Writers in the Storm

by Sharla Rae

Hey, who’s telling this story? I can make my characters do or say anything I want them to.

Many beginning writers subscribe to this theory.

I hate to break anyone’s bubble but that’s hogwash.

When introducing characters, the author breathes life into them with a physical description, personality, goals and motivations. They look, act and think in a particular manner. Just like real people. If the character doesn’t stay true to themselves, their actions will make no sense and readers are pulled out of the story.

Imagine:

• The drunken, hardnosed character Rooster Cogburn, (John Wayne in True Grit) suddenly goes soft on Mattie Ross, Kim Darby’s character?
• Mary Poppins takes a belt to her charges?
• 007 gives up his cool and goes mushy over his many sexual encounters.

Would you believe it? No. Because in each case the writer showed the reader who these people are – on the surface and deep down.

Two of the most common out-of-character traps involve age appropriate problems and inconsistent behavior. Ask these questions:

• Do my characters act their age? A mature woman or man of 30 to 35 years of age will not act, think or speak like a teen or young person fresh out of college. Recently I read a published book where a 32 year old female executive talked like a teeny-bopper when she got together with her thirty-something girlfriends of the same age. It totally threw me. Women of all ages talk a little trash with girlfriends but the nature of their conversations, even the language is different between age groups.
• Do my characters act and react in a manner consistent with their personality? Someone afraid of heights doesn’t climb a ladder. A grouchy loner doesn’t suddenly play slap-stick jokes on people. A prissy little girl won’t want to play baseball with the neighbor boys.

If a character does something that would never come naturally to them, they must have a good reason/motivation for the change of behavior. Example: The character who is afraid of heights might climb a ladder if a rabid dog is on her heels. An honest cop might rob a bank if villains are holding his family hostage.

My favorite tools to keep my characters in line are Character profile sheets, Horoscope personality profiles and Research. The number one rule in using these tools is: Always connect the dots between them.

Character profile worksheets serve as fast and easy reminders to writers. They include a list of physical descriptions, best friends, dress, enemies, ambitions/goals, sense of humor, temper, basic nature, personal quirks, habits, talents, hobbies, family backgrounds, profession, educational background etc. .

A common weakness in these profile sheets is that they shed little light on personality. That’s why I dig deeper. I search horoscope signs for personalities that best match my characters. Whether you believe in horoscope readings or not, the personalities listed under sun signs provide a great basic outline of a particular personality.

Horoscope personalities are especially helpful in determining how a character will react to a particular situation. Example: How would a hero with a Cancer personality react if he lost all his money or fell into a fortune? Money is no joke to the taciturn crab.

There are many horoscope books but I love Linda Goodman’s Sun Signs. This treasure lists the general characteristics of each sign and more. For instance, Goodman describes the Taurus child, Taurus adult male and female, Taurus boss and employee -- the total personality package. She also explains how these personalities interact with each other.

What about a character’s romantic relationships? Linda Goodman’s Love Signs is amazing. Each sun sign is listed and then coupled with all the other signs to point out what the good and bad matches may look like, why they work or why they won’t. Example: Aries with an Aries, Aries with a Capricorn, Aries with a Taurus etc. Goodman further breaks it down into the female and male of each sign. Example: Aries female with Capricorn male or Capricorn female with an Aries male etc. .

Note: While Linda Goodman has passed, her books are still available. I recently looked at another Linda Goodman book on Amazon called Linda Goodman’s Relationship Signs. The contents suggest it contains a relationship chart worksheet. Sounds very interesting!

Do your research.

Horoscopes don’t cover nitty-gritty idiosyncrasies. What if you’re writing about a thief, a slave, an ad executive etc.? Research types of characters by reading autobiographies and biographies of real people who share a similar background with your character. Writing about a serial killer? Read serial killer profiles. Writing about a Hollywood star? Read up on their lives, their business and what it’s like to walk in their shoes. Then connect the dots. Determine for instance how your Aries female will handle her stardom.

Okay, say you’ve chosen your sun sign and done your research, but the personality thing still doesn’t quite jive with what you had in mind. We all know people who don’t fit the mold and characters are no different. So, can we color outside the lines or are these personalities set in stone?

Color outside the lines but don’t let the crayon slide off the tablet.   

Here’s a real-life example: My friend is a Gemini but she was born on May 24^th making her very close to Taurus. Most of the time she is more Taurus than Gemini, but she does share traits of each.

It’s okay to combine personalities if it suits your purpose. It actually makes for a more interesting character, perhaps one with more layers. Just make sure to outline the personality carefully and keep the character true to him or herself.

What about character arc/growth? While characters learn from experience and goals may change as the plot evolves, their basic personality won’t change. The manner in which they handle situations or problems should always reflect who they are – even when they’re pressured into something that isn’t natural to them. Connect the dots.

Like all tools, profile worksheets, horoscope personalities and research aren’t failsafe, but they are great guides for new writers and even for the seasoned writer who is writing a complicated character.

Helpful Links:

Very good character profile sheet by Laura Hayden: http://www.suspense.net/profile.htm

Character profile sheet by Ylanne Sorrows: http://www.roleplaygateway.com/character-development-profile-template-t32760.html

Character profile sheet from Writers’ Café: http://www.writerscafe.org/groups/Create-a-story-based-on-a-character-profile./3491/forum/12132/

So, how do you keep your characters true to themselves?

 

By Laura Drake

Have you ever heard this Indian Parable?  Six blind men try to determine what an elephant looks like by feeling different parts of its body. The one at the tail says an elephant is like a rope; the one at a leg says it’s like a pipe, the one at the ear, a fan, and so on.

This is how I plot, and it’s maddening.

I’m a character-driven writer.  I get the character first, and a theme.  The plot develops as a natural progression of my protagonist’s arc. “Natural progression” sounds so orderly and logical, but it’s not. I get illusive snippets, disjointed puzzle pieces seemingly cut by Dali on hallucinogens.

But the snippets are good – that’s the problem.  I know there’s a book in there if I can just pull it all together, but like the blind men, I have no clue how a rope fits with a fan, or a pipe. My mind won’t leave it alone.  It keeps coming back to worry at the puzzle. I dream about it, I bounce it off people, I despair.

Then I make a connection and a piece falls into place. Aha!  The impossible becomes logical. I’m now convinced this is going to be a stunning work of brilliance. I can see the cover, reclining in accolades amid the other best sellers in Costco.  I’m so proud. I start writing the acknowledgements page in my mind (okay, that was an embarrassing admission, but I’m among friends, right?)

Then I move on to the next issue. How the heck do a rope and a pipe co-exist? This is impossible. This plot is vomit, and my crit group is going to exchange sad head shakes behind my back. My brain goes back to worrying at the problem.

I’ve heard that when Michelangelo looked at a slab of marble, he saw in it the completed sculpture. Then all he had to do was chip away what didn’t belong there.  I want THAT!

These elephants are messy, take them away...

How do you plot? Is it easier?

Setting Boundaries Around Your Writing
by D.A. Watt

This morning, while basking in the early morning quiet in my yard, I studied my little orchard of citrus trees – a navel orange, a mandarin, and a lemon.

My dwarf lemon tree, over-laden with ripening fruit, bent uncomfortably, its branches pulled taut like broken bones, twigs nearly touching the ground. My tiny tree, this lopsided hoarder of lemons, refused to let go of even one fruit to lighten its load. Though I’m tempted to prune one of its branches and offer some comfort, I am also chafing for the lemons to ripen. You see, I’m in it for the juice.

We writers are a bit like my lemon tree. Our lives, full and heavy laden with fruit, are often burdened by too many branches: friends, work, charities, school, the nurturing of those we love, not to mention the care and feeding of our “body of words.” These responsibilities can make us lopsided, causing us to tilt to the point of breaking. Sometimes we must take a moment to prune, give away some fruit, or release a little juice.

“Be mindful of your time,” Seneca says, “you are given only so much.” He’s letting us know that there’s daily choices to be made. Prune your excesses. Say, “No,” to something or someone. Lop off a branch or shorten it, don’t hoard all your fruit like my lopsided lemon tree. Give some away.

It’s okay to take a hiatus, only not from writing your “body of words.”

Some of you practical-minded writers, the ones I call Boundary Hunters, I know what you’re thinking: “Geez, just set boundaries and stick to them, delegate to others, hide, run away, lie.” That’s not me. I’m still learning how to prune in a way that suits me.

No matter how organized we are, we are gifted with the same 24-hour day. I used to ride horses, a passion of mine, and have put horse time aside, for now. I can’t do it all or have it all if I want to write.

Currently, I am pruning my virtual and real social network so I can spend 2 hours writing each day. I’ve taken the advice of Susan Elizabeth Phillips to heart and now I keep a stopwatch beside me, clicking off the timer when I take breaks or need to attend to something other than my writing. Once I resume writing, the timer clicks back on. It might take me ten hours to get two writing hours but even if I want to go beyond my two-hour limit, I don’t. The stopwatch is King and I obey.

When two hours a day becomes a habit, then I will allot more time to writing each day. I have learned that once I overload, I cannot bear much fruit. For now, I am modifying and resetting my boundaries, habits and routine, pruning as I go. I am learning to be a Boundary Hunter in my effort to be fruitful without breaking.

Hint #1: When extracting lemon juice, roll the lemon like a hardboiled egg on a hard countertop, pressing down with the palm of your hand as you roll. Then cut widthwise in half, insert fork tines and wiggle, wiggle, wiggle to extract juice into a cup. When finished, fish out pits with fork tines. If the pits are too small, eat or drink ‘em. That’s what I do.

Hint #2: If you would like something more than a stopwatch to help keep you on track, try http://www.timetimer.com/products/products.php.

My favorite, especially for the ADHD minded, is the Watchminder, you can preprogram up to 30 times a day and the watch vibrates: http://www.watchminder.com.

Lastly, for more variety try http://www.eadhd.com/?source=google&gclid=COuktsOF66cCFQmt7Qod8XLmZw

Stay thirsty,
D.A. WATT