MOTIVATE YOUR CHARACTERS AND PLOT BY RITA KARNOPP

As with each of us . . . characters in our books change as the story progresses.  The 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 complicate 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’s 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 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 and 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 his/her 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 to her before she realized 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’s 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’s 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.

Simplify this character – change him/her from a self-centered model to a caring person – 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.

Books We Love released Rita’s 16th book, Whispering Wind

http://www.amazon.com/dp/B00KDQZM5O

Montana Territory 1865 – Pregnant and alone, Tsopo, Wind, leaves her Blackfoot people to save her lifelong friend, Kom-zit-api, An Honest Man, from untrue accusations. '

Kom-zit-api finds Wind and asks her to be his sits-beside-him wife. Before she can give him an answer, he dies saving her from Crow warriors. Trapper, Jake McKinney hears her cries and finds her down on a ledge, birthing a child that has arrived too soon. Now Wind finds herself at a crossroads.

Ashamed and confused, she accepts McKinney’s offer to go with him to the Big Belt Mountains, where his Confederate war buddies are prospecting for gold.

They meet brothers, Tucker and Alexander Walsh on the trail. McKinney, with his valuable bales of furs and buffalo robes, and the Walsh brothers, with their four wagons of supplies, strike a partnership. They’ll start up a general store for miners on the east side of the Missouri River near Diamond City.

Wind reveals possession of a gold nugget the size of her thumb. Her father gave it to her, and she knows where in Confederate Gulch it was found. The men make her an equal partner in their business they are now calling Whispering Wind.

Nothing like her peaceful village, Wind finds herself among ramshackle clusters of tents, lean-tos, and crude log cabins. The main street is a knee-deep mud trail mixed with horse manure, lined with make-shift stores, hotels, rowdy saloons, and a single assayer’s office. Wind aspires to find love and happiness where greed rules actions above common sense. Dressed like a white woman, hiding her part Blackfeet blood, she faces being one of a few women in a wild, lawless mining territory. Who can she trust? Can she survive where so many men have failed?

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 leading them to places only they can imagine.  Trust them – you’ll love where it takes you!

Thunder by Rita Karnopp

http://www.amazon.com/dp/B00FM1IO0U

The world of professional wresting is a volatile, exciting, and action-packed world and even more so behind the scenes. Keme (Thunder), a Blackfeet fan favorite wrestler at the top of his game, is found hanging from the rafters of his training facility.  Is it murder . . . or suicide?

Find Rita at:   ritakarnopp@bresnan.net

CHOOSING A POINT OF VIEW BY RITA KARNOPP

Every writer must face the question of which point of view they want to use in their novel.  First person?  Second person?  Third person?

Let’s be honest, there are several advantages and disadvantages to each.  Let’s take a look at all three and see what you think.

First Person ~ Many writers believe this is the most difficult point-of-view to write.  The reader only gets to see what’s happening through the eyes, mind, and feelings of a single character.  It’s the; I, me, my, mine, we, and us speaker.

“I confess I should have kissed him when he leaned into me.”

So what are the advantages of First Person point-of-view?

·         It draws the reader in – at a more personal level.  They relate to ‘I.’

·         They aren’t worried about what anyone else is thinking – a single point-of-view is easier to deal with.

·         It’s an easy avenue for internal voice.

·         The sneaky part is – you could surprise your reader - who’s to say the POV character is reliable?

So what are the disadvantages of First Person point-of-view?

·         It’s limited to what the first person character can see, hear, feel, touch, smell, and think.

·         You don’t get that character break because you can’t get into the minds of other characters.

·         The narrator must limit observations only from the first person POV.

Second Person ~ This is the most difficult to write because it’s the story from the narrator’s point-of-view.  It’s even the least favorite of POVs for both the reader and writer.

You wanted to make your move, but she froze when you moved in close.  You jumped back as though you’d been burned.

So the advantages of Second Person point-of-view?

·         It’s difficult to find any advantages- maybe the chance to be quirky or a stab at being different.

So the disdvantages of Second Person point-of-view?

·         It’s difficult to read and quickly lacks that personal appeal that pulls a reader in.

·         It’s rarely – if almost never – successful.

Third Person ~ Now we’re talking about the most common of viewpoints - the he, she, they, them, and it narrator.  It provides endless possibilities for limiting omniscience  knowledge, awareness, insight, and even shrewdness.  The narrator and reader are privy to telling the story.

Are you aware there’s a third person unlimited omniscient point-of-view?  I wasn’t either until I started researching information for this blog.  Yep.  This POV allows the author to enter the mind of any character and shift readers into any situation or setting.

     He wanted to kiss her, yet feared she’d reject him.  Would she think him disrespectful?

     She couldn’t keep her eyes off his full lips.  Why didn’t he take advantage of their isolation and make his move?

I’m not a fan of this style – it reeks of head-hopping to me.

The advantages of Second Person point-of-view?

·         Contrasting viewpoints will enhance and heighten your novel.

·         Shifting from one character’s POV to another gives you a breather.

·         This allows you several conflicting viewpoints and gives you the opportunity to expand the story plot.

The disadvantages of Second Person point-of-view?

·         Head-hopping can occur if you’re not distinct with every character’s POV.

·         Too much POV switching can diffuse the flow of the story. 

·         It’s easy to include too much narrative, instead of letting your characters unravel the story.

Third person limited omniscient point-of-view?  The author enters the mind of just a few characters, usually one per chapter or scene. 

I’m extremely fond of this choice, since chapter breaks provide a natural place for point-of-view switching.

Advantages of this POV?

·         It has all the advantages of third person unlimited POV.

·         You can focus on major characters’ thoughts.

Disadvantages of this POV?

·         I can’t think of any.

Strong Scenes con’t BY RITA KARNOPP #writingtips

There are a lot of really good writers out there who use narrative summary with finesse.  I’m of the belief that paragraphs of such summaries are interruptions and distractions.  They slow the action – which is the kiss of death.

But, if you must add narratives, the beginning of the scene is truly the best place.  Don’t carry on-and-on or your reader will lose interest.  Never add narratives at the end of a scene.  Don’t get me wrong, there is a time and place for narrative.  Just be careful where you place them so the reader’s attention isn’t distracted for long periods of time.

There are occasions when specific information must be provided in order to set action into motion.  Opening sentences such as, “They pronounced him dead miles before reaching the hospital,” “The bullet entered his forehead and exited the back of his skull.  He dropped like a lead ball,” “The tornado evaporated, leaving the town level.”

There are times we can’t show a character’s thoughts or intentions with action.  An accident victim under sedation, a small boy, or even an adult afflicted with Alzheimer.  Narration is the only way to let the reader know what they feel or think.

Remember to use setting as a catalyst to launch a scene.  How about a village on fire, an anaconda slithering across a glass-still lake, or an erupting volcano.  Setting can have a dramatic input on the characters and plot.

Think about a group of people surviving a plane crash in the Ox Bow.  What obstacles does the terrain cause?  Is there any natural food?  How about shelter?  Do they have any way of protecting themselves from predators?  Remember to add fauna and color.  Bring the beauty of the scene alive . . . as well as the dangers.

Then you must consider how this setting affects your characters.  Fear?  Suspicions?  Is there a killer among them?  Is anyone more adapt to leading?  Are they equipped, physically and emotionally, to handle the situation?

How do your characters play off of each other?  Kind verses a hot-head.  Macho verses a computer nerd.  Female wrestler verses a beauty queen.  You can use these comparisons or rivals to show a character’s feelings through the setting.

And always remember the weather can be a great vehicle to reflect a character’s temperament or the setting mood.

Remember that the beginning of your scene should draw your reader into another stepping stone toward the resolution of the plot.  Take your time and draw your reader into the world you’ve created.  You want your reader vested, pulling for the characters, frustrated at times with their decisions and outcomes, and rewarded with breathers of accomplishments and even love.

Make those scenes weave in, out, and around, like a beautifully crafted dream catcher.  Its impact and allure will last beyond closing the cover.   (single dream catcher I made)

STRONG SCENES BY RITA KARNOPP #writingtips

I think of my novel as the intricate weaving of a double hoop dream catcher (this is one I’ve made).  The web is unified and patterned until it approaches a bead or fetish and it has to find a way to conquer it and move onto the next obstacle (as scenes in your book).  It has a beginning, middle, and an end.  No two dream catchers are alike.

Let’s clarify beginning, since I always start a story in the middle of action.  Some might think the beginning of a dream catcher is the top, while others say the bottom, and again others believe it begins in the middle – unwinding like one’s life.  Ultimately the writer gets to choose.

Each scene should catapult your reader into the next scene with questions, excitement, emotions, and even fears.  Before starting the next scene ask yourself a couple of important questions:

1.   Are my characters driving the plot?

2.   Is my reader seeing the bigger picture and what was he/she doing at the end of the previous scene?

3.   What is he doing now?

4.   What evidence or facts need to be exposed, revealed, or uncovered in this scene?

 Move your scenes along with action, plot and setting.

I’m big on moving a scene forward with action.  We know the key elements of action are time and momentum.  The key to crafting sound momentum is to jump into action without justifying or clarifying anything.

So, instead of; Anna imagined what it would be like to strip naked and boldly wade into the lake next to Joel.  Jump into the action; “You don’t scare me,” Anna stared at Joel and dropped her towel. Naked, she dove into the water and slid up next to him. 

Now is the time to introduce a challenge or a shocking event.  Think about the famous scene from Jaws . . . we can’t forget it, can we?  You all know which one I mean.  Yep . . . the scene when the shark pulls the girl down into the water … short choppy jerks . . . I was hooked – riveted is more like it.  I wanted to look away, but I couldn’t.

Now one important thing to remember – make sure you aren’t adding action that isn’t true to your characters.   Keep characters and the action/reaction believable.  In other words, don’t have your character who is deathly scared of snakes suddenly rattlesnake hunting to impress her friends.  Believe me, if you’re afraid of snakes, no amount of self-determination can make that happen. (I’m speaking from experience here!)

Make sure your action comes before thinking about the action or result of her actions.  “Jenna spit the disgusting stew back into her plate, then glanced up.   Jacob stood with feet spread, fists on hips, and jaw clenched.  She instantly regretted her thoughtless action.”

Tomorrow let’s discuss narrative summary within your scenes.

CHARACTERS DRIVEN BY FRUSTRATION BY RITA KARNOPP #writingtips

There is nothing stronger than using emotion to create strong characters that drive your plot and create an exciting, strong book.

There’s a wide range of emotions we use to heighten our plots and create motivation.  If you can add frustration to the mix - you’ve discovered a tool like no other to thrust your story forward.

So how can you use frustration to propel your story?  The Wikipedia explains that in psychology, frustration is a common emotional response to opposition. Related to anger and disappointment, it arises from the perceived resistance to the fulfillment of individual will. (I had to read that three times to get it!)  In other words, when a person really wants something – and they don’t get it – anger and disappointment results.

The greater the obstruction, and the greater the will, the more the frustration is likely to be. Important to understand and develop in your plot.

Causes of frustration may be internal or external.  This can be used in so many good and evil ways in your story.

In people, internal frustration may arise from challenges in fulfilling personal goals and desires, instinctual drives and needs, or dealing with perceived deficiencies, such as a lack of confidence or fear of social situations.  Can you believe that is one sentence?  Okay… so internal frustration is driven by the belief we are inept or unable to fulfill our goals.  This creates fear or a lack of confidence.

Conflict can also be an internal source of frustration; when one has competing goals that interfere with one another, it can create cognitive dissonance.  Internal conflict is a source of frustration that has a character fighting the need to do wrong, when he knows what’s right.  Use this internal conflict to show his reasoning or thinking through conflict, discord, and even opposition.

External causes of frustration involve conditions outside an individual, such as a blocked road or a difficult task.  We create diverse external causes of frustration all the time.  This tool can create an unexpected event that sends your normally calm character over the edge and lose control.  Or it’s the external frustration that propels your already stressed character past control.  It’s the unexpected interruptions and the foil to the perfect plan.

While coping with frustration, some individuals may engage in passive–aggressive behavior, making it difficult to identify the original cause(s) of their frustration, as the responses are indirect. Passive-aggressive behavior is the indirect expression of hostility, such as stalling, sarcasm, unpleasant jokes, inflexibility, resentment, hostility, or repetitive failure to accomplish requested tasks for which he is responsible.

Tomorrow we’ll discuss the propensity toward aggression. 

WHAT WRITERS NEED TO KNOW ABOUT COPYRIGHTS (FAQS) BY BRIAN KLEMS – FROM 2009 #blogjack

Back with Brian Klems …. I hope you’re soaking this up!  Rita

Follow me on Twitter: @BrianKlems
Check out my humor book, Oh Boy, You’re Having a Girl.
Sign up for his free weekly eNewsletter: WD Newsletter 

Can I Use Song Lyrics in my Manuscript?

Q: What are the legal ramifications of reproducing song lyrics in a manuscript? If permission from each copyright holder is necessary, what’s the best way to secure these permissions? Also, can I use a song title as the title of my book?—June Youngblood

A: Song lyrics are copyrighted, which means you need permission to use them. According to our legal expert Amy Cook, there isn’t any specific law about how much you can take under fair use, but it’s common for the music industry to say you need permission for even one line of a song.

“The music industry is pretty vigilant about song lyrics,” Cook says. “This is especially true if you’re using the lyrics in a novel to progress the story or add atmosphere. If you’re a music critic reviewing a CD, you have more leeway under fair use.”

One way you can check to see if the song is still under copyright protection is to visit www.copyright.gov. This online site lists all copyright records dating back to 1978. For anything before that, you’ll need to contact the U.S. Copyright Office and may have to pay to have the records checked for you.

Another way to find the owner of the copyrights is to contact the American Society of Composers, Authors and Publishers (ASCAP) or Broadcast Music, Inc. (BMI). These two major music performance rights organizations don’t grant permission, but they can help you find the publisher of the song you’re looking to use.

Once you find the rights owner, you must ask for his permission. He could offer you the rights for free, completely deny you the rights or ask you to rename your dog after him. The price is completely up to the music publisher.

“As a practical matter, you don’t need to worry about getting permissions until your work is going to be published,” Cook says. “And your publisher may help you in securing permissions. Most publishers provide their authors with their permission guidelines and forms.”

As for song titles, however, titles of any kind (book, song) aren’t copyrightable. But they occasionally can be subject to trademark or unfair competition laws.

“If you used a really famous song title or part of a song as a title —say, ‘Yellow Submarine’— that’s so closely tied to a specific group (or artists), then you’d probably get a letter from their lawyers,” Cook says.

What's Considered Fair Use and What Isn't?

Q: Is it necessary to ask permission to reprint an article if the reprint is used in a strictly academic setting?—Anonymous

A: Title 17, Chapter 1, Section 107 of the U.S. code states that “the fair use of a copyrighted work, including such use by reproduction in copies … for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship or research, is not an infringement of copyright.” But not all material is protected for your free use. There are provisions, and our legal expert Amy Cook says the writer must weigh some factors before considering the work fair game.

“If an article on a hot issue was published, and you distribute it to a large class without permission—ostensibly to examine the writing style—those students wouldn’t go buy the magazine,” Cook says, and the magazine would lose sales. “You can’t destroy the market value for the original.”

Courts also take into account whether the original work is more factual (which more readily falls into a fair use) or if it’s more creative (less likely to be a fair use). The amount and substantiality of the portion used in relation to the copyrighted work can come into question, too; so taking an entire article is risky.

“The bottom line is that writers or users should take only the smallest amount they need to comment on it,” she says. “The mere fact that it’s an academic use doesn’t automatically protect you. If in doubt, simply get permission.”

Brian A. Klems is the online managing editor of Writer’s Digest magazine.