Tag: Characterization

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The Intentional Writer

Common Writer Questions: How to Convey Accents

The intentional writer

“How do I write dialogue to show an accent or dialect?”

I’ve often heard this question discussed at writing workshops. It’s a good question. As we writers imagine our characters, some of them will have an accent, or will speak in a particular dialect. Naturally, we want our readers to hear those accents. But how does one accomplish that?

While there is not a single right answer to the question, here are my suggestions, based on listening to many discussions of this topic by various industry pros.

First of all, remember that fictional dialogue is not court stenography. A novel’s dialogue should not be an exact copy of real speech. Writers edit out all the ums, you knows, and random chattiness that crop up in actual conversations to craft dialogue that keeps the plot moving.

In similar fashion, writers should not attempt to copy the exact accent of each speaker. The goal is verisimilitude, not exactitude—creating the flavor and essence of the speaker rather than providing a syllable-for-syllable duplicate.

Factors to consider when conveying accents

  • Clarity first! A writer’s primary purpose is to get the story across. The dialogue should help rather than hider that goal. It’s normally better to choose simple, readable English over foreign words, unfamiliar slang, or phonetically rendered accents. Crammink ow-er dee-alokh weeth strenj spellinks… (I think you get the idea).
  • Don’t jolt the reader out of the story. Every time a reader stumbles over a word or has to reread a sentence that didn’t make sense, they have been jolted from the flow of the story. We writers don’t want this to happen! For example, consider this bit of dialogue: “Did he axe you for help?” Huh? What does that mean? The writer may have been trying to show a New Jersey accent, but for any reader not familiar with the accent quirk that turns ask to axe, the sentence is either nonsense, or looks like it contains a typo.
  • Use a light hand. When you do include dialect, slang, or accents, do so sparingly. Think of it like a sprinkle of black pepper. You want just enough to enhance the flavor without overpowering everything.
  • Don’t stereotype. If your character speaks with a dialect that you are only marginally familiar with, do your research. We don’t want to be lazy writers who stoop to using cheesy imitations of a dialect. Actual speakers of a language or dialect will easily spot a fake and call us out.
  • Don’t show off. Perhaps you’ve done tons of research into the history of your setting and compiled a whole list of archaic words. Great, but before using all those funny words, remember you are writing fiction, not a scholarly tome. You don’t need to impress anyone with your knowledge. Therefore, consider which terms are essential to your plot and skip the rest. Readers want to enjoy a good story, not stop every other page to look up yet another word they don’t know.    

Better techniques for conveying accents

Experienced writers come up with many creative ways to help readers hear the accents of their characters without forcing the characters to speak in phonetic accents or unfamiliar grammar. Here are four ideas:

  • Sometimes playing with word order is enough to suggest an accent. You could be using this technique to show a character is Irish, don’t you know? Or, something as simple as switching adjectives can make a sentence sound slightly foreign. For example, “I met him at the red, small house with the shaggy, big dog in the front lawn.
  • You could allow characters whose first language isn’t English to misquote or misunderstand common idioms. This can be used to great comic effect, when appropriate. (Think Agatha Christie’s Poirot.)
  • Adding a few recognizable words or phrases—gut, nyet, si, lass and laddie—can show a reader that this character speaks with particular accent. If you clue them in the very first time the character speaks, then you can allow the reader to fill the rest of the accent in themselves.
  • Another option is to show the accent through the POV of a different character. If the POV character has trouble understanding something another character says or thinks to himself about how the person’s speech sounds unusual, you have shown the reader the accent. The reader will hear that character’s speech the same way the POV character does.

While writers differ on their specific preferences when it comes to conveying accents, these tips should help you find a balance that pleases editors and readers alike.

Lisa E Betz

An engineer-turned-mystery-writer, Lisa E. Betz infuses her novels with authentic characters who thrive on solving tricky problems. Her debut novel, Death and a Crocodile, won several awards, including the Golden Scroll Novel of the Year (2021). Lisa combines her love of research with her quirky imagination to bring the world of the early church to life. She and her husband reside outside Philadelphia, Pennsylvania, with Scallywag, their rambunctious cat—the inspiration for Nemesis, resident mischief maker in the Livia Aemilia Mysteries. Lisa directs church dramas, eats too much chocolate, and experiments with ancient Roman recipes.

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Guest Posts

Ways to Create Emotionally Intelligent Characters

Guest posts

As much fun building characters in a fiction story is, the process is equally challenging. Trying to create memorable characters who incite a heartfelt connection with readers requires quite a bit of work. But you can start by developing them with emotional intelligence, also known as EQ.

You want your characters to have an authentic balance of emotional intelligence so their impact on your readers is lasting. Additionally, if your readers can resonate with your characters’ internal struggle and growth, they’ll be more inclined to finish the entire story.

So, let’s briefly define what emotional intelligence is and then explore three ways to incorporate it into your character development to create emotionally sound characters.

What is Emotional Intelligence?

Emotional intelligence is defined as “the ability to understand, use, and manage your own emotions in positive ways to relieve stress, communicate effectively, empathize with others, overcome challenges and defuse conflict.”

In terms of character development, this means you want to show your character’s understanding of their own emotions. Show how they use them in different circumstances and manage them in stressful times when they need to communicate effectively, overcome obstacles, and form relationships with others.

With this definition of emotional intelligence in mind, here are three ways to create emotionally intelligent characters in your fiction stories.

pen writing

Three Ways to Create Emotionally Intelligent Characters

Defining emotional intelligence is just the beginning of creating emotionally intelligent characters. You want to ensure you’re striking the right balance of emotional intelligence in your characters to paint an authentic picture of who they are. Here are a few ways to help you do just that.

Work on your EQ

Creating emotionally intelligent characters who provoke genuine emotion and connection from your readers is a bit easier when you understand your EQ. An emotionally intelligent writer has gone through some of the things their character is going to go through. And that can be used to write better characters.

So, work on your EQ. Your characters can mirror the general flow of your emotional journey to make them that much more realistic.

Draw on real-life experiences

As you work on your emotional intelligence, you’ll likely learn how to be better from your involvement in other people’s journeys to a high level of emotional intelligence. And these encounters should be leveraged to create solid characters. One of the best ways to develop emotionally intelligent characters is to draw on real-life experiences.

For example, let’s say you have or are currently dating someone with depression or anxiety. Think about the nights of researching their disorder, the difficult discussions you had to have with them, how you overcame their attempts to push you away and self-isolate, or how you improved your communication to support their healing. If you’re creating a character living with either of these disorders themselves or in relation with someone who is, draw from your own emotional experiences.

Ultimately, considering how you navigated similar circumstances that your characters are going through will help you develop them with a realistic balance of emotional intelligence. Also, the genre you’re writing can help shape the emotional intelligence of your characters.

Consider what EQ looks like in different genres of fiction

To determine the right EQ for your characters, you’ll want to consider the genre of fiction you’re writing in. Your characters’ emotional intelligence journey should make sense not only for the character but for your chosen genre as well.

For example, let’s say you’re developing a character for a comic book. You decide the stories will involve fighting crime, and therefore, the comic will be placed in the action/adventure genre. The question becomes, what does the emotional intelligence of a comic book character in the action/adventure genre look like? If their goal is to fight crime effectively, what is their motive for doing so? Were they bullied as a kid? Was a family member the victim of a high-profile crime?

Ultimately, your character’s level of emotional intelligence and how it develops in the story, and the pace at which it does, should be informed by the genre they’re in.

Conclusion

Creating emotionally intelligent characters will make your story stand out among the many fiction pieces out there. Develop these characters by working on your personal EQ, using real-life experiences to inform your character creation, and considering what EQ looks like in your chosen genre.

Amanda Wistead

Amanda Winstead is a writer from the Portland area with a background in communications and a passion for dynamic content. Along with writing she enjoys traveling, reading, working out, and going to concerts. If you want to follow her writing journey, or even just say hi you can find her on Twitter.

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Guest Posts

Reader, I…? Writing in the First Person

In Harper Lee’s To Kill a Mockingbird (1960), the character Atticus Finch says, “You never really understand a person until you consider things from his point of view… until you climb in his skin and walk around in it.” As authors, this is what we do when we choose to write in the first person. We come as close as we ever can to experiencing the world from a perspective that’s not our own. Writing fiction in the first person then is a leap of empathy and imagination, but the challenges this point of view (POV) poses are technical, as well as psychological. 

Some writers experiment with POV, trying out omniscient third, close third, and first, before settling on a narrative approach for their book. But when writing my debut novel, Bronte’s Mistress, I was never in any doubt as to whose voice the story needed to be told in. Not only was my book a response to one of the most famous first-person novels ever written, Charlotte Bronte’s 1847 Jane Eyre (“reader, I married him”), but my protagonist, Lydia Robinson, was a woman who’s been vilified through history as being responsible for the Bronte family’s demise. What would she say if she could tell her side of the story? I wondered. And, equally importantly, How would she say it?

Writing Lydia forced me to enter a world (1840s England) in which, even wealthy, women had few choices. She doesn’t own property, she’s never voted, she has no access to divorce. And it also made me confront the technicalities of writing first person prose, a few of which I’ll share with you today.

Placing your narrator in time

You’ve decided you’ll be writing in the first person, but this is just one of a series of hard choices. Now that you have the who, it’s time to think about the when. Will your first person narrator be telling the story from a point in the future? Will they know the story’s destination from the very first line? Think of Charles Dickens’s titular character David Copperfield (1850) or Nick Carraway in F. Scott Fitzerald’s The Great Gatsby (1925).

Choosing a retrospective viewpoint has the potential to make your story more didactic. It’s easier for a character to draw conclusions or moralize with the benefit of hindsight. And there are other advantages. For example, if your character is going to undergo a significant transformation, the older protagonist can excuse, explain or apologize for the behavior of their younger self, maintaining reader sympathy. This makes this choice popular for writers of bildungsroman. 

On the other hand, a retrospective first person can distance us from the character in the moment, alienating us from the action, and even intruding on scenes with overly expositional commentary. A retrospective first person can slacken the tension too. A first person character is already unlikely to die, but the existence of an older narrator pretty much precludes this possibility. If you write historical fiction like me, you might also have to pinpoint an exact year from which your protagonist is speaking, giving you a second time period to research and understand.

In Bronte’s Mistress, although the book is in the past tense, Lydia Robinson tells her story as if she’s in the moment and living through the events of the novel vs. relating the events years later. For me, this decision made sense as I wanted readers to feel viscerally with Lydia as she enters into an illicit and dangerous affair. However, I did occasionally miss the tools a retrospective first provides, like giving me the option to foreshadow more overtly.

Experiencing your story through their senses

Writing first person means your story can only contain what the protagonist knows, but this advice goes beyond questions of plot. 

Seeing the world through the narrator’s eyes means describing each new setting through the lens of what they would observe—and in the order in which they would notice every detail. Your characters’ senses (sight, hearing, taste, smell and touch) become readers’ only points of access to the world around them. This isn’t a movie where you can start with an establishing shot before zooming in on the face of the character we’re following!

This means you have to be careful that your descriptions seem to fit within your character’s realm of experience. Can your narrator really detail different types of weapons? (Maybe yes, maybe no.) Can they see another character’s expression from so far away?

Watching your metaphors

Linked to this, is the difficulty of handling imagery (for instance, simile and metaphor), when writing in first person.

As with your descriptions, your images need to ring true to the character whose perspective you’re writing from. Would they know these words and think these thoughts? Crucially too, is this an appropriate moment for them to be thinking poetically? Or are you sacrificing believability because you’ve fallen in love with a sentence, phrase or image? If your character starts thinking in too many similes, they may seem distracted from the task at hand.

People have their favorite images and points of comparison, and these are dependent on their interests. Tapping into this can be a great way to establish your character’s personality, but you may also run the risk of making your imagery repetitive. In Bronte’s Mistress, for instance, my character Lydia is a good musician, so she often uses musical metaphors. This was a helpful guide for me, as music gave me a lot of scope to play, without the imagery I employed ever feeling out of place in her narration.

Offering other perspectives

Finally, one of the toughest parts of writing first person fiction is the danger for overidentification between the writer and the protagonist. How can you show that you disagree with your character’s views or actions, if you’re writing from their perspective?

Here, other characters’ voices (e.g. through dialogue) are crucial. Include others’ views to cast doubt on your protagonist’s conclusions or to hint that they might be unreliable. There is also potential to use irony in the same way, having “what happens next” totally contradicting what the first person narrator has thought/said previously.

In Bronte’s Mistress, I had another device to help me do this. I inserted letters addressed to Lydia at various points in my narrative, allowing me to showcase viewpoints that were in opposition to hers, and, of course, play around with additional first person voices!

I hope some of these tips have been helpful to those of you writing fiction in the first person. Writing using the “I” may seem straightforward, but when the going gets tough, remember that what you’re attempting is truly extraordinary. You’re stepping out of your own skin and into someone else’s. What could be more miraculous?

Finola Austin, also known as the Secret Victorianist on her award-winning blog, is an England-born, Northern Ireland-raised, Brooklyn-based historical novelist and lover of the nineteenth century. She has two degrees from the University of Oxford, including a Master’s in Victorian literature. Brontë’s Mistress is her first novel and is available for purchase now. By day, Finola works in digital advertising. Find her online at www.finolaaustin.com, or connect with her on Instagram, Facebook, or Twitter.

Categories
Mastering Middle Grade

Write Like a Kid

When your critique partners tell you (more than once) your middle grade fiction sounds too adult, how do you fix it?

That depends on what kind of problem it is. If it’s the content that’s too adult, I talk about that in another post.

What I want to talk about today is the voice. How do we, adult authors-in-progress, write with a kid’s voice?

We’ve lived a few miles since we were middle grade readers. So it’s impossible to actually write as though we’re kids. Or is it?

Getting the voice right takes time, patience, practice, and a lot of editing. I haven’t fully cracked this code in my own writing, believe me, but I’ve read enough great middle grade voices to know it can be done.

Here’s what I’ve noticed about some of my favorite middle grade voices:

1) They are borne from a well-developed character or characters.

Imagine any of your favorite middle grade stories told by, well, anybody else. For example, could the opening paragraphs of RJ Palacio’s Wonder be as revealing and compelling if it were written from Auggie’s mother’s point of view? For example:

My name is August, by the way. I won’t describe what I look like. Whatever you’re thinking, it’s probably worse. –Wonder, by RJ Palacio.

Understanding how your characters view themselves, how they think, behave, dream, relate to the world around them, is so important. When you know who they are, you can decide the best words to use to reveal them on the page.

2) They don’t explain the jokes.

Humor is subjective, for sure, but as in real life, if you have to explain the joke, you’re probably telling it wrong. Doreen Cronin employs a delightfully dry humor to acquaint us with the main characters in her early middle grade book The Trouble With Chickens: A J.J. Tully Story, and in the process establishes a fabulously strong voice.

Her name was Millicent. I called her Moosh, just because it was easier to say and it seemed to annoy her. She had two little puffy chicks with her. She called them Little Boo and Peep. I called them Dirt and Sugar, for no particular reason.

If Doreen had added a few sentences that explained why calling the chickens by the wrong name was funny, would it have been as funny? More importantly, would we have learned as much about the character of our narrator, J.J. Tully?

3) They don’t underestimate the reader.

Middle grade readers are dependent upon adults for their well-being, so they seek stories in which the protagonist child is self-sufficient enough to solve their own problems with minimal adult help. In Sharon Draper’s middle grade story Out of My Mind, not only is the protagonist a child, she has cerebral palsy, confined to a wheelchair, and is unable to speak. Through use of voice, Draper skillfully crafts a complete, complex character whose coming of age tale is both triumphant and heartbreaking.

Everybody uses words to express themselves. Except me. And I bet most people don’t realize the real power of words. But I do. Thoughts need words. Words need a voice. I love the smell of my mother’s hair after she washes it. I love the feel of the scratchy stubble on my father’s face before he shaves. But I’ve never been able to tell them.

Draper’s unflinching look at the inner life and challenges of a differently-abled child doesn’t talk down to the reader in any way. She starts from a place that assumes readers are capable of empathy and connection.

These are just a few things I’ve learned from reading and writing middle grade, and I know I have miles to go. What are some techniques you’ve noticed in other middle grade authors’ work? Let me know in the comments.

Kell McKinney earned a B.A. in journalism from the University of Oklahoma and an M.S. in documentary studies from the University of North Texas. She’s a part-time copywriter, double-time mom and wife, and spends every free minute writing and/or hunting for her car keys. Connect with her on Twitter @Kell_McK or kellmckinney.com.

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Becoming an Author

Acting Techniques to Deepen Your Writing – Part 2

As I mentioned in the previous post, there is much we can learn on the writing craft by studying acting techniques. Last week, we discussed characterization, so check that out here if you missed it!

Today I want to share with you the tips writers can learn from actors on the breakdown of plot/scene and the conveying of emotion.

On Scene/Plot Breakdown…

1. Characters do not leave a scene the same way they entered it. There is always a moment that brings about transformation—externally, internally, or both. Allow this progression to take place naturally within the character rather than being forced upon for the sake of the story.

2. Understand how the previous scene influences the current scene. Did it result in the development of a new minor goal for the POV character? What are the character’s expectations? What decisions did they make in the previous scene that resulted in their current state of circumstances?

3. Identify the scenes in the overall plot that result in a major shift internally within the character.

4. In a scene, an actor never simply stands around. They are always doing something: listening, thinking, fidgeting, etc. Allow the pause moments of your character to serve as a reflection of who they are.

5. What is the subtext of a scene? In real life, we don’t always say what we mean—however, we show what we mean by our tone of voice, our actions, expressions, etc. What is the story beneath the dialogue at hand, and how can you show that to your readers? How do your characters reflect their true intentions?

6. Allow the internal desires and external goals of your character to guide the story and scenes. In each scene, an actor must be in touch with the goal(s) and desire(s) that guide the character through both the scene and the overall plot journey. Doing this accomplishes the following: it allows the actor to create natural responses to the given circumstances, provides motivation for the journey, and creates tension when those desires/goals go unmet.

7. Identify the tension in every scene. Conflict adds a spark of interest and keeps the audience (readers) engaged.

On Emotion…

1. The acting technique of substitution allows actors to tap into intended emotions and reactions in a given scene. They do this by recalling a time when they experienced a similar emotion in their own life. As writers, we, too, can allow our own memories to help us recreate emotions on a page. These authentic emotions will bring readers deeper into the story, allowing them to connect on a heart level with the character.

2. The acting instructor, Uta Hagen, advised actors to use sense memory to connect with emotions. This involves recalling a specific memory and the senses attached. For example, think about a specific time when you felt appreciated. What did you see, feel, taste, smell, and hear? When you can specifically recall those details, the memory will strengthen, as well as the emotion attached. As writers, when we struggle to portray a specific emotion, let’s return to a time when we experienced a similar emotion. We can allow the sensory details of that memory to help us convey that in our writing.

3. Don’t force tears. People often think crying on cue is equivalent to good acting, but that’s not the case. Forcing tears comes across as unauthentic to the audience and does not connect with them. If an actor truly wants to convey the emotion, they must experience it. So, if a script calls for tears in an actor but s/he isn’t feeling it, then the actor must not fake it.

We can use the same principle in our writing by only portraying emotion that make sense for the character, given who they are and their state of circumstances. In acting, even more important than the manifestation of tears is the emotional depth the actor can bring. In fact, it’s often more powerful to watch a character trying to resist the urge of tears. Let’s remember this when we write emotional scenes. Forced tears are not equivalent to powerful emotion; in fact, it comes across as melodramatic and unrealistic. The acting instructor, Uta Hagen, once said, “Emotion takes us; we can’t take it.”

Don’t forget to check out the list of recommended reads included in the previous post!

Next time, we will discuss the tips actors teach us on the craft of writing and the overall career and process of writing.

Which of these tips most resonates with you? 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
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
Romancing Your Story

How Do You Write Characters of the Opposite Gender Realistically?

This was a question I saw in the Twitter writing community and realized it is a challenge, especially in a romance story. As a woman, how do I effectively write my male protagonist realistically in my historical romance stories?

Until seeing this question on Twitter, I hadn’t really thought about it. However, I spend quite a bit of time planning my characters—getting to know them—before beginning my story. I create their back stories as well, because my stories are character driven so I want to know my main characters inside and out. I think that’s a great start.

Also, in my neighborhood, my sister and I were the only girls for a long time and we had the biggest yard. Therefore we played a lot of kickball and wiffleball with boys. I had lots of boys as friends. I think spending time with boys as I was growing up allowed me to understand them and get a pretty good idea of how they act and react to different things.

It also helps to watch and observe people. I enjoy people watching. It’s an activity you can do just about anywhere.

I am part of a small critique group, and the first summer I was part of the group, there was a gentleman in the group. I submitted chapters of my historical romance story each time we met. Often when we met to offer feedback, this gentleman would remark how impressed and surprised he was at how authentically I portrayed my male protagonist. He remarked on my male protagonist’s dialogue lines as well as his reactions toward the female protagonist.

My husband and I have been married for 26 years, which I believe also gives me a good sense of how a man acts and reacts. It also has given me insight into the differences between men and women as God designed us. As we spend time with those of the opposite gender, talk with them, listen to them, and observe them we get a pretty good idea of how to write the characters of our opposite gender in our stories.

If the characters that you write of the opposite gender seem unrealistic or react to a particular situation in a strange way, take some time to observe the opposite gender, especially as they interact with someone of your gender. Also, talk with someone of the opposite gender, maybe share what you’ve written with them, and allow them to give you some thoughts and ideas.

However, I strongly encourage you to dig deep and develop your characters’ personalities, the family they grew up in, their back stories, their strengths and weaknesses, their needs and desires – everything you can think of to create a deep well-rounded character – as this will help you to write your characters, of both the same gender as you and the opposite gender as you, effectively and realistically. Spend time writing down everything you know about your character; creating your character, before inserting them into your story.

Kelly F. Barr lives in Lancaster County, Pennsylvania. She is married and has three sons. She writes historical romance. She has also been a blogger for ten years, and every Friday, you can find her Flash Fiction stories posted for your reading pleasure. She loves her family, including the family dog, books, walks, and chai lattes.

You can find her online at:

Website: https://kellyfbarr.com/

Twitter: https://twitter.com/kellyb_26

Facebook: Kelly F. Barr, Writer

Categories
History in the Making

Inanimate Objects as Characters

History in the making

Using inanimate objects as characters can add a powerful, interesting element to your story. I cried when Wilson, a volleyball, floated away in Cast Away. I shuddered when Gandalf in The Lord of the Rings read the engraving that said, “One ring to rule them all, one ring to find them, one ring to bring them all and in the darkness bind them.”

The Darjeeling Limited is a movie about three estranged brothers in crisis who travel to India to find their neglectful mother. Their journey takes place on a train … until it doesn’t. Then they experience the real India while dragging an enormous mountain of cumbersome luggage, a powerful symbol for their own personal, heavy, and real emotional baggage. At the end—spoiler ahead—they exuberantly toss the luggage away and feel freedom in letting go of the negative experiences from their past.

During the entire movie, I felt the weight of their emotional baggage through the use of the luggage as an inanimate, passive witness of their lives. I experienced with the trio how burdensome and exhausting hauling our past around with us can be. I loved the metaphor and how the writers used the luggage as a character in its own right.

The literary term for this device is called personification. The giving of physical or human characteristics to inanimate objects, yet the reader understands it does not actually possess them. This is different from anthropomorphism when characters, like animals or insects, actually take on the characteristics of a human, such as human speech, like in Charlotte’s Web.

Authors have brought to life diaries, traveling pants, and wedding dresses with great success. In my first novel, my protagonist has an amulet on her arm that keeps her tethered to the false gods of Ancient Egypt. Like the brothers who discard luggage as a symbol of shedding their emotional baggage, when my character rids herself of the weighty shackle, her spiritual eyes open to the one true God.

A writer does a good job with this technique when the reader makes some kind of connection with the inanimate object. Either they begin to feel sympathy (Wilson) or relief (the luggage) but there is an emotive response when its fate is revealed. They care … one way or the other.

But remember, inanimate objects have (or lack) actual capabilities. Make sure your use of the object is believable. The luggage, for example, can’t wave, cry, or hold on to anything. It is a place for your living character to transfer feelings and become a symbol of their inner conflict.

Have you used the personification technique before? Please share how you did it.

Blessings,

KD Holmberg

K. D. Holmberg is an author, blogger, and freelance writer. She is a member of ACFW, Word Weavers International, and a founding member of the Jerry Jenkins Writers Guild. She is represented by Hartline Literary Agency. A retired flight attendant, she has traveled and lived all over the globe. She and her husband, Keith, love to golf and live in South Carolina. You can find more about her: Facebook @authorkdholmberg, twitter @kdeniseholmberg, and website kdholmberg.com

Categories
Fantasy-Sci-Fi

The Beginner’s Guide to Props – Using Them to Show Character

You know the phrase, all an actor needs is an empty room and a script? I’ve heard that idea dispelled by an acting coach. Why? Because actors need something to react to, something to work with. A good actor uses the space around him to define his character, personality, and intentions.

In the same way, a good writer puts characters in environments that show their personality, without telling their intentions.

When it comes to fantasy and science fiction, this is especially important. In past centuries writers could get away with long pages of exposition, but in today’s Netflix era, where the next episode is just seconds away, we need readers to want to turn pages faster than Netflix changes episodes.

How to do so? Easter eggs. Easter eggs are a simple way to reference – or show – something deeper within a scene, without ever mentioning it.

Let’s say your character is sitting in the woods. They’re not just any woods, but woods you’ve taken hours to create and build into your fantasy. Your character sits down on a clean, expensive blanket. He or she opens a leather bag and takes a glass bottle full of your world’s equivalent to a specialty drink. They open a fiction novel with a title correlating to something they’d be interested in. In your select sentences of narrative, you mention that it’s morning and there’s a warm breeze.

Based on the above, what do you we know about your character?

  • He’s rich, or at least has high quality taste (expensive blanket, specialty drink in a glass bottle).
  • He’s interested in _____ type of pleasure reading (based on the title you choose for the book).
  • He’s an early riser and appreciates the small pleasures of a morning sunrise on a warm day.

What if we changed the props? How could something as simple as props show the depth of your character? Let’s give it a try.

Your character sits on the ground, ignoring the muddy leaves. He pulls a tattered blanket around his shoulders and a plastic, battered water bottle from a used backpack. Finally, he grabs a book with the title of a difficult school subject, and opens to the first, underlined page.

This time we could deduce:

  • He’s not bothered by dirt, or is too concerned with other things to focus on where he sits.
  • He doesn’t have much money.
  • He’s willing to spend what he does have to further his own study, and either doesn’t worry about the book being new, has used it extensively, or simply can’t afford something nice.

Depending on your specific fantasy setup, you can further play around with these props. Make the drink relate to some aspect of your world, show the bag was made from nearly extinct dragon skin, etc. A few, purposeful props can give countless insights into your character.

What types of props show your character’s motives? Let me know in the comments!

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
Fantasy-Sci-Fi

Fantasy Heroes? This Is How You Make Them Relatable.

One of my friends recently gifted me a book. She’d loved it so much she literally went out and bought a second copy for me to read.

It’s a fantasy, and some of the characters are so heroic they seem fantastic, at least as far as Google defines fantastic: “imaginative or fanciful; remote from reality.”

It’s hard to connect to someone who’s so removed from my own abilities they seem distant. I’d like to believe I’m capable of the things this hero in this book is, but I’m not. The theme of the book is great, just like my friend said, but so far it’s been hard to truly relate to at a personal level.

How can we steer clear of this issue and write fantasy heroes who are very human, physical, and flawed, yet still capable of greatness?

Write Human Characteristics

If you’re writing a fantasy there’s no question you have some very inhuman, creative characteristics in your characters. Maybe some of your supporting characters are not even human at all. Maybe your main character (MC) isn’t! Regardless, in order to be relatable to your human readers, your MC needs to have human characteristics.

Maybe they’re very uncomfortable around a specific supporting character and this shows through their body language. Maybe their natural response to fear is to fight (ever heard of fight or flight, the very human response to negative feedback in the environment?).

Whatever it is for your MC, make it human.

Remember The Physical

Just because they may not be human, your MC is still physical. He/she can still feel the full range of emotion, and demonstrate this emotion through their body.

We all have certain physical limitations. For instance, I dislike running but I run anyway in order to stay healthy. On the other hand, I love getting with friends and experiencing the outdoors with them.

Maybe your main character loves running but experienced an injury that keeps him from running at the time your story takes place. This physical detriment makes him uncomfortable around others. He unconsciously portrays himself through the emotion of insecurity via low power poses.

We all have physical insecurities. Give your MC one too, and he’ll be far more relatable to the average reader!

We’re All Flawed

Whether we admit it or not, we all have flaws in our personal characters. Maybe our reasons for doing something good are skewed, or we see the world through a false lens.

Readers relate to flaws, and flaws enable a full character-arc for your MC.

Wherever your MC starts in the story, make sure he overcomes a personal flaw by the last page. If you can write a fictional character who overcomes, you’ll inspire your readers to overcome.

This won’t only build trust with your readership, but keep them wanting more. Your influence will expand, your writing will grow, and you will experience the pleasure of using your gifts for others.

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
Mystery/Thriller/Suspense

Creating Believeable Villains

mystery suspense thriller

What are the trademarks of a villain?

Do they have dark, piercing eyes, a snarly grin, crooked-yellowed teeth, knobby fingers, an evil laugh? Or is there more to it than that? The antagonist can be the hardest character to write but also the most fun. How can we be successful at it? Here are some tips I’ve learned along the way.

Make them appear human – nobody likes a pure evil villain. They need to be likable or they fall flat. Give them a redeeming quality. Maybe we even want to cheer for them. Think Hannibal Lector or the Blacklist’s Raymond Reddington. Yes, they are evil but still have amiable qualities. We find ourselves applauding them.

Give them a clear motivation for their actions – we need to know why they’re doing their evil deeds. Their motives need to feel fair and just in their minds. Start with the basic reasons for their crime. Passion, greed, jealousy, but give it an added kick. Let’s place ourselves in their shoes. What makes them tick? Why do they think the way the do? In one of my stories the antagonist has a daughter who needs constant medical care for her deadly condition, so he justifies his actions to get the money to provide her with the necessary attention. This gives the reader empathy for the antagonist.

Give them flaws – we can’t make the villain’s life too easy. They need to work hard at being bad. Keep them in constant conflict, making things more difficult for them as the plot unfolds. Maybe they’re OCD and that keeps them from getting their hands dirty at a crime scene. Perhaps they’re disabled and struggle with getting around. Whatever the flaw, make it realistic.

Hide them in plain sight – don’t make the villain a klutzy moron. That robs the reader and makes them angry. We want to keep them guessing and surprised at the end of the story. Also, we can’t make the antagonist a minor character. This is cheating and doesn’t satisfy the plot. Give subtle clues as to who the criminal is, but make them the boy next door or the female everyone likes. This will give our stories plausibility.

Give your villain backstory – I like to do a full character sketch on the antagonist just like I do for my protagonist. Don’t cheat them in the development stage of your story. Get to know them. Sit down with them for coffee and ask some poignant questions. What are their dislikes? Loves? What is their deepest fear? What were they doing at the age of fifteen? We need to know them inside and out in order to make them come alive.

Fit their behavior appropriately – plant seeds along the way so when they commit a crime it doesn’t come out in left field. For example, if your villain is about to strangle someone give him big hands. Perhaps he works out to pump up his muscles. Or if he’s building a bomb, give him a military background or one in science. Remember, it needs to be realistic.

Creating villains can be fun. Study your favorite and then design yours to be believable and one that will keep your reader turning the pages!

 

Darlene L. Turner writes romantic suspense and won the 2017 Genesis award in the Romantic suspense category and was a 2018 finalist. She was a finalist in the 2017 Daphne du Maurier Award for Excellence in Mystery/Suspense contest and won in 2016 (Inspirational Unpublished). She’s represented by Tamela Hancock Murray of the Steve Laube Agency.

Visit Darlene at:

Website: www.darlenelturner.com where she believes there’s suspense beyond borders

Facebook: Darlene L. Turner

Categories
Writers Chat

Writers Chat Recap for November, Part 1

Writers Chat, hosted by Jean Wise, Johnnie Alexander, and Bethany Jett, is the show where we talk about all things writing, by writers, and for writers!

“Because talking about writing is more fun than actually doing it!”

Book Chat: Getting Into Character with Johnnie Alexander and Melissa Stroh

In this episode, Johnnie and Melissa lead an open mic discussion based on the book, Getting Into Character: Seven Secrets a Novelist Can Learn from Actors by Brandilyn Collins. If you want characters your readers get attached to, then this fiction help book is for you.

Watch the October 30th replay

If you want more information about this great book as well as other valuable resources, check out this week’s Show Notes and Live Chat Discussions.

 

Book Proposals: Mastering the Comparative Section with Cherrilynn Bisbano and Bethany Morehead

In this episode, Cherrilynn and Bethany share their expertise in presenting the comparative part of a proposal. They share examples from different publishing houses of how to make your proposal rise above the others in a very competitive market.

Watch the November 6th replay

To learn more on mastering the comparative section of book proposals, plus some great resources, take a look at this week’s Show Notes and Live Chat Discussions.

Meet our guests

Cherrilynn Bisbano is the founder of The Write Proposal book proposal services. As submissions reader and junior literary agent with Cyle Young, Cherrilynn learned the importance of a professional book proposal and many other aspects of the literary world. If you need help making your book proposal shine, visit Cherrilynn at www.thewriteproposal.com

Bethany Morehead is a Jr. Agent at Hartline Literary Agency and Associate Agent at Cyle Young Literary Elite. She keeps her own personal blog focusing on ministry, being a wife, and relationships. She is acquiring in the genres of Children’s Board and Picture Books, Romantic Fiction, and Speculative Fiction. You can visit Bethany at bethany@welcometocyle.com or www.bethanymorehead.com.

Open Mic: NaNoWriMo & More

In this open mic issue of Writers Chat we discuss conferences, Nation Novel Writing Month, affectionately called NaNoWriMo, and fun family traditions for Thanksgiving.

Watch the November 12th replay

To be encouraged in your writing and get ideas for new holiday traditions, check out this week’s Show Notes and Live Chat Discussions.

 JOIN US!

Writers Chat is hosted live each Tuesday for an hour starting at 10 AM CT / 11 AM ET on Zoom. Here’s the permanent Zoom room link.

Participants mute their audio and video during the filming, then we open up
the room for anyone who wishes to participate with our guests. The “After Party” is fifteen-minutes of off-the-record sharing and conversation.

Additionally, you can grow your network and add to the conversation by joining our Writers Chat Facebook Group.

Categories
Talking Character

Keeping a Character File

Do you have a method for capturing the bits and pieces you use to create memorable, complex characters? If not, consider starting a character file.

What does a character file look like? It’s up to you. You could use a hardbound journal, a file folder filled with clippings and sticky notes, or a program like Evernote. Collect and organize the data any way you like, but if you don’t keep a character file in some form or other, I suggest you start.

Three types of character files a writer might find useful

A people-watching file

Whether you are sitting on a bench watching people go by, or hanging out with friends at a party, a writer should always be on the lookout for character inspiration.  Keep a record of interesting details such as:

  • Quirks
  • Mannerisms
  • Striking physical features
  • Attire, hairstyles, jewelry, and tattoos
  • How people express emotions, especially non-verbally
  • How people behave in a given situation—particularly tense or unexpected ones.
  • How different personalities interact. For example, who is in the middle of things and who has gravitated to the fringes.

A literary file

Books are filled with character descriptions. While it’s not appropriate to plagiarize another writer’s words, it pays to record striking details, descriptions and observations. They might give you insights into technique or become a model for your own creative ideas. You should consider collecting snippets like:

  • Vivid physical descriptions
  • Clever metaphors used to describe characters
  • Insights into a character’s behavior or inner turmoil
  • Descriptions of highly eccentric characters that work
  • Quirks or mannerisms that you find charming, or that help you identify with a character
  • Dialogue or internal monologue that vividly conveys attitude or personality

You might also want to note what doesn’t work, particularly if you can pinpoint why.

  • Characters you find annoying
  • Descriptions that fell flat or felt wrong
  • Characters whose physical descriptions don’t seem to fit their personality

A character-specific file

As you build characters for your stories, you may find it helpful to collect various tidbits that apply to a particular character. Many writers find Pinterest to be a great tool for this, and once the book is published they share the board with their readers. In addition to collecting snippets of character description like those mentioned above, a character-specific file might include:

  • Photos that look like your character, or that vividly express emotions or attitudes your character often exhibits
  • Photos or descriptions of clothing, jewelry and hairstyles.
  • Props your character might use: tools, cookware, swords, chariots, whatever.
  • Details of décor, furniture, gardens, and architecture that might fill the character’s home.

These are only a few suggestions of what can be included in a character file. Trust your creative intuition and include anything that strikes you, no matter how irrelevant it seems at the time. Who knows what brilliant ideas a random detail may spark—if you take the time to capture it.

 

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 and Twitter @LisaEBetz

Categories
Child's Craft

Revealing Your Character’s Character

In her book The Art of Characterization Fay Lamb proposes that writers “use the other elements of storytelling to cast your novel with unforgettable characters.” (page 5) She includes the following in her list of elements: deep point of view, actions, thoughts, experiences and dialogue.

How can I use these elements of storytelling to create complex characters as Lamb suggests?

I’ve been chewing on her suggestions and have customized them a bit for myself.

Lamb tells us to develop or reveal characters first of all by using what she calls Deep Point of View. I must admit I’m always intimidated by the many explanations of point of view. It’s like trying to remember the 50 states and their capital cities 50 years after high school!

Lamb says that Deep Point of View “immerses the reader into the head of the lead character through that character’s actions, reaction, thoughts, experiences and dialogue.” Okay.

Let’s take those elements one at a time.

I can reveal the body and mind, the heart and soul of a character through their ACTIONS. Makes sense. I must SHOW the reader what the character does, and how they do it sometimes, as a means of revealing a bit about that character with each scene.

This is especially true about their reactions, I think. How a character relates to other characters in the story can definitely reveal secrets or truths about them.

Revealing a character through THOUGHTS can be trickier. The most difficult thing for beginners is to resist the urge to have too much introspection or thought life. That slows the pace down and makes readers misinterpret that character’s psyche, I think. For the same reasons I also avoid characters talking aloud to themselves very much.

EXPERIENCES, on the other hand, are the stuff plots are made of. Action, reaction, escapades, accidents. The character going places, doing things, meeting people, learning, loving, hating, fearing and their reactions to these experiences show me bit-by-bit who my character really is, or who they are becoming.

Last on Lamb’s list is dialogue.

DIALOGUE is a fun puzzle to me as a writer. I’m still learning, but I love the game of creating realistic, effective dialogue. Accurate, effective dialogue reveals a character’s culture, era, education, place of origin or residence, profession, personality, age and more. Peppering dialogue with a few clues helps the reader figure out who this character is.

Lastly, in my opinion dialogue must always do double duty. It must move the plot along getting me from one scene to another, AND, it must reveal something about the people who are talking—something about them personally, or about their plans or problems or hopes.

Each conversation may show only tiny specks of these things, but, for me, if a piece of dialogue can’t do both of those things to some degree I eliminate that conversation from my manuscript.

I believe that character drives story. So, it’s only natural that I, as a writer, would follow Lamb’s method of using the elements of storytelling as a vehicle to parade my characters before the readers.

To me one of the clearest books about writing dialogue is Renni Browne’s and Dave King’s Self-Editing for Fiction Writers: How to Edit Yourself into Print. They devote a chapter to writing convincing dialogue and another to writing natural beats. I’ve read the book three times and refer to it often.

“That book’ll help you, I bet,” I said.

“Think so?”

“Yep. Bet you this 1939 genuine copper penny it will!” I flipped it over in my palm to show off the shine.

“Thanks! I’ll just mosey on over to Amazon and order one of those books for myself.”

I gave you a thumbs-up.

And you were gone.

Jean Hall lives in Louisville, Kentucky. She is represented by Cyle Young of Hartline Literary. Her premier picture book series Four Seasons was recently signed by Little Lamb Books. Jean is a member of the SCBWI, Word Weavers International, and the Kentucky Christian Writers. Visit Jean at www.jeanmatthewhall.com, on Facebook at Jean Matthew Hall, and on Twitter as @Jean_Hall.

Categories
Talking Character

Use Setting to Define Character

You can learn a lot about a person by visiting their house or office. A writer can use that to her advantage.

Let’s assume your POV character is visiting the office of Mr. Smith, who they are meeting for the first time. You could simply describe the office as tidy or messy and give a hint of Mr. Smith’s character, or you could create a setting that painted a vivid picture of the occupant.

Four office setting examples that paint a picture of their occupants:

Office # 1

Mr. Smith’s office was extremely tidy. Two walls were taken up by bookcases, organized by subject. A third wall was filled by a row of identical filing cabinets, each drawer marked with a color-coded label. The stack of in-boxes was labeled with similar color-coded cards, and the squares on the desk-sized calendar were divided into numbered slices using colored ink. Next to the calendar lay a blank legal pad and a row of colored pens, each aligned perfectly with the edge of the desk.

Office # 2

Mr. Smith’s office was extremely tidy. Two walls were taken up by bookcases, filled with row after row of old books in matching bindings. A white mini blind covered the window, which was flanked by identical gray filing cabinets. A gray desk filled the center of the room, bare except for a pad of white paper, a single black pen and an empty in-box. Behind the desk, in place of the typical swivel desk chair stood a metal folding chair. The unpadded kind.

Two tidy offices. Two very different occupants. The same goes for these two messy offices…

Office # 3

Mr. Smith’s office was a chaotic wreck. Two walls were taken up by bookcases crammed with books, many of which had bits of paper marking various pages. More books were lying open on the desk amidst a jumble of papers. Behind the desk was a white board covered in rectangles filled with compact writing. The blocks of text were connected by arrows and peppered with sticky notes and occasional doodles. A stack of papers at least a foot high filled the in-box, occasional colored sticky notes jutting from the stack.

Office # 4

Mr. Smith’s office was a chaotic wreck. Two walls were taken up by bookcases filled with books, lumps of rock, lab equipment, and a variety of hats. Larger pieces of lab equipment sat on the floor behind the desk, under a pile of lab aprons. A flashlight and a single work boot balanced atop the pile. The desk was covered in a jumble of dented three-ring binders, crumpled napkins, empty coffee mugs, a handful of mechanical pencils, and a large box of jumbo-sized paperclips that had tipped over and spilled its contents across the mess and onto the floor.

As these examples show, before Mr. Smith enters the scene, we have a pretty good idea of his personality based solely on the description of his office.

One descriptive paragraph performing double duty—setting the scene and introducing a character at the same time.

Four suggestions for using setting to enhance your characters:

  • Create a personal space. Does your character have a space he has some control over, such as an office or bedroom. As in the examples above, those spaces can be filled with possessions and decor that communicate his personality.
  • Introduce a passion. What kinds of setting best define your character’s passions? A sewing room? The garage? An empty-lot-turned-garden? The local fitness club? A mountain path? Can you find a way to introduce the character in that space?
  • Define a sanctuary. What kinds of setting does your character go to when they desire peace and quiet, or when they need comfort or safety? A tree house in the backyard? A friend’s apartment? The local library? The attic? Show the details that make the space a sanctuary for your character.
  • Use character to fine-tune the setting. List words that describe your character. Does the list bring a specific setting to mind? Use it. Does the list include words like messy, colorful, or stylish that could be applied to a multitude of settings? Let those words inform the setting details.

Make your setting do double duty by painting a vivid picture of the characters who belong there.

[bctt tweet=”How can you tweak your settings to bring your characters to life? #writetips #amwriting” username=””]

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 and Twitter @LisaEBetz

Categories
Talking Character

Writing Historical Characters

Sometimes fiction authors write about real people. Especially those who write historical fiction.

Real historical characters can add a sense of credibility or realism to a story. But they must be handled carefully, because your readers will know when you stray from the truth.

Well-known figures

If you are writing about a well-known figure, such as George Washington or Thomas Edison, you will need to do extensive research to ensure you have your facts straight. The good news is that someone so well known already has a lot written about them, so the facts are readily available. The bad news is that someone so well known already has a lot written about them, so your readers already know the facts and will notice your mistakes.

On the positive side, you already know their family history, their physical description, how they talked, what their voice sounded like, the name of their favorite pet, and a myriad of other details. Your job is to choose the details that are important for your story, without ignoring or twisting the facts you don’t mention.

On the negative side, you are stuck with whatever details are known about a person, even if those facts are inconvenient. Also, you must take care, because without doing sufficient research you can easily misrepresent the truth by making false assumptions, adding details carelessly, or promulgating the commonly-held-but-incorrect legends of the person’s history (such as George Washington and the cherry tree). Also, you risk annoying readers if you choose to invoke artistic license for the sake of your plot.

Other things to consider

The larger the role a well-known figure has in a story, the more research and care the writer must take in presenting them. Bringing George Washington into a scene or two is much easier to pull off than making him one of the main characters.

However you use well-known figures, don’t cheat your readers by making historical characters two-dimensional. Don’t be tempted to fall into lazy writing, assuming the reader already knows about the character so you don’t have to bother describing them. Historical characters deserve as much attention to description and characterization as fictional characters. Use the known details to your advantage. Which details would your POV character notice, and how would she feel about them?

Little-known historical people

Lesser-known historical figures can add the same note of credibility to your writing without the problems that come with using more well-known persons. There are plenty of real historical people who lived interesting lives, but for whom we now have only a handful of facts. That lack of information might frustrate a biographer, but it creates a prime opportunity for a fiction writer. The door is wide open to fill in all those blanks in whatever way suits your story.

Just take care that you stay within the boundaries of the facts that are known. You must honor the few details that are all that is left of the person’s legacy. When there are only a handful of details to keep track of, you have no excuse for getting them wrong.

Fictional characters based on real people

Sometimes a writer uncovers a fascinating historical person that would make a great story—except for a few bothersome details. If you cannot reconcile the facts with the story you want to write, or if the person’s story includes aspects you don’t want to face for one reason or another, there is another option: Create a completely fictional character based on the real one.

This technique allows you to start with the inspiration that a real person gives but then to develop a character that has the flaws, goals, attitudes and beliefs that suits your story, your themes, and your worldview.

Just be sure to play fair. If your fictional character bears more than a passing resemblance to a real person, don’t skew the character so far from the true story that it feels slanderous. Also, if a character is based significantly on a real person, give that person credit in an author’s note.

Bottom line: Don’t be afraid of including real historical characters in your story, but do your homework and don’t forget that real people need to be developed as much as fictional ones.

[bctt tweet=”Can a real historical character add punch to your story? #writing #writetips” username=””]

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 fiction and her blog about intentional living.

Connect with her:

Website: www.lisaebetz.com
Facebook: www.facebook.com/LisaEBetzWriter/
Twitter: @LisaEBetz

Categories
Talking Character

How to Create Great Character Bios by Lisa Betz

A character bio is a collection of information that delineates and describes a fictional character. It is a tool that helps a writer:

  • Create well-rounded, interesting, unique, characters
  • Understand who the character really is and what makes them tick
  • Ensure consistency in the character as the story progresses

Like any writing tool, character bios should be approached properly in order to achieve best results.

What is critical in a character bio?

  • Physical description. You don’t need to define every freckle, but you do need enough to satisfy readers and differentiate this character from others in the story. Don’t forget to consider how their size and features will affect the plot.
  • What temperament and attitude qualities make the character the perfect choice for the role she plays in the story? Start from her essence and then layer on traits that enhance her character, making her more believable and nuanced.
  • Pertinent backstory. Not a full life history, but the pieces of that history that are pivotal in making the character who he is at the start of the story. This includes the past event that knocked his world out of alignment and created the inner issue he struggles with in the story. It also includes whatever has inspired his motivation to achieve his story goal. In addition to those key elements, backstory may also include information on other significant issues, such as family dynamics or how he acquired the various skills he needs to make it through the plot.
  • Plumbing the depths. A character bio is where a writer should go deep into the character’s psyche. The more you explore her inner fears, secrets, shames, hopes and dreams, the better. Start from her inner issue and story goal, and push deeper, trying to understand all there is about those aspects of her character and how they affect the rest of who she is.
  • Other details, such as education, skills, mannerisms, family background, and preferences should be considered, when they are pertinent. For example, the character’s level of education will affect his speech patterns and vocabulary. His preference in music may be critical or completely irrelevant, depending on the plot.

Pitfalls to avoid when creating character bios

  • Coming up with random answers to random questions that have no bearing on the plot. Does it really matter what kind of ice cream your hero likes best or whether your heroine likes her middle name? It may be fun to think up answers to such questions, but it’s all too easy to pull the answers out of the air without considering how they suit your character or advance your plot. Worse yet, if you throw in a fascinating but irrelevant factoid, you will confuse your readers. For example, if you mention the hero is into falconry, readers will spend the rest of the story wondering how his falconry talents will be useful to the plot.
  • If you’ve spent hours considering your character’s every fear, triumph, and preference, you will naturally want to share those details with your readers. Use caution! If you flood readers with too many details they will quickly lose interest. Most of what you learn in a well-crafted character bio will never show up on the page, but it will inform every decision and action the character makes. Trust the process and use details sparingly.
  • Getting so involved in writing character bios that you never get around to writing the actual story. Enough said.

[bctt tweet=”Spend your time concentrating on the right information, and you will be well on your way to crating vibrant, memorable characters. Happy writing. #writer #writetip” username=””]

Lisa E. Betz is a Bible study leader, drama director, and aspiring novelist. She lives with her husband and a neurotic cat in a scenic corner of Pennsylvania. When not teaching or sorting books at the library, Lisa blogs about intentional living at www.lisaebetz.com.

Connect with her:

Website: www.lisaebetz.com

Facebook: Lisa E Betz Writer

Twitter: @LisaEBetz

Categories
Genre Romancing Your Story

Writing Romance 101––Crafting the Heroine

The heroine is the key to any romance. Yes, we women also want a great guy for her to end up with, and we’ll talk about crafting him, too, at a later date. [bctt tweet=”The romantic heroine is the reader’s alter ego. She controls everything the reader feels. #amwriting #writingromance101 #craftingtheheroine” username=”@A3writers @donnalhsmith”] #amwriting #writingromance101 #craftingtheheroine

The great majority of readers of the romance genre are women. The reader identifies with the heroine, and in a sense, becomes the heroine. Readers cheer her on and rejoice in her victories, gets irritated when she gets angry, and we feel her frustration with herself or others when things go wrong. So, how do we craft a heroine your readers will love? Let’s craft a heroine named Susie.

She must be real.

It doesn’t mean she’ll be anyone that could be recognized. All it means is that there are reference points which the reader can slip into Susie’s role, and be able to essentially think like she thinks, and feel as she feels. She’s not perfect, she’ll have flaws, foibles, and insecurities, like we all do.

She must have Realistic responses.

Susie is going to be dealing with things most women never will. She still has to be identifiable, and the readers must be able to identify with her. They won’t necessarily be able to say, “That happened to me.” But you need to get the reader to go along with you. The best way to do this is to have Susie respond the way the reader would. How would you respond to any given situation? That would give you a bit of a clue as to how Susie will?

There must be Conflict.

All romance, up until almost the last page, is the sparks flying between the heroine and the man she ends up with. What emotional inner conflicts can you give your heroine that will create sparks with the hero? What fear does Susie have that could potentially keep her from ending up with her hero? Deciding that is a beginning. Let’s say Susie fears rejection, because several boys dumped her in high school for the head cheerleader. That’s kept her from entering the dating game, so she doesn’t have much experience in dating “etiquette.” What scenes could that bring to mind?

[bctt tweet=”Crafting a heroine is important to any romance. The heroine must be likeable, identifiable, yet human and engaging. #amwriting #writingromance101 #craftingtheheroine” username=”@A3writers @donnalhsmith”] #amwriting #romancewriting101 #craftingtheheroine

How many romances have you read? Leave a comment and let me know.

A prairie girl from Kansas transplanted to Amish country, Pennsylvania, she’s married to a wonderful man since 1987. She’s a member of a great church, where she serves as a greeter and on ministry team. On Sunday afternoons, she stands a two-hour prayer watch at her local 24/7 House of Prayer. She also enjoys reading, occasionally reviewing books, and of course, writing. A graduate of Christian Writer’s Guild’s Craftsman program, she holds both bachelor’s and master’s degrees in communication. She is also a member of ACFW, RWA, and AWSA. Her debut novel, Meghan’s Choice will be released in late 2017.

Categories
Talking Character

Five Questions for Portraying Anger

Anger comes in many shades, from miffed to murderous. Each shade looks and feels different. When a person is miffed, he might roll his eyes or make a snarky comment. When a person is enraged to the point of being murderous, adrenaline is pumping through his body, making him tense, flushed, and ready to punch someone.

Anger expresses itself differently in different people. No two people respond to anger the same way. Some tend towards melodrama while others keep a tight rein on their emotions. For example: Some teachers constantly yell at their students in order control the classroom. Others rarely raise their voice. I remember being more terrified the one day my normally serene homeroom teacher raised his voice than I ever was at the threats of the constant shouters.

[bctt tweet=”With all this variability, writers must take care to describe anger in convincing and imaginative ways.” username=””]

Here are five questions to ask when a scene calls for anger.

  1. Where am I in the story? A story builds tension as it moves towards the climax. You want to slowly increase emotional intensity, and peak during the climax. That doesn’t mean your characters can’t be angry in earlier scenes, but do keep the overall arc in mind. You should allow your characters room to let their emotions grow and deepen, especially those that will be significant in the climax.
  2. What nuance am I looking for? Look up anger in a thesaurus and scan the synonyms. Select one that best captures the nuance of the emotion your character is feeling. Next, determine what sorts of physical and mental responses suit that specific emotion. A good resource for this is The Emotion Thesaurus by Angela Ackerman and Becca Puglisi.
  3. How does my character’s personality affect how she responds? Some temperaments are naturally more expressive than others. Some characters have volatile tempers while others have learned to stuff their emotions (until the clever writer forces them into a corner and suddenly they can’t hold them in any longer). Like in the school example above, one character’s shout may indicate frustration while another character would only shout when furious. Try to keep your characters’ responses consistent and appropriate for their personalities. And always keep in mind that your characters’ responses to anger are probably different from your own.
  4. Is the response appropriate for the situation? I remember a girl in high school who acted by using stock emotions that she put on and off like a mask. All angry scenes had the same intensity, regardless of the situation. If I had the emotional sophistication to detect this two-dimensional acting in high school, your readers can detect similar lack of authenticity in your characters. A character should not become irate when someone cuts in front of them in line—unless you have built the story to explain why the character reacts so out of proportion to the offense.
  5. What emotion(s) underlie the anger? Sometimes anger is just anger, but often the root of anger is some other emotion, such as fear, guilt, or shame. Humans often use anger to conceal other emotions, intentionally or unintentionally. Consider a character’s backstory and their inner issues. When is their anger response actually hiding something deeper? Do they realize it or not? How can you bring that deeper emotion to play on the page?

Anger. It’s a powerful emotion. Use it wisely.

[bctt tweet=”What other emotions does anger hide in your characters? #writer #amwriting” username=””]

Categories
Talking Character

Developing Your Character’s Voice

I was once in a bus full of high school students when I heard a boy behind me read a single sentence. I immediately recognized the author.

That’s voice.

[bctt tweet=”A strong voice is distinct, memorable, and intriguing. #writetips ” username=””]

It can grab a reader like little else. A few examples:

One day soon they hang me for a rogue. Fair enough. I have earned it a hundred times over, I reckon, and that’s leaving out a lot of acreage. Stephen Lawhead in Scarlet

I am the most tolerant of women, but to join my husband, my son, and my butler in a discussion of our evening in an opium den … was really a bit too much. Elizabeth Peters in The Deeds of the Disturber

When it came to shopping for something that required as much hope and longing as a beautiful dress, I was like a child raised by wolves—or some other, more nervous animal. Rabbits, maybe.   Alyssa Harad in Coming to My Senses

So where does voice come from? The character? The writer?

Some of both, actually.

Three layers of discovering character voice

Layer one—the basics

Consider all you know about your character. His physical description, temperament, background, and demographics can all affect how he speaks. A well-educated or socially elite character will use different vocabulary and grammar than someone from the servant class. A character may be terse or chatty. He may favor colorful metaphors or concrete descriptions. He may use specific words or phrases that provide a hint of dialect, ethnicity, or historical setting.

Layer two—the deeper stuff

Next consider the character’s inner self. Bring together her two-word thumbnail, backstory, wounds, inner issues, and story goals. From this information, identify five or six key emotions that drive the character toward her story goal. Is she determined, bitter, and desperate or melancholy, yearning, and in love?

Layer three—the writer’s connection

Now that you’ve identified the style of a character’s speech and bored down their emotional essence, you need to find a way to connect with this particular character. Her story may be worlds away from anything you have experienced, but that’s OK. In this case, “write what you know” isn’t about having the same experiences, it’s about experiencing the same emotions. Come up with specific incidents in your own past where you experienced each of the emotions you identified in layer two. If you tap into those memories, you will be able to relate deeply to your character as you write.

Putting it together

You might think of layer one as informing the structure of a character’s voice, while layers two and three inform the content and attitude. Experiment with the voice by free-writing in first person, keeping in mind the style attributes of layer one and your emotional memories from of layer three. Push the character to ramble on about his inner fears or his wild dreams until you begin to sense his distinct voice. Don’t be timid. The more passion, the more risk, the stronger the voice. And don’t forget to have fun.

Voice is born from a lot of words and a lot of work — but not just any words or any work will do. You have to bleed a little. You have to shiver a little. You have to love a lot… Holly Lisle

[bctt tweet=”Where does voice come from? The character? The writer? or some of both? #writer” username=””]

[bctt tweet=”You have to bleed a little. You have to shiver a little. You have to love a lot. Holly Lisle #quote #voice” username=””]

Categories
The Writer's PenCase

Creating Extraordinary Characters –– Part III

The Writer's PenCase

Characters with personality make your readers identify and care about them. There are several ways to determine what your character will be like. Are they introvert or extrovert? Dominant or stable? Sanguine or Phlegmatic? [bctt tweet=”Myers-Briggs, DISC, and Personality Plus are tools writers can use to create characters.” username=”@A3forme @donnalhsmith”] #amwriting #characters

Continue reading “Creating Extraordinary Characters –– Part III”
Categories
Talking Character

Dos and Don’ts for Describing Characters

A writer must find the perfect balance when describing characters, especially when introducing them to a reader for the first time. The reader needs enough information to grasp who the character is, but too much information and the reader will likely skip to the next paragraph.

Or worse.

We writers know a lot about our characters. We’ve spent days crafting their descriptions, personalities and back stories. But when it comes to the descriptions we include in our stories, we must remember that we know much more than the reader needs (or wants) to know.

Here are a few tips to help you create awesome character descriptions

DON’T simply give a detailed description of the character’s physical appearance. This police sketch approach lacks emotion and does little to explain who the character is.

DO paint a picture that evokes emotion. Show who the character is rather than tell what they look like. Use dialogue or action to give the reader insight into their personalities.

DON’T introduce the character for the first time in a bland, forgettable way.

DO introduce a character by mentioning the most significant traits, and do so in as memorable a manner as possible.

DON’T include a catalog of irrelevant details. The reader will assume every detail you supply is important. If you mention the character is left-handed, the reader is going to expect left-handedness to be significant somewhere down the road. If it’s not going to be mentioned again, skip that detail.

DO choose only the most telling details, the ones that give is important insight into the character’s personality and attitudes, or that will become significant to the plot. If

DON’T create several characters who are so similar the reader gets them confused. (Unless that is a key ploy for your particular story, in which case the POV character should probably have problems keeping them straight, too.)

DO give characters a unique, easily described characteristic that helps the reader keep track of who’s who.

DON’T tell the reader details about a person that the POV character doesn’t know. Such author intrusions may have been common once upon a time, but they now feel forced or preachy.

DO describe a person through the lens of the POV character. The main character may have a very biased and inaccurate view of other characters, but that is OK. By flavoring each description with the main character’s thoughts and attitudes, you not only introduce other characters but also show us something new about the POV character.

DON’T allow all characters to describe a person in exactly the same way. Each POV character is likely to notice—and ignore—different aspects of a person’s appearance, behavior and personality.

DO show different sides of a character’s personality by allowing each POV character to display a unique attitude. One student’s favorite teacher is another student’s least favorite. By showing the teacher from both sides, the reader gets a more complex and authentic picture.

Most of all, DO have fun creating and describing your characters!

And DON’T give up. The world needs to hear the story only you can tell.

Categories
The Writer's PenCase

Creating Extraordinary Characters –– Part II

The Writer's PenCase

In the beginning…in creating characters, we must begin at the beginning. We’ve talked about a three-word description, and basic information. How do we determine what the basic information will be? Who do you want it to be? [bctt tweet=”Determining the basic information about the character is paramount to creating one amazing character.” username=”@a3forme @donnalhsmith”] #amwriting #characters

Continue reading “Creating Extraordinary Characters –– Part II”
Categories
Craft The Writer's PenCase

Creating Extraordinary Characters –– Part I

The Writer's PenCase

Why is it that some characters stick in our minds? What is it about them that causes us identify with them and admire them? I’ll be looking at these questions and others in this new series. [bctt tweet=”Some say it’s all about plot. Others say it’s about character. ” username=”@A3forme @donnalhsmith”]#amwriting #characters

Continue reading “Creating Extraordinary Characters –– Part I”
Categories
Dear Young Scribes

Journaling Prompt Questions to Ask Your Protagonist

Sometimes, we writers can become so focused on writing an enticing, hard-to-put-down plot that we neglect one of the main building blocks of storytelling: Characterization. Without three-dimensional characters, our story falls apart, and our readers won’t have any motivation to follow the protagonist’s journey.

 

Another reason it’s important to craft well-developed characters is because the direction your plot takes is a direct result of characterization. Your protagonist’s personality, desires/goals, and backstory will influence his/her motivations; his motivations will influence the decisions he makes; and these decisions result in conflict. Thus, a plot is born.

 

To summarize: Without strong, believable, and authentic characterization, there is no story.

 

So how can we create well-rounded characters that dictate our plot? Is it possible to know our protagonist so well that, in a way, it’s almost as though we’ve become them?

 

Of course, filling out a character chart is a great way to figure out your characters’ basics. But sometimes, our characters don’t reveal their depth unless we ask specific questions that forces them to dig down deep. These questions reveal who they are truly are — not just the surface-level questions that character charts often present.

 

Interviewing your character — or asking them journaling prompt questions — will allow you to discover your protagonist at their very core. You’ll discover their unique voice, their heart, motivation, backstory, personality, etc.

 

Not sure of what to ask your protagonist? Here are some journaling prompt ideas to help you get started:

 

  1. When you were little, what did you want to be when you grew up? Why?
  2. Where do you hope to be in ten years? Why?
  3. What do you wish you could tell your sixteen-year-old self? (Or if the character is a teen: What do you wish you could tell your twelve-year-old self?) Why?
  4. If you could change anything about your life, what would it be? Why?
  5. If you could change anything about your personality and appearance, what would it be? Why?
  6. How would you describe your style? Be specific. Why do you prefer to wear these types of clothes?
  7. How do you cope with anger? Disappointment? Depression?
  8. Who is your best friend and why? What is your greatest memory with them?
  9. What’s your biggest regret? Why?
  10. In what ways do you like to express your creativity?
  11. What’s a secret that you hope never gets out? Why?
  12. What are you looking forward to the most? Why?
  13. Why did you choose the type of car that you drive? If you don’t have one yet, what is your dream vehicle and why?
  14. How have you changed within the past three years? How has your life changed within the past three years?
  15.  Are you right-brained or left-brained?
  16. What’s your happiest childhood memory? Why?
  17. What’s your worst childhood memory? Why?
  18. How have your parents influenced who you are, your worldview, and the decisions that you make today? How is your relationship with them? Do you resent the way they raised you?
  19. Who is the person you admire the most? Why?
  20. What’s your most prized possession? Why?

 

Questions for you …

How do you develop your characters? Do you prefer character charts or interview questions?

 

 

[bctt tweet=”Journaling Prompt Questions to Ask Your Protagonist @TessaEmilyHall #amwriting #writingprompts” username=””]