How Much Tension Do You Want?

I’ve been yakking about Ilona Andrews’s SAPPHIRE FLAMES since I finished reading it.  The book and the writing have stayed me with a while.  It made me think about a lot of different things.  And tension is one of them.

Since I’ve been writing cozies for a while now, I’ve been working on making page turns rely on different dynamics than fighting terrible odds, supernatural monsters, serial killers, or ticking clocks.  Cozies have a quieter tension–discovering clues and adding them up, ignoring red herrings, and discovering the killer before the protagonist does.  Every story has to have conflict, but in cozies, it could be trying to worm a secret out of someone you’re questioning, trying to add up evidence to get closer to finding the killer.

One of the reasons I like writing Muddy River is because the tension is about trying to survive or help someone else survive.  It’s about life and death.  Ilona Andrews uses that kind of conflict in her novels, only she ratchets it up to almost every scene.  And that’s the fun of reading her.  I can’t turn the pages fast enough to see how her protagonists are going to survive another battle against an even stronger opponent.  Muddy River doesn’t do that.  There are battles, yes, but there “down” scenes, too, because I like the people and their lives and their dynamics together.

I like low-key tension as much as I like nail-biters.  Literary tension might be the one I struggle with most.  Inner conflict doesn’t grip me as much as it does my daughters.  My younger daughter says it’s her favorite.  Anyway, I’ve spent some time thinking about how to develop conflict and tension lately.  And these are just a few of my random thoughts, nothing deep or momentous, just ponderings:

  1.  Personal Stakes:  In literary reads, the entire plot might revolve around a person getting to know who they are and what they want of themselves and life and struggling to get that.  That internal struggle is what builds tension.  For example, a book could be about an alcoholic who’s trying to stop drinking.  No easy thing to do.  It could be about an abused child who’s trying to live an ordinary life as an adult and overcome the fears and defense mechanisms she developed to cope.  The emotional toll is high, and the stakes for finding happiness or even normalcy are high.  But they aren’t life or death.  The country won’t go into chaos if the hero doesn’t succeed.  There’s no ticking clock.  That’s why it’s personal, but we can all relate to them.
  2.   Low Stakes:  In romances, again, the stakes are personal.  The tension is driven by emotions, people hoping to find love.  Girl meets boy.  Attraction flares, but obstacles get in the way.  Can the two people overcome those obstacles and get together?  Stakes are low in cozies, too.  There’s a murder.  There’s a good reason the amateur sleuth gets involved in solving that murder.  He or she interviews people, looks for clues, and won’t be satisfied until he finds the truth.  In both of these types of books, the tension ebbs and flows.  It peaks when failure looms on the horizon, then dips when something new happens to advance the plot.  These books have rhythms and often revolve around four turning points in the story.  The protagonist might be in danger of failing to achieve his goal, but his life is rarely at risk.  There are “soft spots” for the reader to land before the next push forward.
  3. Medium Stakes:  I’d put straight mysteries in this category, adventure stories, some thrillers, and maybe most paranormals.  There’s more action.  There’s more possibility for physical harm.  The cost of failure isn’t just emotional, but maybe getting beat up, stabbed, or shot, too.  The person a cop or hero is trying to protect might die if the hero can’t stay a step ahead of the antagonist.  The hero might die trying to protect him.
  4.  High Stakes:  Every chapter brings a new danger.  There’s not one murder at the beginning of the book and maybe a second or third one later to keep up the pace.  High stakes is when the protagonist and the antagonist fight it out from the beginning of the book to the end, and the protagonist’s life is almost always in danger.  Often, there’s a ticking clock.  Sometimes, the battle starts small–like in women in jeopardy novels–and escalates to the end.  Always, the tension builds from the first chapter to the last.  Everything intensifies.  Often, the protagonist loses someone he’s close to or cares about.  The stakes have to be high.
  5.   Ilona Andrews’s Urban Fantasies:  The stakes are off the chart.  The opponents take off their gloves at the beginning of the book and duke it out over and over again until the stakes are so high, you’re wrung out by the time you finish the last page.  And everything in the stories create tension:  a.  almost every conversation is fraught with tension.  People disagree, argue, threaten each other, try to outmaneuver each other, and try to worm information from one another.   b.  romantic tension:  the attraction between the protagonist and her love interest almost feels like sparring; the physical attraction is off the charts, but one or both of them resist it  c. the clashes build bigger and more dangerous from the first to the final, BIG do-or-die battle.

No matter what kind of book you write, the stakes have to keep getting higher.  The protagonist has to have more to lose.  Unless you write humor.  And in all honesty, I’ve never done it, don’t read much of it, and I just don’t know:)  (Except I did read Mae Clair’s IN SEARCH OF McDOODLE and loved it).  But whatever you’re working on now, good luck and happy writing!

True Detective

My grandson is here on leave, staying with us this week.  We love watching TV together at the end of the day.  And this time, he came with his lap top so that we could watch the first season of True Detective together.  He’s been wanting me to see it for a long time, but it’s a lot more fun watching it when he’s here, because we’re those awful people who pause shows and yak about plot points and characters while we watch.  We’d never do that at a movie theater.  It annoys me when I pay to see a movie and people talk during it.  But at home, hey, it’s a whole different story.

We haven’t finished the series yet, but we started it last night and even HH got so hooked on it that we binge watched four episodes in a row until we were too tired to watch anymore.  The first thing I noticed was the show’s opening.  The music and images reminded me of the opening for True Blood.  Moody music.  Moody images that flash on screen.  You know, for sure, that you’re not going to watch a Hallmark movie.  And I don’t mean that as a put-down of either.  I happen to enjoy both.

The Long Bright Dark begins with the first body the detectives, Matthew McConaughey and Wood Harrelson, find.  And of course, the victim is staged.  Her naked body is kneeling and bent over with antlers tied to the top of her head and a “devil’s cage” made of twigs hanging over it.  She has stab wounds on her abdomen.  It looks like a ritualistic killing.  And after examining it, McConaughey declares that she isn’t the killer’s first victim.  There had to be more leading up to it.  Woody Harrelson doesn’t believe him but soon learns that his new partner might be odd, but he’s brilliant…and obsessive.

The combination of the new detective–an outsider–and the detective at home in his station and his home town–is used often, because it works.  It creates conflict between the protagonists to add to the conflict of the story’s plot.  And The Long Bright Dark does a great job of both.  Both characters are flawed but view life from really different angles.  McConaughey doesn’t believe in anything–religion, institutions, relationships; whereas, Harrelson is a married man who believes in family values, even though he rationalizes what that means so that he can sleep with someone else.  After all, gritty detective stories can’t have protagonists that are too happy, right?

Just like in the series True Blood, the story is set in Louisiana, and the poverty of many of the settings sets the tone for the serial killer who preys on women and children.  There’s a gritty texture that runs through every episode.  Our grandson keeps reassuring me that I’m going to like the ending of the show, and I hope he’s right, because it’s hard to tell how the protagonists are going to fare from one episode to the next.  And that’s a pretty awesome achievement, in and of itself.  The Long Bright Dark is done well.

 

Materialistic or Spiritual?

A wonderful man belongs to my writers’ group.  He’s a retired cop from Milwaukee, AND he teaches philosophy.  He’s writing a memoir about the experiences he had on the force from the time he was young and inexperienced to the time he retired, and his stories go from laugh out loud to deadly serious.  I love listening to him read when it’s his turn to share.

Since he has a philosophical bent, he told me that he believes most modern literature is materialistic, not spiritual.  I replied that I wasn’t sure I agreed with that.  But when he asked me why, I had a harder time coming up with an answer.  I’m not a fast thinker.  I have to ponder ideas and sort them.  But after pondering away, I haven’t changed my mind.  Maybe that’s because of the reading material I choose.

I read predominately mysteries, but I intersperse them with other genres.  And here’s what I think and the authors who’ve made me think it:

First, I don’t necessarily equate the spiritual with religion, just as I don’t necessarily equate justice with the law.  To me, being a spiritual person equates with trying to find the greatest good in ourselves, the divine.  And I’ll be honest.  I struggle with that, because I’m never sure exactly what I believe that means.  Anyway, here are my thoughts about the spiritual in literature:

I’ve only read two William Kent Krueger mystery/thrillers featuring Cork O’Connor–Iron Lake and Boundary Waters–but Cork wrestles with doing the right thing and balancing his Native American culture and beliefs with his Irish-Catholic upbringing.  Indian mysticism flavors everything in the stories.  Nature plays a powerful force.  The books are as much about Cork’s character as they are about surviving and catching the bad guys.

I’m a fan of Anna Lee Huber’s Lady Darby historical mysteries.  Kiera Darby survived a horrible first marriage.  In the 1830s, husbands OWNED their wives.  They could abuse them nearly any way they chose.  Sebastian Gage’s mother married beneath her, a commoner, and her family taunted and ridiculed young Sebastian.  When Kiera and Sebastian meet and fall in love, they both struggle to overcome their pasts and to treat those they meet, even their servants, even people who have wronged them, with respect.  They work to rise above the harsh lessons they’ve endured in life.  The quality of a person matters more to them than titles or wealth.  Is that a spiritual journey?  It feels like one to me.

But I’ve read lots of books where a plot revolves around people trying to find answers and overcoming their faults and shortcomings even while the main plot might rotate around a murder or romance.  M.L. Rigdon’s The Gracarin is a fantasy where the warrior Torak rules a country whose religion is based on nature and music, harmony, and where women are treated as equals.  He forms an alliance with another country that has a more structured religion, but the leaders of both worlds abhor debauchery, cruelty, and excess. They join forces to conquer the corrupt rulers of the wharf.  In many urban fantasies, the theme is good vs. evil.  Ilona Andrews’s Kate Daniels series has an over arcing story question of Kate battling her father, who wants power for power’s sake.   Kate often doubts herself and her choices, which makes her journey all the more real.  Many mysteries star protagonists who try not to be stained by the bad people they battle.  They try not to stoop to their enemies’ levels.

In an extreme example, in Mark Lawrence’s fantasy, PRINCE OF THORNS, Jorg watched enemies kill his mother and young brother before they leave him for dead.  Worse, when he’s rescued and his father, the king, learns what has happened, he chooses not to go to war over the incident.  It would be too costly.  Angry and disillusioned, Jorg runs away and joins a band of ruffian misfits.  While he’s away, the king remarries, and when his new bride has a son, the king–his own father–wants Jorg dead.  Jorg does despicable things in the book, but it’s hard to hate him, because everyone else is worse, even the peasants.  Their hate is selfish and random.  Jorg’s enemies kill for land or profit, but Jorg kills to build an army strong enough to ultimately make him a ruler.  And he swears he’ll be a good one.  He has a conscience and a code of ethics, but they’re brutal by any standards.  But then, so are the times.  Jorg’s far from the spiritual journey most think of, but his struggles are real and beg the question: Does the end ever justify the means?  Everything in Jorg’s world is relative.  Does that preclude his journey from being spiritual?

I still don’t know if I have an answer to my friend’s question.  It’s possible I’m too practical to be philosophical.  Can a person be idealistic and practical at the same time?  I’m not sure.  But it was fun to consider the books I’ve read in a different light.  Any opinions you’d like to share?

 

 

He didn’t!

I went to writers’ group last Wednesday and listened to three of our members, all topnotch authors who volunteered to read.  Les Bock is writing a crime thriller, and some of the scenes he comes up with blow my mind.  I don’t see the twist coming, and it’s usually something I’d never expect from him.  Kathy Palm is working on a middle grade horror book, and she’s read enough, I know that she can go to creepy places that make me squirm.  Ruth Baker, a playwrite, usually visits serious subjects but she read something fun and whimsical.  My point is, if you talked to any of those three people, you’d never guess what they are capable of imagining.  It reminded me of a time a visitor came to Scribes and I read an unusual piece, and she looked at me and said, “But you seem like such a nice person.”

I AM a nice person, but I don’t always WRITE about nice people.  If everyone in a novel was nice, there wouldn’t be a story, no tension, no conflict.  Now an antagonist doesn’t always have to be a bad person.  Two good people can be coming at the same thing from different points of view, for different reasons, and clash.  But a strong antagonist sure makes an already good story even better, whether he’s on the page or behind the scenes.  And a bad antagonist can make readers chew their fingernails.

In Julia Donner’s Western historical AVENUE TO HEAVEN, Annie Corday’s ex-husband made me cringe with fear every time his shadow fell across a page.  When he finally decides to return to Chicago, he has a wooden coffin delivered to her front door to let her know his intentions.  And honestly, after reading about some of the things he’d done, a quick death would probably be better than most of his other options.  He was so obscenely bipolar, smiling and proclaiming his love while he beat her senseless, that he made me queasy.  Villains like that make a reader turn the pages.  They stay with you. (https://www.amazon.com/Avenue-Heaven-Westward-Bound-Book-ebook/dp/B076HVGS98/ref=sr_1_11?ie=UTF8&qid=1539399302&sr=8-11&keywords=julia+donner+kindle)

If you’ve read any of the posts in the Q & A blogs that I posted from Ilona Andrews, one of the questions reminded me of myself when I was young and first starting to write.  The person asked how she could make her characters distinct, because hers all ended up being a lot the same.  Ilona Andrews’s answer made me smile.  She replied,

I suspect that your ethics keep getting in the way.  You have a strong sense of right and wrong, and when confronting a problem, you, and your characters, are thinking about the best way to resolve it according to your set of values.  Try to look at it from their point of view. 

And that’s the trick, isn’t it?  Each person in a story has his own code of morals and ethics, his own rules that he might bend, his own way to rationalize why he did what he did, whether good or bad.  The trick is for the author to get inside his character’s head when that character walks into a room, to see the world through his eyes, shaped by his experiences, needs, and wants.  And that character might do things we’d never condone, things that horrify or shame us, but our job is to make him and his actions believable.

Julia Donner was an actress and singer at one time.   She performed in many plays and tells me that when she writes, her characters come to her wholly formed, because she studied characters and their motivations for so long on the stage.  It took me a long time to write unlikeable characters, because I could always imagine what my mother would say if she read my story.  And a sex scene?  Heaven forbid!  Then a wonderful, wise woman who edited many of my early stories told me, “Blindfold your mother and gag your old Sunday School teachers. Listen to your characters and write them the way they are and say what they’d say.”  And she was right.  I stopped thinking about my audience and started thinking about my characters, living in their skins.  And then they did all kinds of things that I’d never expected, because I’d freed them to be themselves.

So whatever you’re working on at the moment, I hope your characters are distinct and real.  That doesn’t mean they get to decide where the story will go, because it’s YOUR story.  But it means that when they walk into a scene, they make it come to life, because they’re very much alive in your imagination.  Happy Writing!

 

Rules can be broken

I’m almost to page 400 in John Grisham’s SYCAMORE ROW.  I’d probably have it finished by now if I hadn’t lost time to my troublesome stomach, but I have to admit, I needed a kick in the pants to pick the book up to read every night.  It’s good.  But I’m not used to Grisham’s style of writing, and after all the pages I’ve read, the book still feels like set-up to me.  Everything’s interesting.  The characters are great, but there’s still no crunch time, no ticking clock, and I’m getting the feeling that’s not going to happen.

The truth is, I’m so used to genre writing, his style feels alien to me.  He does a lot of the things that my writers’ group tells people NOT to do, but it works.  For him.

  1.  Show don’t tell.  My group repeats this like a mantra.  Showing pulls a reader into a story, makes him feel part of it.   Grisham sets a scene–like Jake walking into the coffee shop where everyone gathers to learn the latest news and gossip–and TELLS us what’s happening.   I’ve never been bothered by telling as much as some writers.  Author intrusion?  Eh, it works once in a while.  Jenna Bennett uses it here and there, and it adds an intimacy to her stories, like she’s talking just to you, the reader.  It’s efficient, too.  Showing takes space.  You have to let a scene play out to make a point.  Telling…well, you just say what you want the reader to know.  It creates more distance between the reader and the story, but it gives the reader a quick feeling of everything important in fewer words.  Still, all in all, most writers try to avoid it.  We try to show instead of tell.
  2. POV.  My groups’ view is that there’s singular POV or multiple POV, and you don’t mix more than one POV in a scene.  You wait to jump from one person’s head to another’s.  Grisham eliminates that worry by using a sort of omniscient POV and focusing in on one person and then moving to another.  It’s not one bit confusing.  It works.  But again, it creates more distance.  The reader’s not following one person or a few important players from place to place.  We pop from Jake’s thoughts to Lettie’s to someone’s in the coffee shop.  I don’t read enough thrillers to know if this is the norm for the genre, but it very well might be.  That’s the thing about genres.  They don’t all follow the same rules.
  3. Pacing.  My group focuses a lot on keeping the reader turning pages.   We build tension and conflict into every scene we can.  We have pinch points and turning points.  And everything keeps geting worse.  Grisham concentrates on his story and lets it unfold.  It doesn’t feel rushed.  It has more of a literary feel where the characters develop more than the plot.  I’m happy to roll with that, except I have to admit, as a genre junkie, I wish some key plot point was moving a little faster.  But that’s my own hang-up, and I know it.
  4. Would I change my advice to people who come to Scribes?  No.  Because show, don’t tell works for most writers.  So does POV and pacing.  But Grisham is talented enough to pull off his style.  His sales speak for that.  But most mere mortals have better luck following the rules.  It’s hard enough finding an audience, so why push your luck?

Whatever you write, however you write it, good luck.  And happy writing!

My webpage:  https://www.judithpostswritingmusings.com/

My author Facebook page:  https://www.facebook.com/JudiLynnwrites/

Twitter:  @judypost

 

 

 

 

 

How Many Bodies does it take?

I’m working on a mystery.  I finally reached the third turning point (three-fourths through the book–and yes, I do construct my plots that way), and I’m heading into the last 80 pages.  This is when I look at my remaining plot points and pray that I have enough twists and turns to make it to the The End.  If not, a little creativity is in order.

Almost (there must be one out there that breaks the mold, but I can’t think of it) every mystery starts with a dead body.  A crime would work, too, but it’s not as common.  The body doesn’t have to be on page one.  It doesn’t even have to show up by page five.  But someone usually stumbles upon it by the end of chapter one.  Not always.  Mystery readers, especially for cozies or traditionals,  know that while they’re hanging out with the protagonist and getting to know her and the book’s setting, a dead body will show up eventually.  It’s worth the wait.

Martha Grimes, in her early books, grabbed her readers with a hook–a prologue. They’re frowned upon now, but I liked them.  Some nice, oblivious person would be walking along a street or locking her front door, and we KNEW she’d be dead by the end of the chapter.  A great way to build tension.  A lot of thriller writers use that technique–showing the victim in a way that we know they’re already doomed.  It works.  If you’re not writing a thriller, though, you have to space out victims more sparingly:)  You don’t off somebody whenever the pace slows down, so you have to come up with different devices to keep the tension high enough to turn pages.

The thing I loved about witing urban fantasy is that you could write a battle every time you wanted to up the tension.  Pitting your protagonist against someone who could kill her works really well.  I just finished reading Ilona Andrews’s MAGIC SHIFTS, and it was a FAST read because there was a battle in almost every chapter.  Lots of action.  I loved it, but that doesn’t fly in an amateur sleuth mystery.  Protags don’t wield swords or shoot magic.

What does work?  Having the sleuth at the wrong place at the wrong time.  Having her get nosy and digging through a desk that’s not hers when someone walks into the office.  I’m halfway through a mystery by an author who’s new to me:  A Cutthroat Business by Jenna Bennett.   I’m loving it so far!  First, her protagonist is a Southern Belle.  I haven’t read one of those since the last Sarah Booth Delaney cozy I read by Carolyn Haines. Bennett’s protagonist is a real estate agent…so, of course, she takes a client to a showing and finds a body in the last room they stop to view.  See?  The nice, bloody corpse comes at the end of the chapter. More fun that way!

Also, of course, the police show up and the client who wanted to see the house doesn’t seem to have any money, but he has done some prison time–and the protag knew him when they were growing up–a smartass, sexy ex-con. Bennett finds one clever way after another to keep her protag involved in the investigation.  Eventually, though, (and I hate to say this), another body is needed to boost the pace near the middle of the book.  Sacrifices must be made for every novel, and for mysteries, well…. someone must die.

I’m sorry to say (and my daughter wasn’t happy with me, because she fell in love with a certain character when she read the pages I’ve done so far), I had to kill off someone, too, for the second plot twist in my book.  And that made me wonder:  how many bodies does it take to keep a good book going?  In urban fantasy, you’re lucky.  Very rarely does one of the good guys have to die, and you can kill bad guys at random, on every other page if you want to.  In mysteries, though? Bodies are up for grabs.  Good guys die as often as not-so-good guys.  I’m thinking–and I haven’t researched this–that it takes at least two bodies to move a mystery plot.  The first body happens at the beginning of the book and somewhere later, the pacing and clues start to fizzle, and an author has to stick in another victim.

What do you think?  Can you think of a mystery that only has one victim and the entire plot goes from there?  Okay, maybe in a P.I., because usually the private eye gets beat up close to the time a second body would pop up in a traditional mystery.  LOL.  This is probably why it was so hard for me to write romances.  I couldn’t kill anybody:)

Jenna Bennett:  https://www.amazon.com/Savannah-Martin-Mysteries-Box-Set-ebook/dp/B00A6UMNRM/ref=sr_1_8?ie=UTF8&qid=1496516485&sr=8-8&keywords=jenna+bennett+savannah+martin+series+kindle+kindle

Ilona Andrews’s Magic Shifts:  https://www.amazon.com/Magic-Shifts-Kate-Daniels-Novel-ebook/dp/B00OQSF7GY/ref=sr_1_3?ie=UTF8&qid=1496517298&sr=8-3&keywords=ilona+andrews+kate+daniels+series

My webpage (with a new creepy short story):  http://www.judithpostswritingmusings.com/

Twitter: @judypost

My author Facebook page:  https://www.facebook.com/JudiLynnwrites/?ref=aymt_homepage_panel

 

 

Tension

Okay, I just read a blog post by James Scott Bell, and he explained very well what I’ve always felt, but in a vague–somewhat nonverbal–way.  And he made it SO clear.  Every book has to have tension, or no one would turn the pages.  It’s easy to point to the tension in a thriller or suspense novel.  The bad guy might kill someone or lots of someones if the hero doesn’t stop him.  Same for horror, only who knows who or what the villain might be.  In a mystery, a hero is trying to solve a crime and restore justice.  But what’s the tension in a romance?  Or a literary novel?

Bell says that conflict is best if there are “death stakes” for the protagonist/s.  But he divides death stakes into physical death, professional death, or psychological.  That makes so much sense!  In a romance, every time the hero and heroine can’t work things out, it builds tension.  If they can’t get together at the end of the book, they suffer psychological death–the death of happiness:  http://writershelpingwriters.net/2017/03/conflict-and-suspense-belong-in-every-kind-of-novel/?utm_content=buffer7ce91&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer

Conflict drives a story, moves it forward.   And the stakes have to keep getting higher every time the reader turns a page.  That’s why there’s the old adage:  Things can always get worse.  They have to, or your story stalls.  During the set up, the author says what the protagonist wants, and he spends the rest of the book making sure he has to work harder and harder to get it.  Here’s a good link by Samantha Stone to build conflict:  http://www.creativewritingsoftware101.com/articles/how-to-create-conflict-in-your-story.php

I used different types of tension in my romances than I’ll need for my cozy mystery, but I still want a romance subplot, and I want to work hard at developing characters readers will care about.  I enjoyed writing Babet and Prosper so much for urban fantasy that I’d like to do something similar for my River Bluffs novels.  I want my characters and setting to be as fully formed as the mystery.  We’ll see how that goes:)

At my writers’ group last week, one of our members tried to decide what each of us needed to do to write a bestseller.  I give him credit.  He believes in all of us, bless him.  And I think we’re all good writers, too, but I have less faith in finding the “secret” that makes a book sell.  Lots of advice says that you need to write a “big” book.  The higher the stakes, the more readers you’ll attract.  That might be true.  I don’t know.  I think the heavens have to align and there’s a lot of luck involved.  And I found this article that sort of agrees with me.  http://www.huffingtonpost.com/peter-winkler/how-to-write-a-bestseller-formula_b_1542587.html

In the meantime, happy writing!

 

My webpage:  (a free snippet from SPICING THINGS UP–our March 21–and a free short mystery):  http://www.judithpostswritingmusings.com/

author Facebook page:  https://www.facebook.com/JudiLynnwrites/

twitter:  @judypost

 

 

 

 

 

 

Girls are NOT sugar and spice

I wrote a blog a while ago about character flaws.  Something I don’t think about much.  I think of strengths and weaknesses–what are you good at, prone to, and what do you have to work at, try to avoid?  But maybe your weaknesses would be your flaws?  Or maybe your flaws are the things you want, but shouldn’t have?  The things you give in to?  Your temptations?  The bad choices you WANT to make and try to avoid?  Any opinions?  When you think of a character, how do you see him?  What do you consider his/her flaw?  I’d love to hear about a character you wrote and what his/her flaw was, how it affected your book.

I was thinking about a character that Julia Donner wrote in her Friendship Regency series. In the book Lord Carnall and Miss Innocent–an exaggeration of their personalities, but a fun one–Donner introduced two characters who sometimes care TOO much.  Can that be a flaw?  Is too much of a good thing a flaw?  Lord Carnall will move mountains to help his two, younger sisters.  That’s why he enrolls them in the private school run by Ana Worth.  And Ana?  She’s trying to keep her selfish, absorbed brother free from scandal, at the risk of going bankrupt herself.  On the surface, both characters have noble goals, and self-sacrifice CAN be a good thing, but when is enough–enough?  And when Donner wrote these two, awesomely wonderful people, did she consider the things that made me love them to also be their flaws?  When you start writing a book, do you list each character’s flaw?  Does that help you?

In Donner’s book, Ana is a deeply caring and giving person, but she is NOT sugar and spice.  I can’t think of any woman in literature who is.  Not even children, if the author portrays them realistically.  I have two daughters, and neither of them were the dolls and tea party type girls.  I bought them Barbies for their birthdays, and they painted them with red paint (for blood dripping down them) and hung them from the basement rafters to make a Halloween haunted house.  I was pretty impressed, but then, I wasn’t very girly myself as a kid.

Most characters, if readers are supposed to empathize with them, have strengths and convictions and care about something enough to struggle hard to achieve it.  And since books thrive on conflict, something always stands in their way–sometimes that something is their own flaws.  Usually, characters have to grow to solve their problems.  Sucky, right?  But pretty true to life.  No one gets off easy in fiction…male or female.  So, who is one of your favorite characters in fiction?  And what do you see as his/her flaw?  And if you’re a writer, do you think the flaw you chose for your character is the flaw readers see when they read your book?

I’d love comments and feedback.  And since it’s getting cold and ugly outside, hope you can hibernate a little more, and happy writing or reading!

Link for Lord Carnall and Miss Innocent:  https://www.amazon.com/Lord-Carnall-Miss-Innocent-Friendhip-ebook/dp/B01A8T71J0/ref=sr_1_6?s=digital-text&ie=UTF8&qid=1481401696&sr=1-6&keywords=julia+donner

My author Facebook page: https://www.facebook.com/JudiLynnwrites/

My webpage (with a snippet):  http://www.judithpostswritingmusings.com/

On twitter:  @judypost

 

Gearing up for NaNoWriMo (well, not me)

I’ve never tried NaNoWriMo, (National Novel Writing Month), an annual event that takes place every November, but a lot of writers participate in it.  In the old fable, NaNo writers would be the hare, pounding out a book in a month.  I’m a tortoise–slow and steady.  But NaNo inspired two great blogs on outlining by K.M. Weiland.  Now, I have friends who write wonderful books by the old seat of your pants method and others who start with four sentences that ground the entire book–the turning points that guide the entire story–but then there are people like me who jot down ideas for each chapter (making sure to hit those 4 turning points).  But I’d still be a slouch compared to K.M. Weiland.

I’ve never outlined as much as K.M. Weiland does, but I can see how her method would create rich characters and conflicts.  I especially like her idea of digging into your antagonists before you spend too much time on your protagonist, so that they’re a solid part of your story, not just an afterthought.  Anyway, if you’re a NaNo participant, and you do a little, some, or all of this homework before you jump into your month of writing, you should end up with something solid, so I thought I’d share the links.  And if you’re putting fingers to the keys in November, good luck!

http://www.helpingwritersbecomeauthors.com/start-your-outline-with-these-4-questions-nanowrimo/

and https://www.helpingwritersbecomeauthors.com/nanowrimo-guide-outlining-find-heart-of-your-story/?platform=hootsuite

Happy Writing!

Confidence: where do you get it?

It’s odd yakking about my books, because book 3 hasn’t even come out yet, but right now, I’m busy working on book 5 of my Mill Pond romances.  My brain is full of Miriam and Joel, but no one’s met them, and no one will meet them for a long time.  And when they do?  I’ll be working on something else.  So in my head, I have a whole community of couples who you have and have not met yet.  Yes, I have plans for almost every character I’ve given some pages to in different books.  And I’m fond of every single one of them.  Each one of them intrigued me in one way or another.

When I wrote book four–which won’t be out until spring 2017–I combined a guy, who had enough self-esteem and confidence to flatten any obstacle that got in his way with a girl, who barely believed in herself.  Tyne’s parents loved themselves much more than they ever loved their two sons, so the boys learned to be strong and self-sufficent.  They supported each other.  Daphne was the only child of parents who loved and sheltered her, as long as she met their expectations.  She’s a gentle soul who owns a stained-glass shop. She’s pretty and succeeds at everything she does,   but has no confidence in herself.

I could really relate to Daphne.  My parents didn’t coddle me.  They did love me.  I have two sisters, and we’re still great friends.  I was pretty much a straight A student, but I had no social skills.  None.  And I always felt like the odd man out.  No one’s fault but my own. Kids at school were nice to me.  They invited me to things.  I didn’t have to eat at the no-man’s table in the lunchroom.  The trouble?  Me.  Everyone thought I was decent but me.

I went to college, got braver, met my John, and graduated.  I loved teaching, married my John, taught six more years, then had my daughter.  Two plus years later, I had my second daughter, and life was good.  I’d grown into myself.  My husband, bless him, believes I can do anything.  His confidence in me gave me confidence.  But guess what?  Our older daughter had lower self-esteem than Eeyore.  And both of our girls had it all.  Gorgeous–yes, I’m prejudiced, but most people agree with me.  Smart.  Funny.  And so damned good at so many things.  But daughter #1 didn’t see it.  I read books about building confidence.  Give a child chores, and when she succeeds, praise her.  So we did that, and #1 succeeded, and we gave real praise for jobs well done. (Never fake praise.  She’d spot that in a minute.)  Sign a child up for activities she might be good at.  #1 won ribbon after ribbon on the swim team.  She excelled at gymnastics.  She sucked at ballet, but hey, you can’t do everything.  She scored off the chart on her SAT tests.  None of it mattered.  That’s when it occurred to me that I don’t really know how to build confidence in a person who doesn’t have any.  #1 finally grew into herself, just like I did. But it took a while and some serious jostling before she was strong and tough enough to meet Life head-on.  And that’s how my character, Daphne, in book 4, came to be.  She cowers at life until she meets Tyne, who challenges her every fear–just like my John–who has self-esteem to spare–did to me.

Of course, everything in fiction is dramatized to make a point.  But the basis for the story rang true to me, so I liked the characters even more.  That’s the fun thing about writing romance.  I can take characters that I can really relate to and throw them together for a happy ending.  How great is that?

Happy Writing!  Judy

 

BTW, chapters 6 & 7 are up on website:  http://www.judithpostswritingmusings.com/

Author Facebook page:  https://www.facebook.com/JudiLynnwrites/

Twitter:  @judypost