Book Battles by Juliet Waldron

This is the title because sometimes that is how I feel about the work of writing.

I’ve been bashing my head against one particular story for months. In this case, it’s a book that was “supposed to be” a romance, the second in a projected series. As everyone who has ever tried to construct a basic, old-fashioned romance novel knows, this can be trickier than it seems.  

Conventionally, for starters, you have the heroine and you have a couple of guys who will be Mr. Wrong and Mr. Right. You will, eventually, in the course of an engaging, warm-hearted story, find a satisfying resolution.  Sounds easy, right? Just a formula!

(And, if you think that, I have a bridge I think you'd like to buy.)

I now understand that I set myself up for this by creating a heroine whose problem is that she is too pretty. She’s the girl who fits every 1870’s guy’s idea of the perfect box of candy. (From a historical perspective, perhaps her good looks have gone out of fashion, but we're in another time, so how would we know? All we do know is that she turns them on.)

 

For the young lady I created three principal suitors. I’d decided in advance which of the three would be the one to win her hand. Her choices: a wounded veteran who is now a minister, a farrier/farmer whose pride and joy is his trotting horse, or a natty gentleman with an inheritance, good looks and a few bad habits.  

If you are a writer, you’ve probably had characters rebel, take issue with your plans. First came the young lady, who tossed her head and told me that she was a material girl and not at all like her earnest elder sister, sweet Sophie of Hand-me-Down Bride.   The men proved difficult to bring to life. Their outlines stubbornly remained vague. Finally, the heroine, tapping her cute little foot, said that for various reasons not one of these men, as now drawn, would do.  On top of the heroine's dissatisfaction, the skeptical old woman inside me kept muttering how not one of these potential unions had "a snow ball’s chance in hell” of enduring for the long haul.

 Hand-me-Down Bride

 

This was/is discouraging. It messes with my sleep, so I lie for hours each night trying to get a scene with this cast of actors to run.  I've tried many ways of making this story work. I've lost my temper and tried to hammer my square pegs into round holes. I've added more angst and then taken it out again. I've thought of writing in (and a job of work is that!) Suitor #4 and/or changing one of the Mr. Wrongs into Mr. Right.

In the meantime, other stories keep knocking on the door bearing strong images and smart bits of dialogue, dancing seductively in the costume of another time period, all calling for attention. Potential solutions--the light at the end of tunnel--disappear just before I arrive. Clearly, the secret is hidden inside one of these characters, something about one them remains undiscovered. 

And now it's time to go to bed and think about it a little more. I have faith. Sooner or later, one of these guys will set me straight . Then the rest will be duck soup.

~~Juliet Waldron  

 

All my historical novels Hand-me-Down Bride@ 

 

http://www.julietwaldron.com

https://www.facebook.com/jwhistfic

http://bookswelove.net/authors/Waldron-Juliet

 

 

CONVINCING AND CAPTIVATING CHARACTERS BY RITA KARNOPP

Our characters are a part of us.  We create them, yes, but they take on a life of their own as we write our story.  Well – I know many non-writers might question that comment and wonder if I’m not a bit left of center!  J

I invite my characters to go in their own direction – to respond in their own way.  In other words, I want them to be who they are.  If they are the swearing type – swear.  If they are self-centered or the type that wants to give the house away – so be it.

I always have a sense for who my characters are.  I’ve just started writing book number fifteen, a suspense, Thunder.  The background is wrestling – not exactly a subject or field I’m all that familiar with, but one thing I do know – the WWE is prominent in the Nothing But Nets program, providing Africa mosquito nets to prevent insect bites which may cause malaria. After reading that information – the ‘what if’ or ‘suppose . . . ’ started crowding my mind - you know what I mean.

What if this campaign had something to do with the murder of Blackfeet wrestler, Thunder (Keme), my hero’s twin brother?  Mingan (Gray Wolf) doesn’t believe his brother committed suicide and he is going to prove it.  Now I didn’t want my hero and his twin to be identical – I want them to be opposites – maybe not even talking to each other at the time of Thunder’s death.  Why?  It adds more conflict.

Let’s discuss this for a moment.  When I first started writing – it was difficult for me to add too much conflict.  Come on – I’m a Libra – l love harmony and the scales balanced.  Conflict just isn’t my thing.  So I started creating characters that were too nice, very few flaws, and were willing to resolve their conflicts as quickly as possible.  Dull!  Boring! 

Come on folks – our characters must be flawed! (Do you know anyone – anyone - who is perfect in real life?  I’d like to say that’s me – but in all honesty – it’s so far from the truth!)  Our characters must face some serious choices; whether they choose wisely or not – it must affect or develop the character.  We must see changes in our characters and they must learn something along the way.  Even our villains must face their demons – whether it changes them or not – that’s up to them.

Back to creating convincing and captivating characters.  What a character looks like is pivotal to a successful story.  His physical attributes and flaws are part of how he functions.  Say your hero has a lisp or a limp.  What if he is insecure about a hair-lip and he attempts to cover it with a mustache?  Did you know that is true about Stacy Keach?  See real characters have real insecurities and real baggage.  Bring out those flaws – they are critical in explaining what makes your character feel, respond, and or shut-down as he does.

We fall in love with his muscular bronze chest, his full lips, and we even are drawn to the way his black, shiny hair is braided and adorned with eagle feathers.  He’s a manly man and we want to follow him into the dark room, the tense training facility, and even into the bedroom – heck especially into the bedroom.

Again – remember to give him flaws.  Maybe he has a temper.  My Mingan has issues with non-whites ignorance of his Blackfeet heritage.  He has a chip on his shoulder.  Will he lose that chip – I don’t know – he hasn’t shown me what he’s capable of yet.  Will he fall in love with a non-white?  I’m not sure – Chloe wants nothing to do with him, especially since she was engaged to Thunder.  Will he allow her into his confidence and allow trust to develop?  Right now he thinks she’s part of the reason his brother is dead.  You see – I know that I want Mingan to find his brother’s killer and I’m hoping he’ll allow Chloe into his heart – but it’s going to take pages for them to consider the possibilities.  In the meantime they are searching for Thunder’s three year old daughter, Nuttah (My Heart), who disappeared the very day of Thunder’s murder.

Truth be told – I’m starting chapter two.  I have a good idea of my characters Mingan and Chloe, but how they develop and react during the story is up to them.  I’m sure they’ll make some mistakes – some costly – but life just keeps throwing them curves.  If it were a perfect world – it would truly be boring.

We want our characters to be loving, memorable and someone who can surprise us – in other words – they just might have a secret.  They must have a deep need or goal (Mingan needs to expose his brother’s killer) and the desire and ambition to go after the truth.  Our characters must keep us guessing, maybe shock us, and don’t forget we want to see some vulnerability.  I never want my characters to be predictable.  The conflict must sustain our interest from beginning to end.

Compelling characters are exciting, capricious, and take us where we’re afraid to go.  They often take us to places we wish we could go – and through their story, we experience the tension, the quest, and even the passion.

Consider this - you have an endless example of characters all around you.  Family, friends, foes, and even strangers.  Think about the character in your book – who do you know resembles this character you’re writing about?  Draw on that person – see them in your minds-eye and develop a well-rounded individual in your book.  This is a great way to make sure you cover all the good and bad traits for your characters.

Let’s not forget to tap the emotional side of our characters.  Does your hero have fears?  Not just fear of heights or fear of snakes.  What about the fear of loving, the fear of a loved one dying, or the fear your loved one will cheat on you?  What makes your character happy?  Is it the Cockapoo waiting at the door or the angora purring in his lap?  Both add personality and appeal. 

What is that underlying ‘secret’ that keeps your character from committing?  Maybe he didn’t listen or believe his brother – and now he’s dead.  Perhaps he has suspicions that his three year-old niece was in danger, but he dismissed them – and now she’s missing?  Guilt is a mighty strong emotion to give your character.  Others might be shame, the unwillingness to forgive, pride, jealousy, and even lust. 

We want our characters to take us places and feel with them and care. . . laugh with them . . . cry with them . . . fear for them . . . love with them . . . and when it’s all over . . . be satisfied with them when the journey is over.

MAKE YOUR CHARACTER'S LIFE HARD by Rita Karnopp

I am determined not to be easy on my characters.  I want them to struggle, be challenged, hurt, feel rewarded, and to become better people in the end.  I don’t want them to face just one problem or situation . . . is life ever that easy?  Well, then – toss the frying pan at them!  Not only the pan – but the hot grease that was in it!

Know your genre and what you can or cannot do within its parameters.  Know what problems your characters can have in that genre and don’t make it easy.  I’m of the belief you should never make your story similar to one you read years ago – with a couple of new twists.  Be strong and independent and develop a plot that is fresh and new.  Create serious problems and goals that will be vital even imperative in propelling your story forward.  Make it dynamic and page turning.

CHARACTER MOTIVATION – We all know it’s our characters internal and external conflicts and struggles that moves them toward success and satisfaction and away from failure, so ask yourself:

• Are my main characters moving toward success or away from failure? Or both?
• What is the reward for success?
• What is the driving motivation for success?

I will tell you this – it’s more than just saving ducks from an oil spill.  You must dig deep . . . really deep and create a character that your reader will care about.  What are the hero’s core beliefs, his purpose, and his goals in life?  What are his flaws, failures, fears, and what impedes him from reaching success?

Once we understand our character . . . we can help him move toward his goals at a much deeper level.  Share with the reader what is going on inside for internal conflict and develop strong external conflict that will take us with him . . . root for him . . . cry and laugh with him . . . and in the end cheer for him.

INSERT VICISSITUDES – Say what?  Yep … cool word . . . meaning changes, variations, vagaries, fluctuations, and deviations!  In other words cliffhangers.  They really spice up a sagging story by adding something surprising, startling, astonishing, or sudden.  This will keep the reader interested?

Be sure to create an incident that the reader truly isn’t sure whether or not things will work out.  Leave the reader asking, “what will happen.”  You want them saying, “I didn’t expect that.  Now how will he ever escape that . . . or make her fall in love with him now?”

Some classic cliffhangers include:

• a deadline or else
• jumping to conclusions

• the interruption – side-tracking the truth

• loose ends

There should never be a place in your book that a reader might say, “Well, this is a good place to stop.”  You must keep your reader wonder what could possibly happen next, so that he/she won’t be able to put the book down.

It has to naturally flow with the plot and not be manipulated – the reader will pick up on it and toss the book across the room.  You are generating expectations and even hope in the reader. You will have to satisfy this expectation or anticipation at some point.

Be prepared to resolve the story plot and show resolution.  There must  be a gradual – satisfying ending for the book.  Never get there too quickly or the plot will come to a screeching halt.  It’s all about pacing and bringing your reader to the end feeling happy, surprised, and satisfied.

INTENSIFY THE MAIN EXTERNAL CONFLICT – Although your story will have many twists and turns – starting your story with a gripping predicament is only the first step.  You have to give your reader many incidents, conflicts, and surprises.  Each new crisis must bring you closer and closer to the main conflict – the underlying plot – and reason your character is on this quest.  Each minor struggle must in a way develop the story and enhance the resolution of the main external conflict.

Don’t feel bad about making your character’s life hard.  I’ll agree it’s arduous to put your characters through pain, heartache, loss, and even suffering.  You know it has to happen . . . the story is screaming for it to happen – and you must give it what it wants.  Allow your characters to feel . . . react . . . and resolve the main story plot – or conflict.  It will be a deep injustice to you and your reader if you don’t.

Motivate Your Characters and Plot by Rita Karnopp

As with each of us . . . characters in our books change as the story progresses.  And you know what, growth of a character is very important.  I think this aspect of writing is sometimes overlooked or even forgotten.  We focus so much on what is happening externally that we forget what is happening internally.

We need to learn what motivates our character as the story progresses.  They must have reasons why they do the things they do.  They must have reasons why they resist the right decision.  They also must have reasons why they react the way they do.  Each of these ‘reasons’ is what motivates our characters as well as drives the plot of the book.

Confused? Don't be; it's simpler than it may seem. Characters can be broken down into four groups:

1.    The never changing character – they refuse to change in personality and motivation.  You get what you see.

2.  The no-personality changer – they don’t change or grow during the story –but they want to. 

3. The changing character – they change but their motivation does not.

4.  Finally we have the characters who changes throughout the story - as their motivation also progresses.

 

While plotting out the story we must decide what is the key motivation for each main character. 

 

This will add incredible depth to the story.  Always be aware that character and plot are entwined. 

The never changing character – I’ve often heard that a character must change – even if in a small way.  Why?  Think about James Bond – he’s smart, debonair’, unstoppable, and he gets the girl.  His character has a single direct motivation the entire length of the story.  At the end, Bond is still smart, debonair’, unstoppable, and he gets the girl.

And when you think about it - his motivation doesn’t change either. He accepts a mission, and he doesn’t stop until it’s accomplished.  There are always the ‘mini’ motivation interruptions such as saving a woman from drowning or escaping a death trap.

We can apply this never changing character with a direct motivation to any genre’.  Our responsibility is to present the reader with a character and goal clearly and powerfully obvious from the start.  There will be no doubt who this character is and why he’s doing what he's doing.   This then gives us (the writer) ‘license’ to obfuscate the story plot.

Be aware – an unchanging character with a direct goal still can react or respond to more than one emotion at any given moment. Our Mr. Bond might feel attraction to a knock-out blonde and at the same time distrust her.  If your character feels two conflicting things toward another character, bring this to life in the scene in which it happens. Then—and this is the important part—return to the main goal in the next scene.

This tells us that his motivation is unchanged. Although Bond, for instance, has just made love with a woman, she hasn’t fundamentally changed him. He is not changed in either his behavior or mission as a result of her attractions.

The no-personality changer – This type of story focuses on a character who doesn’t change in persona or attitude, but what he/she wants acclimates as a result of story aftermaths.

These characters are often the heroes or villains. The heroes are admirable characters from the beginning. They don’t change because the writer has created a character that is supporting an ideal/situation that he/she clearly represents and embodies.  Say for instance saving an endangered species or leading a group to keep oil from being drilled in sacred Native ground.

The fact is your character starts-out heroic, you don’t want him to change.

The changing character – Then there are the stories where the major character changes notably. The character has a single cause/motivation due to their backstory.  Consider Pollyanna’s aunt.  She refused to show kindness and love – because as a young woman she’d been hurt by the man she loved.  A lot had to happen for her to see it was okay to reach out and love.  The point here – she had to change for the story/plot to have resolution.

Keep in mind when you write the changing character:

·         His/her character change must result in response to story consequences or results. Develop the story so your character changes the way you want.

·         Your character must have emotional responses to these events.

·         Make sure the character change is emphasized. The ‘change’ must be shown. This is called validation, and it is crucial for all changing characters.

·         You must add validation at the end of the story so the reader knows this character’s change is not temporary. Usually this ending validation is on a larger scale than what has gone before.

Readers enjoy and are satisfied at the end of a book when there is a changing character/single motivation.

Characters who changes throughout the story - as their motivation also progresses -  Of the four characters, this is the most complex fictional pattern. A character’s personality as well as their goals change throughout the story.

Simplifying this character – change him/her from a self-centered model to a caring – putting life in danger to save the child-type.  

With this type of character your hero/heroine’s changes must be dramatic and prove they are a result of the horrendous events, be supported by believably portrayed emotions, and be confirmed by ensuing actions on his/her part.

Let your characters guide you - by Rita Karnopp

Before we begin typing that first word - we always (or most times) have the ending in mind.  There are a couple books I had an idea of what I wanted my end result to be – how I got there was something of a mystery.  My point – we don’t always end up where we think we will.

You must be willing to adapt . . . make changes, be aware of the flow of your story.  Never . . . never . . . never . . . cling to your synopsis because it was how the ‘story was supposed to go.’  Really???  I believe a story never goes the way I planned – I have to be open for my characters to surprise me.  And boy – do they surprise me!

Make your really good story idea great by a willingness to adapt as the story unfolds.  Each character develops as he/she unfolds in your story.  You can’t force a character’s behavior.  Always allow him/her the ability to act/react in a natural way.

Be open minded while writing - Keep in mind – what works for one book won’t always work for the next.  Characters in each book are different and you must always let them lead you through each scene.  Listen to them  . . . and give them free rein!

How exciting when your character demands something different – something you never thought of!  Allow your characters to add atmosphere and excitement.  Think of it this way – as your characters develop . . . the story unfolds into places you never imagined. 

Release the control. You know you’re a talented writer. That doesn’t mean you’re instantly good at letting go – giving your character permission to be him/herself.

Never start writing a book with ideas set in stone.  Guidelines will keep you from writing yourself into a corner, but don’t be so controlling you won’t allow something unexpected to happen. 

Allow your characters to laugh, cry, have highs and definitely lows.  Make them feel . . . and the reader will respond.  By allowing your character a ‘voice’  - the dialog will flow with ease and belief.  Step in because you don’t like the direction and your reader will be jerked out of the scene – maybe forever.

Believe in your characters. As I said at the beginning, we don’t always end up where we think we will.  That’s the good news!  When your character surprises you while you’re writing – it surprises the reader.  Some of my greatest scenes were created by my characters; their personality, reaction, and drive or direction leads them to places only they can imagine.  Trust them – you’ll love where it takes you! 

Setting AND CHARACTER BREATHING TOGETHER by Rita Karnopp

Have you ever started reading a book and after a few pages asked yourself, “Where is this book taking place?”  That should never happen.  Setting is as important as the characters and the plot. It’s our job as the writer to develop the backdrop like we develop our characters. It gives us our sense of direction and it becomes the ambiance; the atmosphere, the environment, the mood, even the character of the world surrounding us.

Setting involves the senses.  Can you relate to the warmth of the sun or the ice cold water (sense of feel)?  What about the sweet juice of the peach or the soothing mint of the tea (sense of taste)?  Consider the click of a gun hammer or the snap of a twig (sense of hearing).  How about the burning smoke or sickening stench of a dead body (sense of smell)? Finally, there is the shadow moving across the wall or the flames of a campfire in the distance (sense of sight).  They all add to the setting of your book – they are the details that pull us in.

Writing is writing, whether it is suspense, historical, SiFi, thriller, or even contemporary.  Setting will be the prevailing forces of their world. These details bring your story alive.

Develop ways to uncover setting details that will fuel the world around your characters. 

Settings encompass more – You create setting when using authentic voice and idioms of the time period. Old maps, vanished villages, dead rivers, or historic plagues take on life as you unwrap clues and unfold the story. Use threads of character and sociological/political backdrops to tangle the lives of those you are developing.

Setting and character - Now, how do you infuse setting and character?  Again, the senses come to play.  Imagine yourself into a setting and make the character . . . feel it, smell it, hear it, taste it, and see it.  You do this and you have character and setting breathing together.