is even more difficult, and writing science-fiction characters that resonate and draw in readers can seem impossible.

That’s when we have to remember: we all have desires behind our desires.

We choose the salad over the white bread sandwich not because we want the salad but because we have certain dietary or physical goals.

We walk with an umbrella not so much because we care about our hair getting wet, but because we want to look a certain way when we walk into the meeting.

There are endless examples.

This may seem like normal life to us. Something we don’t even realize. Maybe even take for granted.

But it’s important we make the hidden desire behind the obvious desire clear when writing fantasy characters, or any characters, for that matter!

Let’s say our main character walks into an office building café and sits down at an empty table. She pulls out her phone and checks her email.

At first glance, as a reader we might assume she’s waiting on an important email. But we all know we don’t check our email out of desire to check our email. We fear looking like we have nothing to do. We fear looking not busy. Insignificant.

If your main character’s weakness is feeling insecure, write this into the scene. Make it clear.

But maybe your character is very secure. She’s strong and has worked her way up from poverty level to CEO.

The one thing her company doesn’t know is she’s an introvert and terrified of any type of interpersonal communication. Walking into the café, waiting on her order, she doesn’t want to risk conversing with anyone else. Just the thought of it sends adrenaline racing through her body.

Now we’re onto something!

We’ve shown the personal desire behind what a random onlooker would see as a physical desire. It’s not that she needs to check her email, it’s that she desires to avoid conversation one-on-one, at any cost.

Why?

That’s for your readers to figure out as you slowly reveal, line by line, paragraph by paragraph, the true desires behind your character’s actions.

Writing isn’t so much about showing what happens, but showing why it happens, and revealing the story through the hidden desires of your characters.

Happy writing!

Sarah Rexford is a Marketing Content Writer, working with brands to grow their audience reach. She studied Strategic Communications at Cornerstone University and focused on writing during her time there, completing two full-length manuscripts while a full-time student. Currently she trains under best-selling author Jerry Jenkins in his Your Novel Blueprint course and is actively seeking publication for two books.

Instagram: @sarahjrexford
Twitter: @sarahjrexford
Web: itssarahrexford.com

Categories
Talking Character

What Does Your Protagonist Want? (And Why Can’t He Have It?)

A protagonist without a clear goal has nothing to figure out and nowhere to go. Lisa Cron in Wired for Story

All protagonists need a goal—some force that drives them onward no matter what obstacles the story throws at them. And that goal is driven by some deep inner need—the why that motivates all they do to achieve their goal.

Since stories are not about the plot, but about how the plot affects the characters, it is really the why behind the goal that keeps us reading.

If we don’t know what the protagonist’s goal is, or why it matters to him, we can’t anticipate how the plot events affect him, or what he might do about them. Which means we will quickly stop caring, toss that book aside, and watch silly cat videos instead.

Two kinds of goals

First of all, a protagonist needs an external goal—something she wants to achieve by the end of the book. She might want a promotion, she may hope to find the guy of her dreams, or she might be determined to solve the crime and nail the bad guy.

But the external goal isn’t enough to make a great story. Our protagonist needs an internal goal, too—some deep-seated need she believes will be satisfied if she achieves her external goal.  In other words, the inner goal is the why that motivates the external goal.

Two kinds of obstacles

What keeps your protagonist from her external goal? Typically, the kind of  plot-driven obstacles that writers love to make up: Rivals, misinformation, invading warlords, sudden storms, bad luck, traitors, or the kid next door. What keeps the protagonist from her internal goal? Her very own self. Some hang-up, fear, or stubbornly held belief that is part of who she is.

And this is one of the keys of a great story: In order to achieve her external story goal, the protagonist must be forced to come face-to-face with that deep inner issue she would much rather avoid.

The climax of the story hinges on her willingness to face her inner issue. Only then can she have the revelation that will enable her to achieve the goal that will bring her what she really wants (which may or may not be what she thought she wanted this whole time).

If you know what your character wants, why she wants it, and what inner issue might keep her from achieving it, you are on the way to a great story.

[bctt tweet=”Do you know what your protagonist really wants, and why she can’t have it? #amwriting” username=””]

Categories
Talking Character

Do You Know What Your Character Is Doing?

What is your main character’s goal? The thing that drives her through the story, no matter how many obstacles you throw at her. You know what it is, right?

And you also know your bad guy’s goal—the one that tries to thwart your heroine at every turn.

No?

If you can’t state your protagonists’ and antagonists’ goals in a few words, your story is probably floundering, because those goals are critical pieces of your plot’s foundation.

I recently watched an action movie. Big name actors. Good special effects. A bomb that was going to explode in Times Square unless the heroine stopped it. Should have been a good movie, but halfway through I grew bored, because: A) Nowhere in the movie was it made clear what the bad guys were trying to achieve, and B) I was never clear on what the heroine’s primary goal was. I didn’t know what was driving her, so eventually I stopped caring what happened.

Instead of her goal pushing the plot toward the final showdown where she faced her inner demons and succeeded (or failed), she was merely reacting to stuff that happened, racing from one high octane moment to the next.

Ho hum.

In a similar vein, you heroine’s goal is the reason your readers care about her and want to cheer her on to success.

To write a good story, you MUST know your character’s story goal. If you aren’t sure, try one of the following:

  • Sit down with your main character and ask hard questions about her relationships, her fears, her dreams, and her inner demons. Deep, deep down, what drives her? Her story goal should stem from some inner need. (Even if she’s not aware of it.)
  • Consider what your story is about—the Theme. What are the protagonistic and antagonistic ideals that will clash to portray this theme? What character goals might portray those ideals?
  • Start with the climax. What will happen in the final confrontation? What final obstacle must your hero overcome in order to finally defeat his nemesis? Now think back to who your hero was at the start of the story. What goal will bridge that gap, forcing the action and the change necessary to get him to the climax moment?

As you write and rewrite your story, you may tweak your goal as the plot and characters evolve, but never lose sight of it or your story will go astray. And don’t be afraid to remind your character’s if they show signs of getting off track. If they yearn for another goal, tell them it will have to wait until the next story. Stay on track.

[bctt tweet=”If you don’t know what your character is doing, neither will the reader. #goals #writetip” username=””]

Categories
Storyworld

Board Games that Inspire Writing

The murmur of countless alien tongues subsided as the chairman of the interstellar council called for order. The delegates to Mecatol Rex were unusually nervous tonight, and with good reason. By the end of the week, congress might put forth a motion to ban bio-technology, a move that would devastate the inhabitants of New Moscow. The young ambassador from the Federation of Sol held his breath as the insectoid chancellor of Sardakk N’orr took to the stage, violently shaking a proposal in his foreclaw. The political games had begun. 

When you think of storyworld ideas, your typical sources are probably other books, movies, and TV shows. But have you considered board games? No, I’m not talking about Monopoly, Risk, or Sorry. Modern games provide a wealth of imaginative fodder for the aspiring novelist.

twilight-imperiumThe example in my opening paragraph comes from a truly epic game called Twilight Imperium. In it, various alien races compete for galactic supremacy through military force, shrewd diplomacy, and delicate trade arrangements. While there are similarities to any conquest-type game, from a writing perspective the real gem is the character development of the individual races and the manner in which they interact in the galaxy. In addition to battles and alliances, the actual rules of the game get voted on regularly at the council event. It’s an intriguing concept for a game, and any sc-fi writer is sure to enjoy the political debates between each of the six players. Trade deals and a variety of starships round the game out and should provide an abundance of ideas for anyone hoping to write a space opera.

Love LetterSmaller in scope but not in story, the game Love Letter is a simple game where each player has only a single-card hand. Easy to learn, but sophisticated enough to keep gamers coming back, Love Letter serves as a wonderful gateway for those unfamiliar with modern games. But even the included back story is captivating. Basically, the queen of the kingdom has died and various suitors are trying to win the hand of the princess. The king won’t just let anyone speak with his daughter, so he carefully guards the young woman. Her only hope – that some handsome prince might find a way to deliver a message through the castle staff. Filled with intrigue and amusing characters, you might be surprised at the writing inspiration you can draw from this simple game.

Davith and FriendI recently had the opportunity to play the game Imperial Assault, a cooperative strategy game of heroes set in the Star Wars universe. While you might think you already know that Galaxy Far, Far Away pretty well, you should think again as you play this. Set in the period of the rebellion, each character possesses a deep history and exciting side quests. My character, a force-sensitive operative dressed somewhat like Mortal Kombat’s Sub Zero, is on the hunt for his former employer who might be selling secrets to the Empire. The set-up is similar to a Jason Bourne movie, but with enough interesting twists to keep me engaged. But the story isn’t just about my character, as each of the main characters has his own story that further fleshes out the universe. The elements of the world (blasters, walkers, etc.) may feel familiar, but the scenarios are unique enough that they may inspire you in ways that George Lucas’ films haven’t.

Shadows of BrimstoneSet in the Wild West, Shadows of Brimstone puts you in the role of a sheriff, preacher, rancher, or any number of assorted other professions of the period, and pits you against a wide array of Cthulu-inspired critters. The blending of monsters with a gold-rush era landscape is a great and fresh setting. The individual missions are all twists on old west concepts, whether exploring an abandoned (and now demonically reoccupied) mine, rescuing a child who fell down a well (and is now surrounded by evil critters), or finding the source of a town’s disturbances (which happen to be in another dimension). The amount of storyworld built here is stunning. Many of the ideas could inspire a hopeful steampunk or fantasy writer.

This is just a small sampling of various games I’ve played, but the wealth of ideas that have gone cardboard is legion, and many host quirky and fun stories to boot. If you get a chance, stop by your local boardgame store and scope out the market. From the 16th century piracy of Merchants and Marauders to the superhero battles of Sentinels of the Multiverse, you’re sure to find something that captures your imagination. Granted, you can’t lift their storyworlds directly without a copyright lawsuit, but if you’re searching for inspiration, this might be the ticket. Ooh, did I mention Ticket-to-Ride?

 

Twilight Imperium image from http://www.swordsandspace.com/2013/08/twilight-imperium-after-action-report_31.html

 Love Letter image from https://lordoftheboard.wordpress.com/2013/05/17/love-letters/

 Imperial Assault image from https://deathwatchstudios.com/2016/07/11/imperial-assault-heroes-of-the-bespin-gambit/

 Shadows of Brimstone image from https://wediealotblog.wordpress.com/

 

 

Categories
Talking Character

Body Language: What Your Character Is Really Saying-Lisa Betz

If actions speak louder than words then a character’s body language is an important part of dialogue. And yet writers often waste the potential, using body language merely to reinforce what is already evident, such as a character who both nods and says, “Yes.”

Studies show that body language, including gestures and facial expressions, make up over fifty percent of communication. (Tone of voice makes up another thirty-five percent or so.) That means our characters can give away all kinds of information without saying a word.

When harnessed effectively, body language can be a powerful tool—because it tells us what’s really going on inside a character’s head.

4 ways body language can add useful information

  1. Revealing an emotion the character wants to conceal. The heroine is facing her nemesis in a meeting. She wants to appear calm and in control, but under the table her leg is bouncing or her hands are clenched in her lap. Although her dialogue and tone may give the appearance of complete confidence, the body language tells the reader the whole truth.
  2. Indicating the character is lying. Fictional characters don’t always tell the truth, but without a non-verbal clue, the reader may not realize when a character is being less than forthright. A bit of body language can show the reader what’s really going on, for example: a character refusing to meet someone’s gaze, rapid breathing, or covering the mouth while speaking. If the POV character notices these telltale signs, the reader will get the hint.
  3. Showing that all is not as it seems. In a scene where both reader and character expect a certain response, body language can tell a potent tale. For example, a husband arrives home from work on the day he was to get a long-awaited promotion. When he walks in the door and slumps on the couch, the wife realizes something is very wrong. And the more the husband claims everything is fine, the more out of kilter things obviously are. In a similar fashion, when the felon under interrogation acts smug, we begin to suspect he knows something the police don’t.
  4. Hinting at a character’s motives. When a hostess greets a guest with a smile that doesn’t reach her eyes, we suspect there is something between them. Perhaps the hostess is merely acting polite, or perhaps she has ulterior motives for treating the guest with a kindness she doesn’t feel. Of course, the POV character may misinterpret the clues, reading ulterior motives into a situation where there are none—which might be exactly what the plot requires.

Are you using body language to the full potential?

[bctt tweet=”How can your characters’ non-verbal cues help the reader read between the lines? #writetips #bodylanguage” username=””]

Categories
Talking Character

Why Won’t My Main Characters Cooperate?

Photo Credit: Brooks was here via Compfight cc

Do your characters sometimes refuse to cooperate in the middle of a scene?

Why is that? You know your characters inside and out. You created them. You determined their temperament, their abilities, their fears. After all that work, they should at least have the decency to cooperate.

But sometimes they don’t.

When characters get ornery, try not to get frustrated. It isn’t because you’re a bad writer. In fact, it’s a sign your doing things right, that your characters are coming to life and standing up for themselves.

Call it your muse, your subconscious, or whatever, but trust the process. Your story will be better for it.

What to do when your main character threatens to rebel:

See if they really mean it. Sometimes characters do random stuff on the spur of the moment, just like real people. Allow them to wander down a rabbit trail, but if you discover their path will cause unnecessary complications, stop them.  Back up, return to your plot and see what happens. If they cooperate then put their crazy idea down to a bit of indigestion and stick to your original ideas.

If they refuse to cooperate, it’s time to listen to them. …

Have faith in your characters. Characters are like children: We see they have certain talents and temperaments and we decide they would be well-suited for certain professions, or ought to love certain hobbies. However, children have a way of surprising their parents with the vocations  and activities they choose to pursue. So it is with our fictional characters. No matter how well we think we know their personalities and preferences, when we push them into tough situations they may surprise us. The wise writer knows that if we allow our characters to be true to themselves rather than forcing them to comply with our outlines, our stories will feel more authentic. Trust them.

First find out what your hero wants. Then just follow him. Ray Bradbury

Follow their lead. When they insist on forging their own path, follow them and see where they want to go. Spend a day or two daydreaming or free-writing scenes until you get a sense of where this new path is leading and how everyone feels about it.

Ask the character why. Once you’ve explored this new path, you need to understand why they want to do it that way. Interrogate your character. Talk to them out loud, envision yourself and the character chatting over tea, write a list of questions—do whatever works for you, but get to the bottom of why the character is at odds with your ideas. Why do they refuse to go out with Maddie? Why do they insist on saying such nasty things about the postmistress? Why aren’t they excited about the prize that was supposed to be the main motivation?  Push until you understand why they choose plan B over plan A, and then figure out how plan B can make a stronger story—even if it means a lot more work for you.

If we are brave enough to let our characters disrupt our plot ideas, and clever enough to figure out how to make their ideas work instead, we have the ingredients for a great story.

[bctt tweet=”Are you brave enough to allow your characters disrupt your plot? #amwriting”]

Categories
Talking Character

The Importance of Emotional Continuity

What is emotional continuity?

When actors enter a scene, they bring with them a certain attitude and emotional state that is a result of the moment before they come on stage. If, in the previous scene, we witness a fight between Emma and her mother, when Emma arrives on stage to set the table, we expect some muttering, dark looks and slamming of silverware. If she enters humming, acting as if nothing has happened, we will be confused—or worse, consider it a lousy performance–because emotional continuity was broken.

[bctt tweet=”We expect emotional continuity in our stories. #writetip #writing”]

Writers must be conscious of every character’s moment before, especially in a story with multiple points of view where one or more scenes might fall between a character’s entrance and his previous appearance. It is easy to lose track of where their moment before left them. If we don’t go back and check, we may end up with jarring emotional transitions that don’t make sense.

Elapsed time and the moment before

Sometimes the moment before is clearly defined by the story, but what if hours, or even years, have elapsed since that last scene. Does a writer still need to worry about the moment before if there wasn’t one?

Certainly. A character always enters a scene in some emotional state, as this video explains:

Our job as a writer is to determine what goals, desires and feelings are appropriate for this character at the start of this scene. If the story doesn’t tell us, we need to dig a little.

  • What has happened in the intervening time to bring her to this scene? How does that make her feel?
  • What is his goal in this scene? What moment before would explain this goal or propel him towards it?
  • Does he want to be here? If not, what has compelled him to show up?

Keeping track of your characters’ moments before will ensure emotional continuity and help your characters to remain interesting and engaged in every scene.

[bctt tweet=”When you bring a character into a scene, can you identify his moment before? #writingtip”]

Categories
The Ministry of Writing

Writers are Bad to the Bone

Photo by Pierre Lognoul permitted for reuse.

If you have flown then I imagine you know the feeling. You sit down in your assigned seat and the seat next to you is empty. You then look forward at the stream of passengers working their way to you. Immediately you access their size and hygiene, then you look deep into their eyes. Somehow five to seven rows before yours their eyes will give them away. In my case I see their eyes saying “oh no I have to sit by him.”

A few weeks ago I was in that situation, I saw one of the biggest men I have ever seen and hoped he was not assigned seat 17B. His eyes told me he was.

So next to me sits this mountain of a man. Tall, bowed up, covered in tattoos. Tattoos that said this guy was bad to the bone.

He easily engaged in conversation, as a pastor I can’t let my seat neighbor sit in silence. The conversation immediately went to where he was headed. He was going to a dangerous part of the Middle East to drill for oil. When I suggested that sounded dangerous, he told me about his last job in the jungle where armed guards protected him around the clock. He said it was common to hear of a national being slaughtered by a bush knife. Then to top the machete murders he shared about his time in the Special Forces.

It was somewhere in his second Iraq tour when I began to panic. Knowing he would soon ask where I was headed. In light of his manly stories I dreaded saying I was headed to a writer’s conference. I knew my story would conjure up the intense dangers of paper cuts so I thought about making up something more exciting.

He did ask, and even as I sheepishly told him where I was headed — I knew he couldn’t hang in my world. Because writers are “B-B-B-B-Bad”.

My kids will have a bumper sticker that says, [bctt tweet=”“My Dad can beat up your Dad, because my Dad is an author.””]

Writing is hard work.

When I began working on my first book, I took a week’s vacation. I planned to finish my book in six days 5:30 am until Starbucks closed. At 9:41 pm on the fourth day while finally beginning chapter two, I said to myself, “Writing is ridiculous.” So I Googled “encouragement for authors”, and I found an article that spoke truth into me. In a different phrase not suitable for a column entitled The Ministry of Writing, it said, “Authors are bad to the bone.” It continued, “Regardless if a book gets published if someone finishes a book they are one of the Baddest (Butt) people in the world.”

I smiled and got back to work.

That was two years ago. Those two chapters would get revised over thirty times. Then they were thrown in the thrash when agents encouraged me to go in another direction, which I gladly did because [bctt tweet=”I am a writer and I am BAD TO THE BONE.”]

Categories
The Ministry of Writing

Writing is Residual Ministry: It Lives On

photo by John Scalzi and made available for reuse.

I went to a meeting just to be nice to my friend, but I heard a phrase I have not forgotten.

In college, a friend started in Amway and thought that his fellow ministry students might actually have the money to join him. So as a broke, newly married college student, I listened to his spiel until he said, “RESIDUAL INCOME.” I have not experienced it, but the idea sounds amazing — to continue earning income long after the work has been done.

He told us we could pay the fee, set-up the website, and have a few conversations then — BOOM sit back and rake in the dough. Yeah, I know it’s not that simple, but you get the picture. You could expend effort once and continue getting paid, even when you’re off the clock or sleeping.

I don’t remember what he said after “residual income”, but I loved the idea.

I believe it’s not only a great business idea, but also a great concept for ministry. What if we could work hard once and then for days, months, years, decades, and even centuries there would be residual ministry? Even while we are sleeping our work could continue ministering to someone, and [bctt tweet=”even when our body is in the grave we could keep sharing the Gospel.”]

If there is such a ministry shouldn’t we invest our lives into it?

There is a residual ministry.

And you are doing it — it is writing.

You might struggle as I do. I know I am called to write, but I have a hard time hiding myself away in my Starbucks writing cave because there is “real” ministry that needs to take place. How can I hide away from the world when there are folks in this very coffee house that need to hear the Gospel?

How can I type away when there are hurting individuals that I could visit?

Ministry is about people therefore I need to be with people, but out of all I might do no ministry will keep ministering longer than my writing.

Moses had a successful ministry. He lead a couple million people out of slavery, established a nation, judged over daily affairs, taught the Law, and even organized the religious practices of Israel. But out of all he did, it’s his writings that have ministered the most.

The same could be said of Paul. He lead many people to the Lord, planted many churches, established doctrine, taught, but it is his writing that has continued to minister.

For Moses and for Paul their writing was residual ministry. The same is true for us.

Your writing ministry will live on. It will keep ministering even after you’re gone.

[bctt tweet=”If there is such a ministry shouldn’t we invest our lives into it? #writing #write” via=”no”]

[bctt tweet=”Your writing ministry will live on. #author #amwriting”]

Categories
A Little Red Ink

Character Motivation

Everybody wants something. Why do YOU want to write, for example?

Maybe you want to write a book for the story’s sake. A vociferous, misunderstood character started vying for your mental attention and enthralled you with his antics. He gets under your skin in all the right ways, and he’s an entertaining guy. You don’t want the world to miss out.

Maybe you like to challenge people. You’re on a metaphorical soapbox, and—rather than flat out preaching at the masses—allegory would be a better, wiser venue for your message. It’s time people question the status quo. Or act on their convictions. Your story will call them on that.

2D Joost

Or maybe you want to be rich and famous. You fancy yourself the next J.K. Rowling or Frank Peretti. (NOTE: If this is your motivation, you’re in the wrong field. There’s an easier road you should travel, somewhere.)

I know there are scads of other reasons people write. But the point is: something drives you.

Something’s got to drive your characters too.

Character motivation matters.

And I don’t mean only your main characters.  Would you want to watch a play—no matter the genre—where only the protagonist and the antagonist were played by humans? Everyone else was a cardboard cutout?

(NOTE: Even though there are no other humans pictured below, I am NOT saying The Doctor interacts with a bunch of emoticons-on-sticks. Far from it. I simply couldn’t resist using THESE particular cardboard cutouts when I spotted them.)

doctor cutout

Too often, I read books in which the cast may as well be made up of action figures. The MC wanders over near the smiling cut out when he needs encouragement and hangs out with the stereotypical thug when he feels dangerous. He can’t bum a cigarette, though, because there’s just the one. Permanently in Dude’s hand. You’d have to cut his hand off to get rid of that thing.

As Kurt Vonnegut, Jr. said,

every.

single.

character.

should want something—

even if all he wants is a glass of water.

Surround your main characters with a cast of characters who are also each desperate for something, determined to change something. To achieve something.

To defuse the bomb.

To hear their father say he’s proud of them.

To find the cure.

To get her to say Yes.

Give them motives and goals, and SHOW your readers what they’re after.

For truly multi-dimensional characters, give them motivations that might surprise the readers. Show a soft side or a deep-seated fear in the heart of the bad guy. Maybe you’ve got a selfless and thoughtful protag, but there’s one thing she absolutely cannot STAND. Show it to us.

[bctt tweet=”Surprise people. Add dimension to cardboard characters with motivation. #writing tips #ALittleRedInk”]

Okay, I would be remiss if I didn’t mention Flat Out Love, by Jessica Park. If you’ve read this book, you know what I’m about to say. (If you haven’t…) There actually WAS a cardboard cut out character–an enthralling one, I might add–Flat Finn. Talk about a quirky cast, all flawed and winsome!

flat stanley

But what about other favorite books? Don’t you love reading a novel that makes you want a sequel—where your favorite minor character gets to play lead? Even if there’s NOT a sequel? I love dreaming about what could be.

How about Tolkien’s Lord of the Rings? History, politics, culture, and languages were all so well-developed that there could have been shelves full of books penned. I’d have adored Eowyn and Faramir’s story. Or more about Samwise. He gets my vote for the true hero.

Serena Chase’s Eyes of E’veria series? During The Ryn and The Remedy (her reimagining of “Snow White and Rose Red”) I wanted more of Cazien the pirate. Got him. She wrote The Seahorse Legacy and The Sunken Realm (summer of 2015), a phenomenal, gripping retelling of “The Twelve Dancing Princesses.”

Ronie Kendig’s Rapid Fire Fiction. This may be one of Ronie’s greatest areas of giftedness. She’s made me crave another SERIES. And then delivered. Twice.

Charity Tinnin’s Haunted. I empathized with the bad boy much more than I intended to, and his story is on the horizon. That’ll be an automatic pre-order for me.

Steven James’s Patrick Bowers Files. I loved every scene with Tessa or Ralph. I felt like I knew them.

Christopher Paolini’s Inheritance Cycle. What about Angela? And I’d have loved a prequel about Brom.

All of these books left me wanting more. And got me to immediately follow the authors on Twitter and Facebook. Marketing genius, writers.

Writing genius.

Who is the most intriguing minor character YOU’VE read recently? What was it that got to you?

[bctt tweet=”What minor character makes you wish he’d gotten center stage? #amreading #amwriting”]

 

Thanks to Joost Assink, Richard Anderson, and Heather N. for the photos.

Portions of this content were previously posted at www.alittleredink.com