Thinkin' Thursday - Hat Love

I love hats. Paper boy, fedora, baseball. Winter caps, cowboy brims, sombreros. And I'm not talking about the, "Wow, that's a cute hat," kind of love. I mean gotta try them all on at the store hat love - yes, I'm the one. Plant, preview, reject. You see, there's one small problem.

My head is too small for the adult hat!! Not kidding. The paper boy with the button in the center and the cocky, I'm so cute, brim falls right over my ears. The winter knit with the top bobbin flops below the brow. And really, sombreros just overwhelm the rest of my body.

When my kids were little, I could wear their hats. But I have never been able to wear the ones made for 'the big kids'. I'd even do a bonnet if I thought it wouldn't slip into the ridiculous. But alas, small head  = small features = no hats for me. : (

But, that doesn't mean my MCs can't embrace my hat love. Through them I am a vicarious cap wearin' kind of gal. And - I am grateful.

So here's the que-ey: What things do your characters do for you? When mining attributes, how do you apply your own make-up to your literary friends?

Happy Writing,

Patti

Lights On

Ever since I was a little girl I have suffered through chronic nightmares & the occasional night terrors. I even had the same 3 recurring nightmares until I was in my early 20s.

Ghosts, hell hounds, Freddy Kruger; they're all in there. I would pull the blankets over my head, turn on my side; my heart would beat so furiously, one would swear Cerberus & a thousand other minions crowded into my room bent on ripping me to shreds.

Jerk me awake, scare me stiff fear crashes over & robs me off coherent thought. And, it is at this moment that the lights come on. I can't sleep unless I am showered by illumination distilling the dark corners & bathing the entire room in goodness. My feet don't hit the floor; my ears shoot to wolf precision. It's sad sometimes when I think about it. I'll be 42 in a few months & yet I still flip the switch when the demons come to call.

When we first got together, my husband didn't understand it. But, after a few times of blood-curling, hair-stiffening screams in the night, it didn't seem to bother him as much. Now, he doesn't even comment on the lights, except to ask after the craziness living in my head & make sure I am alright.

Last night was no different. Ghosts this time, cornered me under a blanket in the middle of the floor. They invaded my soul, tortured me across the center of some weird little apartment complex. No one answered my screams & then no sound escaped my lungs. All I could think was that I needed to pass out, get out. My body half-lunged from the mattress trying to reach the light switch. And then it was over.

I've often wondered how to incorporate this little quirk of mine into a character. I'm thinking I could spin it to the portentous & supernatural. Try to turn it into something fun/helpful rather than terrifying. What about you guys. Have you ever considered or actually written your own idiosyncracies into a character? If you did, did you find it therapeutic or too exposing?

Happy Writing,

Patti

Quirky Is the New Real

Every single one of us has quirks. Things we do that are unique to us, our families, our peer groups, etc. These little idiosyncrasies are what make us unique. They are ingrained in our behavior.

In my family, falling up stairs is much more common than falling down. What makes this interesting is that this is my married in family, but we all share this genetic predisposition to fall up. My niece & I are the most frequent offenders. Ascribing this attribute to a character could be fun - the klutz as detective. Ya know, tripping over bodies, accidentally uncovering evidence when he/she bends back a toenail.

With my parents, the quirk is how not to talk about things. This of course leads to a lack of family reunions & get-togethers. Who wants to hang out with people you can't really talk to anyway?? Ah, but the unspoken is sometimes much more interesting than the oral. With this quirk, white space is your friend; the sentiment is left on the fringe of the paper which amps the trauma & drama.

I have a friend who, when she's done listening to you, paints her lips with the ends of her hair while she stares into space. Another, twirls her hair when she doesn't want to discuss something. For women, hair is one more weapon in the beauty arsenal; a hair cut, a style. When used as a barrier it becomes an interesting device of protection, avoidance &/or misdirection. This quirk adds depth to a witness, a best friend who doesn't lie well, or an MC playing the innocent victim.

I have yet another friend whom I love dearly. She has had a host of surgeries over the last ten years; knees, back, neck. We can rebuild her. But, we can't make her go on a diet. My friend is chronically overweight & yet she insists that she needs to drink at least one Dr. Pepper a day to keep her blood sugar up. So, an overweight, hypoglycemic with a soda addiction. That is a contrast made for writing. And, the quirkiness of it, adds a level of reality that readers will recognize.

Quirky, quirky - we're all identifiable. Don't need fingerprints, DNA, or any other scientific identification. It's the little things that observation & character development are made of.

Happy Writing,

Patti

I Fell & Lived to Tell

On Friday, I had a plan. Write my post and take my mother-in-law, Mary, to the doctor. Her appointment was scheduled for 10:40a.m. or so I thought.

I arrived at her house to pick her up. My brother-in-law, Joe, told me my husband had already taken her down.

"Why, her appointment isn't until 10:40 and," I looked down at the clock to the right of the dash, "it's only 10:15." It's important to note that we live literally five minutes from everywhere in this town. So I had plenty of time.

I started down the road to the same doctor's office I have taken her every month since we moved here. I ran into my husband heading back to pick up Joe. I turned around and met him back at the house. Which turned out to be a very good thing.

I parked, hopped out of the truck and tossed them both the look.

"Don't give us that look. We're not the ones who are late," Joe said, his laugh echoing from the passenger seat.

My husband laughed. I laughed - not so much.

"I have your phone and your gas money," I said to hubby as I crossed the street.

"Hey, you know which doctor you're going to right?" hubby asked.

"Uh, yeah, same one as always."

"No, mom's at the one across from the high school. You know that brown building to the left of where the crossing guard stands every morning?" hubby asked when I gave him the blink-blink.

"Oh, okay." And off I went.

I got to the office just as she was coming out. She scheduled her next appointment, which I can assure not to forget or be late for because it's on my birthday.

I pulled the truck around, helped her into the front seat & we headed out to the grocery store. When she had picked up her prescription & some groceries, we decided it was time for lunch.

We went to her favorite restaurant; all homemade, all fresh. Bread so warm, you swear it will melt in your hands. The best BLT you've ever had in your life - untoasted with wimpy bacon in my case.

After lunch, we made our way back to the truck. And I said, "I have to stop by my house real quick before I take you home."

"Okay," she said.

We chatted all the way to the house. I parked in my driveway, turned to her and said, "I'll be right back."

"Don't worry about me, I'll be fine. Take your time."

This is that moment where the average gal would have said, "Oh, yeah, good idea." Not me, I charged right up that first step, the toe of my boot caught the second and those Trex boards and I had an inauspicious meet. I flipped to my side to lessen the impact, whacked my head on the final step and lay there for a second.

Poor Mary, who is 84 years old & uses a walker, watched this whole thing play out. Tried to scramble and figure out how she could get out of the truck, pick her way around the front and reach the gate without falling. Before she made the attempt, I sat up, produced a smile and double thumbs up and proceeded inside.

As if this whole thing weren't bad enough; broad daylight, witnesses, the regular stuff character building moments are made of. I then had to tell the story four different times that night. And again a few more because that meet and greet with the boards led me straight to an up close and personal relationship with my heating pad all weekend.

Good news, I'm pretty darned hard-headed, so the bump cleared by Sunday. Bad news, back's still swollen, shin is bruised and from shoulder to wrist is tender. Yeah, those character building moments just don't have as much impact unless you have the wounds as a reminder.

Happy Writing,

Patti

Thinkin' Thursday - If You Really Knew Me

I'm not an MTV junkie. I was there when it launched; when all they showed was the same 10 videos every hour. Tennis racket in hand, I became the lead guitar while my siblings made up the rest of the band. Those days are looooonnnnggg gone. I can't play Guitar Hero & the only Rock Band instrument I can handle is the microphone. Which is made even sadder by the fact that I am completely, and I mean completely, tone deaf.

But, I do have teenagers. And, I got sucked into a few episodes of 'If You Really Knew Me'. And, just so ya know, I bawled like a beauty queen on crowning eve every single time. I can't help myself. Kleenex is my only defense against the emotional onslaught.

This got me thinking. As we fashion are characters, we detail their individual biographies. We know everything about them. But, we don't spill it onto every page. There are things that are never translated. So, if you were to pick a character, who would it be? And, what one thing would you want readers to know that is never typed into the tale?

As for me, one of my characters has a quirk where she pinches the inside of her palm whenever she gets stressed. This is borne out of her insecurities & a need to exert emotional control.

Happy Writing,

Patti

Level Up

For the last week, I have been reading Orson Scott Card's Characters & Viewpoint. Mondays post as well as today's are based on me learnin'.

When writing our novels, there are a host of characters that come along for the ride. They increase the level of realism, create greater connection to the story & keep readers moving through to the end. The level of importance placed on each determines where they fall in the pecking order.

Third String - The butcher, the baker, the candlestick maker. These are the stereotypical people who serve drinks, open doors, drive carriages, or perform some other inane function. They do nothing more than provide the impetus for moving through to the next part. They don't have names. They do their job & then fade into the wallpaper.

Second String - These folks are good for one or two simple acts that twist or drive the plot in a small way. They make a difference but readers don't get emotionally connected to them. They can be eccentric, exaggerated or obsessive. It's all about playing time; the more time on the field, the more important the player.

Heavy Hitters - These are the emotional investments. These are the heroes/heroines, the movers & shakers & heart of the story. They make choices & are powerful motivators in the tale. The lens is in focus on them, their actions & their reactions. They take up the bulk of the piece. They are active participants. If the reader cares, the reader dares. It's all in the POV; narrator or POV character, these are the actors that bear the most weight.

From the page to the busty barmaid to the knight errant, writing involves a cast of people that populate the pages. The more we are devoted to them, the more readers will care about them. And, a writer's level of focus will determine the a reader's level of emotional investment.

Happy Writing,

Patti

Proso What??

Prosopography – try saying that 10 times fast. It is the study of collective groups based on biographical data. There are several volumes dedicated to the information gathered from ancient cultures. It looks at appearance, occupation, personality traits, etc. It then extracts statistical data in order to define groups of people.

This word found its way to my inbox yesterday & I couldn't help myself. I had to look it up. Which led to the reading of 2 dissertations; which led to blurry vision & a minor headache. But, I survived.

Now, I love statistics & I have the MBA to prove it. I love it for 2 reasons; numbers are empirical & the data can then be skewered any way ya want. We are all familiar with Gallup Polls – same thing, different goal. And, of course, there is always the variation disclaimer. For this exercise, and because our sample group is miniscule, we can assume tremendous +/- percentiles. 

Another thing I love - Arthurian legend. I have read Mallory, Whyte & others. I have seen the movies. Of course, Captain Picard as Round Table guy is only freaky when viewed in retrospect. Although, I am a big fan of Gwen as strong female rather than cheater. And then, there is the Sam Neill mini-series & the SyFy Merlin. So, here we are, looking at some interesting possibilities from the early to mid 500s.

Town - Camolodunum (aka – Camelot)

Biographical Data	Art	Lance
Ethnicity	Anglo-Saxon/Celt (just guessing)	Gaul (French)
Occupation	King	Knight
Marital Status	Yes – 2 deceased, 1 committed	Yes
Children	1 (incestus accidentus)	1 (Galahadicus redemptus)
Religion	Celtic/Christian (depending)	Christian
Social Standing	Supa-stah	Bestie
Cause of Death	War/Heartbreak	Heartbreak/War

So, from this very small sample & based on myriad sources, what can we extract? Hmmm, well, let’s peek. Two different regions; not much there. Career – lifelong commitment after ascending the food chain. These people are definitely in the marriage business. But, they don’t appear to have many children – this would of course require more study. Religion may or may not be important. As for social standing, it looks like being these two pays, sorta. Last is cause of death, and here is where some might be inclined to fall off the cliff; because, war & heartbreak seem to being leading causes during this time period. Now, I don’t know if this means these guys are saps, if the heart is a highly guarded commodity or what. But it is interesting nonetheless.

What does all this have to do with writing & characters? Well, whether we are writing historical, contemporary or futuristic, there exists a stock of background characters necessary to the enrichment of the environment. And, prosopography provides interesting tidbits from which we can weave realism into our characters & tales.

Happy Writing,

Patti

Hi, Ho, Hi, Ho - 6 Character Mines

Characters populate novels, short stories, jokes, etc. Where do writers find them? Everywhere. The world around us is populated with snippets of character that spark full flying ideas. Here are 6 places to uncover a cast of characters.

I'm just not that interesting - OH, but you are! Your life is fraught with your perspective. And from this, you can draw a host of character puzzle pieces. The crazy uncle, the tee-totalling aunt with the hidden Scotch, that family vacation gone wrong, Christmas with the whole fan-damily. There is an endless supply of ideas from the people in your life. Get out your pick axe & start scratching.

Stranger Danger - Not too long ago, I took my mom-in-law to the doctor's office. Writing book & highlighter firm in my lap, I happily studied along. And then, out of the ether, 2 of the ladies behind the counter began talking. I didn't pay attention at first, and then one of them said, "Her little legs were pumping so fast, flames shot off her heels." Wow! Perfect strangers, to me, carrying on about who knows what. But, I whipped out a pen & paper & wrote it down. Why was she running so hard? Who was she? Where was she going? Sports, in trouble, danger; what could it be? No pick axe handy, I plotted the land to be excavated.

Hey, I know you - Brothers, sisters, spouses, friends - all the peeps in our coop. I'm not suggesting a character study of your hairdresser, but there are events that deserve a little more investigation. Problems arise when we try to dictate the happening rather than allowing it to spark an idea that grows far beyond the person it happened to. Mine events, not your loved ones.

There's this great analogy - I've never killed anyone, but I've hurt people's feelings - intentional, unintentional doesn't matter. The result is the same. I took something that I can't give back. And, from that I can imagine why someone would murder another human being. Why revenge is cold porridge. How a person works to make amends. See, no Colonel Mustard in the library with the knife; but I can dream. Utilize the mining tools, find the situational commonality & from there a character will emerge.

Yeah, I don't remember that - If I have learned anything in this life, it is the universal truth that distance alters perspective. Events from my childhood are simply that, but the host of experiences garnered along the way mold & reshape those. My perspective changes as I grow. Characters start out in Crapville, work their way down the gilded highway, only to emerge in Happy Place, Alrighty Town, or back in Crapville. There are rare gems deposited in our memories; extract at will.

I create my own reality - Whilst traveling down memory parkway, take a minute to stop & investigate the events. Walk around them, feel them & then take them out of context. For instance, in college, I met a really super-smart gal. We became good friends. We had several classes together & thus developed a competition of sorts. Grade comparison ensued. What made us do it? That is the beginning of character development. A driving need to win, to be smarter than, to prove something to ourselves. Anyone of these provides some interesting characters, traits & goals/motivations. Blast the memories to smithereens only to create newbies.

Characters abound. Writers mine for the right one - natural gas, coal, diamonds. We fashion them from the raw to the exceptional beauties they are.

Happy Mining,

Patti

Thinkin' Thursday - A Question of Character

picture courtesy of IMBD

This week has been about building characters. We are observant of the human condition; we imagine the lives of perfect strangers. Literature is chop-suey stocked with fully formed individuals that we have an emotional investment in. Recent releases have worked to explain the lives behind the curtain of the novels in which these characters appear - Rhett Butler's People for one.

I have always loved Mr. Darcy - the brood. I have read & seen more renditions of this character. And I love them all. He is a wonderful representation of the time period & class to which he belongs. As to a past event, I would go to a gold digging, no title girl along the lines of Vanity Fair who tricked someone close to him or maybe he himself. Who knows? But, it's certainly fun to think about. 


Who are some of your favorite characters? Why? And, what one thing do you envision in their past that resonates in their present?

Happy Writing,

Patti

Meat & Potatoes

From cardboard to real food, characters are built from the framework to the flesh. When I think of this, I envision one of those Victorian dressmaker's forms. The wire frame has a simplistic beauty all its own, but when the layers are added, a beautiful gown begins to emerge.

Mr. Corbett laid the framework for the garment; we have pinned it together. Now, it is necessary to add the thread that binds, the buttons the fasten, the embellishments that style & flair. We can look at these additions in terms of yesterday's Scrooge character example.

The Naked Dream - This is the moment of your character's greatest fear. For Scrooge, loss is his greatest fear. Doesn't matter the object. He wants the cake, the fork & the full belly. But, in choosing one object over another, he continues to lose & suffer.

I'm sorry, so sorry - Sorrow, a deep abiding emotion the elicits deep sadness. Scrooge's misery transforms him into a depressed, angry little man holding on to the only thing he can - his moolah. In defining his greatest sorrow, I would opt for the girl. When he lets her go, his life becomes deflated & driven by the need to gather unto himself. This leaves little room for anything positive in his gray miniscule existence.

Happy, Happy, Happy - Joy, 'tis the season & there are a multitude of reasons. Scrooge's joy is captured when he survives the night & discovers he hasn't missed Christmas. Color invades his world. His cheeks grow rosy, his heart light.

Epic Fail - The worst of failures are not what define us or our characters; it's how we deal with those cards. Hold 'em or fold 'em - this is the true failure test. Scrooge's worst failure? Choosing finance over love. All are tested, not all choose wisely & Scrooge is no exception.

The man behind the curtain - Shame. Dishonor, profound embarrassment. Scrooge cringes away from Marley. He knows he's done him wrong & facing him is tantamount to facing his deepest shame. Every single person on the planet has those moments they don't want exposed to the light; so too do our characters.

Off with her head - Guilty, guilty, guilty. Coupled with shame is the guilt that drags its ugly butt in the back door. Scrooge's profound guilt is demonstrated in his reconcilliation with his nephew & his embracing of the Cratchit family. Were it not for his amends, the reader would be left feeling he learnt nothing.

Pardon me - Redemption & forgiveness. Yes, we can forgive ourselves, but it is those we have wronged whose forgiveness we most desire. In order to escape his self-made prison, Scrooge needs his nephew to welcome & embrace him. He needs the Cratchit family to allow him to help - what good is all that money if he can't help poor Tiny Tim. But, it is through the generosity of others that Scrooge is released because he is finally ready to let the light shine in.

And there we are, the 7 dwarfs of momentous character development. The more fully developed the character before the words are written, the more believable, fluffed out people color our pages.

Happy Writing,

Patti

Don't Eat Cardboard

In this post NaNo world & with my lessons firmly in mind, I came across David Corbett's article in the January issue of Writer's Digest. Rather than create 2D, cardboard, paper doll characters, writers need to develop fully formed individuals that live, breathe, eat, go to the bathroom people. One way to get from pale to compel is to employ the Emotion-Driven Method. Here's the shopping list....

I Vant Somezing - Characters need a need. The primary goal is the driving force for the individual. Take Ebeneezer Scrooge. In the opening scene, he wants to be left alone with his misery. He desires the status quo & is not a friend of change. As he moves through his ghostly encounters, change becomes his goal. He changes because his ambitions change. The transformation story.

I'm not telling - Secrets. We all have secrets & so too our characters. This secret can be a character flaw or a past event whose revelation brings about change or not. Ebeneezer brings us both. His flaw - greed. His secret - lost love. The 1st is revealed through action & dialogue. The 2nd is demonstrated by the Ghost of Christmas Past. However, the two are connected; his lost love transforms into greed due to his fear of loss.

Flip-flops - The human condition is fraught with contradiction. The single mother who gives her last dollar to a homeless person on the street. The sports star with the nasty habit. When the stress is spinning the roulette wheel to a high crescendo, then these contradictions come to light. When Bob Marley first appears, Scrooge cowers & whimpers. For all the tough exterior, he is a man afraid - deep inside. As he trips through the night, he overcomes his fear. By the 3rd ghost, he's all, "Fine, bring it on. What ya got?" Of course, Dickens said it better.

I don't need your help - A wounded bird, a trapped deer, a lost puppy. The vulnerability of these creatures draws on our emotional strings. And, wounded characters make for intense connection. When Scrooge first hits the page, we don't feel for him. We feel for Bob Cratchit; poor guy working for that jerk! As the story unfolds, Dickens shows us the vulnerability at the heart of Scrooge. By the time he hits the Cratchit's, we take a measure of pride in seeing him through.

I loved paper dolls as a kid, but really I loved Barbie better. Aside from her unrealistic nature, she had all the cool stuff. The penthouse, the convertible, the hot tub. And of course, that hanger-on, Ken. Then came sister Skipper - jeez, she needed more furniture for these couch surfers! When it seemed like it couldn't get any worse, she got a host of kids. Personally, I always thought her affair with GI Joe was the reason, but hey, Ken stuck it out. Besides, Joe had his missions, wink-wink. And there you have it - a need, a secret, some flip-flops & a sugar daddy.

Happy Writing,

Patti

Thinkin' Thursday - I've Been Workin' on the...

Sweatin' to the Work Week

From village idiot to president of a country, all MCs have an occupation. And, the MCs occupation has a direct effect on how the character responds, reacts & behaves within the confines they are given. All have the potential for introspection, deductive reasoning & logical thinking (logic being relative). Beyond that, how they deal is dependent upon what they do to earn their daily lives.

Lancelot, knight errant & confidant of king & queen, responded based on the chivalric code & his 'job'. Although, different writers interpret him differently from Mallory, the basis is his profession. The fool in Christopher Moore's retelling of King Lear is defined by his occupation - everything he does or doesn't do is an extension of that. Atticus, the lawyer, in 'To Kill a Mockingbird' acts from a core of lawyerly intent; his sense of fairness, right & wrong extends from this core.

From high fantasy to women's literature, the MCs profession provides clues to a deeper sense of character. Fairy duster to pencil pusher, all come with a set of characteristics; some that readers expect & some they don't.

What does the MC in your current WIP do for a living & how does that affect the story arc? The goals/motivations/conflicts? The outcome - from HEA to no HEA?

Happy Writing,

Patti

Manipulative Intent

We’ve all heard or read about Ivan Pavlov and his doggie experiments – conditioning the mind for desired response.  There are a variety of manipulation techniques that people use every day; to get what they want, to avoid punishment, to hide. Characters too can engage in a variety of manipulation techniques or have them used against them.

 The Psyche (one) – Internal mechanisms, nature vs. nurture, personality all work to affect how individuals are manipulated by themselves. Phobias affect the way we respond to different situations; a perfect example – Indiana Jones & snakes. Fear is a wonderful & terrible motivator all in one. There is a yin & yang that co-exist to define a set of responses. Belief systems, ingrained, developed & integrated into the personality affect the worldview. ‘The Great Gatsby’ is a perfect example of this. And, Nick’s internal evolution is indicative of where he started & where the close-up view leads him in shifting his ideas/ideals.

Dialogue – Intimidation, provocation & uncertainty; all can be achieved through the use of internal & external dialogue. Self-doubt & wariness of others. The quickest way to split a couple in a romance is to introduce the sprouts of doubts – weeds of discontent & mistrust. This can be very effectively done through dialogue; “What do you think?” “Did you hear…?” 

Anger – When a person exhibits anger, it directly & negatively affects the body & the brain. An angry adversary is an ill-prepared one.  Harry Potter’s ability to set Voldemort on edge is directly related to the anger the latter conjures when dealing with his greatest failure & humiliation. This opens the door for Harry’s overall success.

The Interrogation (two)– Most often seen in mysteries & thrillers, police officers, agents, etc. conduct ‘the interview’. This interview may lead to a clue, resolution of the situation, or create additional questions. Some of the tactics to consider are: 

Indirect Communication – A chair scraping across the floor, adjusting the thermostat, slapping a baton on the table. These are only a few of the methods that can be used to induce fear, a confession, or answers. 

Indirect Questions – Open-ended, leading, fill-in-the-blank. Think courtrooms & lawyers. “You were at the bank & what were you doing exactly?” “When you arrived, she was standing where?”

Social Conduct (many) – Human beings like to belong within their group. The PTA, a work group, a social set. This is something that is used in historicals a lot; Molly Brown is a good example – nouveau riche. ‘The American Heiresses’ is a great example of how 3 sisters struggled in English aristocratic society. One of whom birthed Winston Churchill.

Social queues can be used to demonstrate rejection &/or acceptance. 

Inclusion - The right invitation or lack thereof, the inner circle. This aspect can have a direct effect on a character’s psyche, self-worth & self-esteem. To rise above as in ‘Pygmalion’ or to succumb as in ‘A Tale of Two Cities’.

Smiles & Laughter – When a person smiles, endorphins are released in the brain. They create the warm-fuzzy; more importantly, smiles from others indicate acceptance. Laughter intoxicates & spreads through a group. When the group isn’t smiling, laughing or participating, the outsider feels the sting of rejection.

“Some studies show that people who are depressed have weaker smiling muscles and advocate smiling therapy.”Psychological Manipulation

Understanding the psychological inner workings is key to determining how best a character can use & be used by the persuasive method -  manipulation.

Happy Writing,

Patti

Thinkin' Thursday - MC Interview

When writing fiction, the character development process involves knowing the back story, physical description & GMC (goals, motivations, conflicts). However, there are other questions writers need to ask. The deep connective tissue that creates true understanding of three-dimensional beings. Here are some questions to consider in the development phase.

What's your learning style? - Observational, kinetic, experimental.
How do you integrate new information? - Traditional dictation, fly by the seat of your pants.
What is the first thing to strike you when you arrive at a party? - Atmosphere, party-goers, decorative elements. Flaws, food, or your own rank in the assemblage.
Which of the senses do rely most heavily on? - Sight or sound. Intuitive reasoning, ability to read people, instincts.
Are you conscious of the issues around you? - How do you deal? What if they are internal? Are you able to provide answers to these problems?
Is the glass half empty or half full? - Does your supporting cast agree with your self-assessment?
Is your orientation past, present or future in terms of how you view the world? - Familial tradition adherence, ability to make new friends regardless, pessimism vs. optimism.
How do you determine trustworthiness? - First impressions, testing, predisposition to trust no one or everyone.
Do you think before you speak? - Your use of language dictates interaction levels, types of encounters, and overall impression by other characters.

Question: What other questions do you utilize in order to gain a greater understanding of your characters?

For a comprehensive review of this list, check out Alicia Rasley's Writer's Digest article.

Happy Writing,

Patti

I Am a Character

Character. We imagine, breathe & let roam. Our characters are fully realized individuals inside their stories. Writer's Village has some templates and archetypal information that aide in developing our peeps. Today we will look at 4 of the archetypes.


Motivator - I will pump you up - Friendly, empathetic, active listeners who are the glass half-full at all times kind of guy or gal. Extroverted, intuitive & perceptive. These characters play well with others & are great conversationalists on a vast array of topics. They possess the equanimity to go with the flow of the river.
This character type is a team player & can exhibit commitment phobia. This is the last minute arrival to the distress party.

Actor - Ay Dios Mio - Quiet self-reflection, internal dialogue, & self-reliance. The future of possibilities is more prevalent than the present. The Pollyanna of good lives in the heart of everyone. They tend to inspire those in their vicinity - the cheerleader of sorts. 

Inventor - Mr. Edison, I presume - These are the individuals who talk with their hands, are loud & cut to the quick. Preferring the company of others to themselves, they are very extroverted, spontaneous & fun to be around. Analytical decision making is key for these types. They are methodical by nature which leads to conventional rather than intuitive schools of thought.

Architect - Hey isn't that Frank Lloyd Wright - This character type doesn't ask for help & therefore comes off territorial & controlling rather than methodical. They aren't spontaneous nor flexible which leads others to believe they are cold & impersonal.

The motivator/actor & inventor/architect display subtle differences. Extro vs. Intro, analytics vs. methodics, a kick in the pants vs. a kick in the pants. Which works for any given situation is up to your unique artistic license - & those have infinitely better pics than the DMV.

Happy Writing,

Patti

Manuscript First Aid Kit

As writers, we are tripping the light blogtastic looking for words on words. We read writer blogs, editor blogs, agent blogs, industry blogs & blogs & blogs & blogs. We are constantly striving to improve our product. I recently came across an article from Writer's Digest that I wanted to share. It discusses what every writer should do prior to grabbing our boards & riding the submission wave.

Revision is your buddy - I have heard & read differing methods on this very topic. Some revise as they go; others write with the hounds at their backside until the 1st draft is complete then go back & revise from the beginning. My own personal approach is a combination of the two. I am a backspace fanatic when something rolls off the tip of my brain sideways. But, I also engage in 'was killing festivals' & other flaw feasts after the initial spewing.

Drop it like it's hot - Bad metaphor, I know, but it made me smile so I went with it. Plunk the reader right jab in the center of the action on page 1. Readers want a reason to continue down the bricks we've laid. They need to want to resolve the conflicts; they need to care about the answers. Raise questions & promise answers.

Show it, don't blow it - Here's one of the posits that has proponents on both sides of the ladder. Back story is the past; conflict is the present; resolution is the future. I have read several agent blogs recently that say, "No back story for the first fifty to one-hundred pages of the ms." My current WIP does not have a single mention of the MCs past until page 52; however, there are hints based on her actions/reactions sprinkled throughout those 1st fifty.

Ante up! - Questions & answers. Readers should ask why is this this, why are they doing this, how did they wind up here. This goes back to point 2. Readers need a reason to continue flipping paper. They need an investment in the characters, the situation & the outcome. The reader has to be all in.

Flowers, candies, teddy bears; oh my! - We hear it often; "Trust the reader, trust the reader." Yes, there are things that need to be explained. No, exposition isn't the best choice - always. I qualify this because sometimes there is no other way. But, too much is too much. Action, reaction, dialogue & description - these are the methods by which exposition can be minimized.

Plot & emotion sittin' in a tree - Internal & external conflicts work in tandem to define character evolution or devolution. The marriage of the two works to push the moral development, conflict resolution & ultimate consequences. Remember those 'Choose Your Own Adventure' books. The reader chose the outcome based on the choices they made. Page 10 - help the old lady cross the street. Page 118 - old lady run over by speeding car. However, combine the two; push the woman out of the path of the speeding car. The internal-external dichotomy. The choice to push or not to push can be integral to character & plot development.

Red fish, blue fish - Reading your story aloud requires two things; your ears & a big glass of water. Listen to the musicality; the flow. When your tongue trips, your brain trips & you are removed from the story. The same thing happens to readers. If a passage requires a thrice over there's a problem. The music should be seamless.

"Holy brown destructively defiant cows, Batman," Robin said. - Adjectives, adverbs & a game of tag. Can't strip 'em all, but ya can control 'em. Trust yourself & your reader. Description is important but the overuse of these three amigos bogs the writing & hampers the prospects.

Beelzebub is in the background - I have long held that kids would get more out of history if the texts were written like fiction. The regurgitation of facts is simply that; no fun, no excitement. But, as writers, it is our job to know the historical details. A woman in the 15th century does not enjoy indoor plumbing anymore than a woman in the 21st has a handmaid. Know, understand & seamlessly weave the details into the story.

Manuscripts need first aid to move from slush to gush.

Happy Writing,

Patti

Evolution of Character

This week each of the kiddos has a paper due. The boy is writing a paper on the evolution of Telemachas through the first 4 books of the Odyssey. The girl had to review, summarize & provide insight on a short story. And, she redeemed herself from last week's debacle by choosing the one I wrote for a competition.

Last night, after boy finished his rough draft, I quizzed him about his paper. You have to know that spelling is his bane. I was concerned. I asked all of the mom/once-upon-a-time English major questions; "Is it a 5 paragraph essay," "What's the word count?" The usual. Then I asked him to explain his supporting evidence & this is what I learned.

"We had to pick people who had the most profound effect on changing Telemachas from a boy to a man."

"How many did you choose?" I asked. This is a valid question considering his desire to complete the minimum & no more.

"Five," he said.

"Tell me about them."

I have to say right now, I was impressed & quite surprised by the answer. My little 15yo boy decided that the Greek world did not elevate women & as a result he focused the bulk of his paper on the influences of both Athena & Helen of Troy. What?? In his estimation, these two females did the most to educate Telemachas & build him into the man he became. His evolution stood in direct complement to the womanly influences thrust upon him. Uh, did I say I was impressed?

To the girl. She thrust her evenly spaced,  freshly typed, one-page summation into my hands. "Read it, I want you to read it."

"Okay." And then I read it.

In one sheet, she discussed the evolution of the two MCs & she actually discussed things that are only implied rather than told. She picked out the underlying concepts that shaded the entire tale. I was impressed & my pride got a tickle. She got it; she totally got it!

I passed it to hubs & he read it. He finished, looked over at me & said, "Wow, she really read it. It shows." Now we were both impressed.

What does this have to do with writing? Character evolution is subjective & secretive known only to the writer until it is shoved out the front door to meet its first day of criticism. You kiss it on the cheek, provide a protective snuggle & promise that all is well in its little world. No matter where your MCs are in their evolution, they look to us, their creators, for reinforcement & safety. They struggle as we struggle. It is a symbiotic relationship that will one day find its way out of the nest.

Questions: Do you view character evolution from a parent/child perspective or some other? At what point do you feel they no longer need you? How do you shield them from criticism?

Happy Writing,

Patti

Anatomy of Color

Our world is awash in a variety of color; especially this time of year when the leaves don their fiery hues. But, what does color mean to our writing. The movie 'Sixth Sense' used the color red as clues to different aspects that were not explained. As people, different colors create different reactions: black hole, white knight, green goblin, purple prose. How do the different colors strike an emotional spark?

RED - Fire, passion, love, strength. Red pushes individuals into quick decisions, alerts them to danger, & indicates high energy levels. A red sports car, a fire hydrant, a red letter in the mail.

Light red is for joy & sensitivity. Pink is femininity, friendship & love. Dark red is angry, dangerous, but also full of longing. Brown & brownish-red hues are indicative of earthiness, steadfast character, masculinity & autumn.

ORANGE - Sex, sunshine, determination, creativity. This color instantly infuses warmth. It pushes oxygen to the brain increasing activity levels. In heraldry, orange indicates strength, vitality & longevity. It is also used in the promotion of products for children because it is associated with health.

Dark orange - deceit or distrust. Red-orange is about domination, aggressiveness, passion & pleasure. Gold is prestigious, royal, & quality.

YELLOW - Joy, happy, energy. Honor, loyalty, sunshiney. This color is an attention grabber. However, it is flighty & unpredictable. 

Dull yellow is jaundiced & sickly; while light yellow indicates higher intellect, lemony freshness & warm fuzzies.

GREEN - Harmony, newness, fertile fields. It is healing & restful. This color promotes a feeling of safety. Stable & enduring vs. young & inexperienced. 

Dark green is envious & greedy. Yellow-green is discordant, cowardly, sickly & jealous. Aqua is protectiveness & healing. Olive delineates peaceful negotiation.

BLUE - Sky & ocean, deep & stable, confident & true. This color impedes metabolism creating a lulling effect. Blue is pious & sincere. It is indicative of precision, masculinity & an appetite suppressant.

Light blue is soft, tranquil, healthy. Dark blue is competent, serious, steadfast.

PURPLE - Royalty, luxury, extravagance. It is independent & wise, mysterious & magical. It is also introspective & playful.

Light purple is nostalgic, whimsical & romantic. Dark purple is gloomy, melancholic & depressed. It can also denote frustration.

White & black indicate polar opposites. The white wizard vs. the black knight. Perfection & obscurity. Cool & clean; dark & dirty. Simplicity vs. confusion. Purity vs. besmirched. 

Color is utilized to denote emotion & character. It defines feelings in regards to environment. This aspect plays an important role in defining the action of our novels. It is powerful, evocative & necessary to the writing toolbox.

Questions: How does color play a role in your writing? Do you use color as a surprising element in your writing?

Happy Writing,

Patti 

Is your writing secure?

This morning, I had to truck it over to the Social Security office. I had a list of items that I needed to take care of. Normally, this would not be my first choice on a Monday morning. But, I arrived just as the doors opened and with only one person in front of me, I didn't have to wait long.

I filled out the form to replace my daughter's SS Card and then my number came up. I went to the little desk & spoke with the lovely woman behind the counter. I produced a birth certificate & an insurance card with her name on it. Then, I had to file a change of address for my son. And, last, I had to procure a series of forms to ensure that my daughter continues to receive her payments after turning 18.

At first blush, this might not have a darn thing to do with writing. However, as is my wont, my brain takes mini-vacays of fancy. This morning, I daydreamed about my current MC.

Identify Yourself, Please - What mediums to use to identify your characters? C/G/M worksheets. Full character outlines. Background data forms. Or, none of the above. All of the characters that grace the page own a distinct set of character quirks & identify markers.

Location - When writing, we tend to identify time & space for our characters. Does the location/setting work for the characters? Further back or further ahead in history alters reactions, expectations & overall motivations. Where your characters are dropped has a profound effect on how the entire story types out.

Take some responsibility, will ya? - How our characters deal with the cards they are dealt or have dealt themselves, lends itself to the internal workings of those people. Whether they do or don't take responsibility may not be integral to the story, but an arc of internal growth is shaded in much the same coloring. Regardless of the internal grow-up factor, our characters reaction is directly determined by the series of events that unfold.

While most trips to the SS office don't end as happily or succinctly, this one did. And, as an added bonus, my brain left the ranch. Which sometimes has its own benefits.

Question: How do you reign your characters in when they start evacuating the reservation? How do you keep them from crossing the electric fence to begin with?

Happy Writing,

Patti

Flying within the Lines

This year has been one of change, overcoming obstacles & emotional clearing. In March, my 17 y.o. decided to go live with her dad. As hard as this was for me as a mother, I did it & I survived. Ten days of tears, five months of learning to let go. And today, she is flying home. Starting over, moving forward, dealing with issues - we pray.

Excitement & apprehension broil in a bag of emotional hope & doubt. My first full-length novel's MC is based on my daughter. Everything that she represented from an emotional standpoint - uncompromising, peevish, the teenage stuff.

As writers, it is our job to translate those real events to the paper. All of the emotion, growth, learning; the elements that turn us from one point in our evolution to the next.

I recently tucked that piece into its hidey-hop & began working on something new & different. I needed to for my own sense of self. But, it made me question the therapeutic nature of what we do. The interpretation & reflection of art & life poured onto the stage.

Emotion - Throughout any given day, we experience a range of emotion. From disgruntled to be awake to glad to hit the down comforter; we traverse a minefield of feeling. Each new piece of information rides a super-collider of action/reaction neurons that we contend with in microbursts. No two reactions are the same.

Viewpoint - Looking back on this last year, I have reflected on how I have changed, how my family has changed. The growth each of us has experienced or not. The story of the last six months as seen through 4 sets of eyes is varied in its emotional depth. It is different because we are different. And, it is different because the lessons each of us needs are different.

Motivations/Goals - Six months ago, my goal was to give my daughter something that I believed she needed in order to move forward, let go & forgive. I didn't like it. But, it wasn't about me & I had to let her go. Sometimes I wonder if that isn't the true test of parenting. I also wonder how she will view this short passage. Now, we obviously had very different ideas of how this whole thing would roll out. And, now I am curious how her mots/goals have changed. Has she grown? Is there perspective? What will the next 6 months bring?

Conflicts - And egads were there scads. I remember being a teenage girl. That time is not as far distant as my children would have one believe. Disgruntled, bristling, angry, flagless.

Now, here I am on the other side of those well-worn pickets & the head-butting has morphed into a perspective none has at 17. Those tense, tear-strained, kidney twisting moments feel like the Spanish armada has come to town. And, they are the moments upon which we build & shape our independence. The milliseconds of space-time that determine a direction, set us on a path & ultimately teach the lessons we need most.

So, in the grand scheme of this whole scene, I do have hope. We have seen positive momentum, actual thinking processes & we are excited. However, that doesn't mean we aren't waiting for that boulder to start rolling back down the mountain. The perpetual parenting pose - smile with a chance of falling rocks.

What does this have to do with my writing? Everything. The cathartic nature of the work allows each of us to rewrite, edit & monitor our actions/reactions. It also permits the artistic driver's license we need to make sense of our world.

Today, I am the scribe of a new chapter. For all the world's a stage & we but merely players. Somedays the role is the grand piano & others it's the prune. May all your characters find that for which they search & may you, the architect, discover that which forms, drives & elevates.

Happy Writing,

Patti