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Posts tagged ‘characters’

How and why you should develop intuition in your characters

This morning, I was working out at the gym on an elliptical machine, not thinking of anything, when suddenly an intense sadness welled up inside me. Having lost my husband over two years ago, I thought it was another layer of grief so I allowed it to rise up and release but instead of releasing, the feeling became more intense and raw. Tears welled up as I continued to work out. I couldn’t figure out what had triggered the feelings and why they were so incredibly strong. And then a thought flashed through my mind—whose feelings are these?

From years of working with and helping people, I know that sometimes I’ll intuit other’s thoughts and feelings, but I’m usually pretty good at recognizing when this happens and setting up my boundaries. For me, this means doing a specific visualization.

This morning, the thought persisted that the sadness I was feeling wasn’t mine. I looked at the man working out on the machine next to me. He didn’t look sad. He didn’t look as if he was in pain. He seemed fine. Read more

Showing vs. telling: Take down the wall between your character and your reader

I’ve heard the phrase “show don’t tell” at least a million times in my writing career. And, mostly, that’s good advice—though there are times when “telling” is more economical and gets the job done.

But in most scenes, and especially when I want to draw my reader into deep point of view, I try to show as much as possible. I draw on the senses instead of my character’s intellect.

In other words, I want my readers to experience the event with my character instead of my character filtering the experience for them.

Below are a few “before” and “after” sentences from my current manuscript: Read more

Use NaNoWriMo month to hone your character’s deep point of view

National Novel Writing Month (NaNoWriMo) begins tomorrow, November 1st, and is the perfect opportunity to hone your character’s deep point of view.

What is deep point of view? Author and writing teacher Rhay Christou says, “In deep point of view the character owns the page and the author becomes nonexistent.”

Deep point of view will hook your reader and keep them entranced with your character and story.

Why is NaNoWriMo perfect for diving into deep point of view? Because we’re focused more on word count and less on structure, it’s a great time to just let go and be in the voice of your character. Forget about “he said/she said” or filter words like “she thought/he felt/she saw.”

Get a feel for your characters by asking them questions and getting to know them. For a list of great questions and other tips for diving into deep point of view, read Rhay’s post here. If her ideas resonate with you, or deep point of view is something you want to work on, consider taking Rhay’s online course in November with me.

In my next post, I’ll share more tips for getting to know your characters and diving into deep point of view.

 

Fiction writing: A lie that tells the truth

“We all know that Art is not truth. Art is a lie that makes us realize truth at least the truth that is given us to understand. The artist must know the manner whereby to convince others of the truthfulness of his lies.” –Pablo Picasso

 

In his Ted Talk, “Why a Good Book is a Secret Door,” children’s author Mac Barnett quotes Picasso and says he loves writing for children because they make the best audience. Children are so willing to enter other worlds.

He says good fiction will leave us with the feeling that the characters are real even though we know that they are not.

As a kid, he loved reading fantasy stories like the “Chronicles of Narnia,” and he was always looking in the real world for doorways to the fictional worlds he’d read about.

He talks about a writing technique called metafiction, which is a story about a story but he says instead of the audience breaking the fourth wall into the story, he prefers to have his books break the wall and enter reality. He wants his fiction to open up into the real world, to create a doorway into our world. Read more

Don’t miss a beat: Get into the heart of your character

In a previous post I wrote about a little technique I learned from author and writing instructor, Rhay Christou, who teaches for the online Lawson Writer’s Academy.

Develop your characters through dance” highlights a short video by actor Kevin Cox demonstrating how to unlock your body and mind in order to delve deeper into your characters.

Another tip I learned from Rhay is called, “Don’t Dance. ACT!” In this exercise, you pick a moment in your scene where your character is having (or is supposed to have) an emotional response to something. Choose one emotional beat. Now get up, stand in the middle of the room, and close your eyes. Picture yourself in your character’s setting. Become the character. What do you feel? Hear? Taste? Open your eyes. What do you see? Does your setting affect how you feel?

How are you holding your body? Tense? Relaxed? What is your body doing? Facial expressions? How do you feel? Angry? Sad? Frustrated? How does it show up in your body? Are you having a visceral reaction? A thought?

Now grab your journal and write as much as you can without stopping. If more feelings come up, write them down. Keep writing. Can you add anything to your scene to make it stronger?

In my chapter one, my protagonist, a veterinarian, struggles to save the life of a dog. Her boss forces her to use her mysterious powers that she has tried to run from ever since her mother died (she blames her powers for her mother’s death). When I close my eyes and become my character, I ask, “How does it make me feel that my boss has forced me to use my powers?”

Here’s what I wrote: “I’m angry. Pissed off. Want to hit something. My body feels tense, rigid, so tense my breathing is labored and tight. My chest feels like it’s in a vise, pressed together like a moth between glass. How dare she! She has no right to call on my powers. Total invasion. And what’s worse is she doesn’t realize the consequences. She doesn’t know that somebody could get injured or die. I never should have trusted her. Should have kept my mouth shut. Granddad was right—don’t trust anybody with my secret. Let this teach me…never again.”

Do I have any of these feeling in the chapter? Noooooo. After she saves the dog, my protagonist and her boss have a nice little chat about their dating life. Right. Revision time.

Ever notice how sometimes when you write, your brain kind of does a little hop-skip-and-a-jump ahead of itself? Mine does. Sometimes, I miss whole reaction beats. My character skips from one thing to the next without really processing what’s happening.

These exercises help me slow down and pay attention to how my character feels. They get me out of writer-brain and into the heart of my character.

I highly recommend any of the Lawson Writer’s Academy online courses. You’ll learn tons and meet some really cool writers. Check out their September classes here: www.margielawson.com or see the list below:

Master The Synopsis!
No. More. Whining.
MASTER THE SYNOPSIS! Starts Monday.
Instructor: RITA Finalist Jennifer Archer.
Sept 1-26;  Fee:  $50
http://bit.ly/MasterSynopsis

Submissions That Sell
Make your query SELL your MS.
Instructor:  RITA Winner Laura Drake.
Sept 1-26;  Fee:  $40
http://bit.ly/SeptSTSell

From Blah to Beats: Giving Your Chapters a Pulse
In 14 short lessons, learn how to make your chapter a lean and mean beating heart.
Instructor: Rhay Christou, MFA
Sept 1-30, Fee:  $50
http://bit.ly/GiveChaptersPulse …

From Homeroom to Last Bell:Hero’s Journey in YA Fiction
YA Writers: Fab class.
Instructors:  Jennifer McAndrews, Linda Gerber
Sept. 1 – 26;  Fee:  $50
http://bit.ly/HeroJourneyinYA 

Story Structure Safari
Instructor feedback, priceless. You’ll find your Story GPS.
Instructor: Lisa Miller
Sept. 1 – 30; Fee:  $50
http://bit.ly/SeptSSS

Getting Serious About Writing a Series
Lectures, plus tips from 18 fab authors.
Instructor: Lisa Wells
Sept. 1 – 26;  Fee: $40
http://bit.ly/WritingSeries 

Virtues, Vices, and Plots
Need a New Approach to Plotting?
Sept. 1 – 26:  Fee: $50
Instructor:  Sarah Hamer, MFA
http://bit.ly/SeptVVP

 

 

 

Deep editing: Make each word count

In July, I took Margie Lawson’s Immersion Master Class, an intensive three and a half day workshop on deep editing. My brain is still teeming with all the tips we learned to turn our manuscripts into bestsellers.

One day, as we reviewed one of my first-draft chapters in my current project, we came across a short paragraph about a character’s driving skills.

In the scene, my character is driving along a dark, windy road in the mountains at night when he comes across my protagonist walking along the side of the road after she’d just seen her maybe-boyfriend sucking face with another woman. (Every time I hear the words “sucking face,” I think of the 1981 movie “On Golden Pond,” where I first heard the term. The power of fresh writing!)

Anyway, the driver of the car offers my protagonist a ride home (she knows him—he’s the new man in town). She learns more about him and why he’s in town. He ends up giving her relationship advice and flirting heavily with her.

Here’s the paragraph in question:

“Hmmm,” he said, tapping his brakes before the next curve, then laying off them during the turn. He handled the vehicle as if he’d had years of experience coaxing the two-ton beast into compliance. “Any news on your grandfather?”

Questions that came up in class: Read more

Develop your characters through dance

Thanks to Rhay Christou, author and writing teacher at www.MargieLawson.com, for introducing me to this short video below showing a fun and creative way to develop your characters.

Actor Kevin Cox offers advice to other actors that can be beneficial for writers, too. He says we should be able to express our character physically. He suggests dancing out your scenes—try different styles of dance like hip hop, ballet, tango, salsa, waltz, etc. Give your dance the attitudes of your character. This will help unlock your body and open up your potential to connect with your character. If you have two characters in a scene dance out one character’s part then dance out the other character’s part. How do they differ? What did you learn?

Once you’ve got the dancing down and you’re still in your character’s skin, close your eyes and ask some questions. What do they feel in the moment? How are they moving? What do they taste and hear and smell? If they opened their eyes right now, what would they see?

Watch this 3-minute video and then read on:

I just tried this (in my side yard where no neighbors could see me) and discovered the following:

* My protagonist feels heavy in her body when she’s with the antagonist she is attracted to (she’s not overweight so this is a reflection of her emotional state);

* She feels lighter in her body and soul when she’s with her ex-boyfriend who she is also attracted to.

* The difference is the antagonist leans in on her energy, he is trying to get something from her and wants to control her. Her ex-boyfriend wants her to be herself and to fulfill her potential but only so that it completes her and not him. Wow. Love it. And this is just the surface stuff…I bet if I dig deeper into the dance, I find more.

Try the exercise and tell us what you experienced in the comments below.