TECH: How to Write What Your Characters Think (Moldy Oldie) (340 words)

[mbarker]

 Original Posting 9/11/2019

Writer's Digest, May, 1991, pages 36-37, have an article by Terence A. Dalrymple about revealing a character's thoughts. "... Revealing a character's thoughts can be essential to both characterization and plot development. You have also likely discovered that revealing thoughts believably is tremendously difficult."

Terence starts out by pointing out the obvious and not very effective method of having the character talk to themselves. Yes, people do talk to themselves sometimes, but readers tend to see these as a convenience for the author, not a believable element of the story. So what are some other ways?

Punctuation. Quotation marks, parentheses, italics can all identify the character's thoughts. You normally would use a tagline such as Myrtle thought with this. Be careful with quotation marks, it's easy to get mixed up with dialogue. Italics can work, although they are usually used for emphasis. Parentheses... Well, this attracts attention and announces that you are doing something. Probably not the best idea.

Paraphrasing. Use tags about thought or wondered, and just paraphrase the thinking. It fits fairly naturally. Don't exaggerate, he screamed in his head. Watch out for tonal modifiers, he thought quietly. And redundancy isn't good, he thought to himself.

Show it. We all know show, don't tell. If you can show what's on their minds instead of telling us what they think, it's usually better. We are all used to inferring thoughts from words and deeds. You can do the same thing in your fiction. Sometimes you need to reveal a thought. But readers like action.

Take a look at your own writing. You probably use one of these methods mostly. You might want to consider, is there another one that fits the pace and the structure better? Experiment, try out one of these other methods.

"If you agonize over your character's thoughts, your readers won't have to."

In other words, yes, you want your reader to know what your character is thinking. But, do it the right way, so that readers don't even notice that you let them peek inside your character.

TECH: Character Arcs (Part 5) (750 words)

[mbarker]

Original Posting 9/13/2019

Okay! So, we've got a lie that the character believes, what they want, what they need, and a ghost haunting them that drives the lie. It must be almost time to think about writing something, right?


And in Chapter 4 of Creating Character Arcs, K. M. Weiland turns her attention to the characteristic moment. Basically, this is the first appearance of the protagonist, and typically also the hook. We've got inner conflict set up, with the Lie, the Want, the Need, and the Ghost, so... What tasks does this moment handle?


1. Introduce the protagonist

2. Usually, reveal the protagonist's name

3. Also, give us gender, age, nationality, occupation... all the social characteristics!

4. Show us important physical characteristics.

5. Reveal the character's role -- i.e., this is the protagonist!

6. Demonstrate key aspects of personality

7. Hook the reader's sympathy and interest

8. Show the scene goal for the protagonist

9. Indicate the story goal for the protagonist

10. Demonstrate the lie

11. Tie into the plot, either directly or foreshadowing...


Wow! Lots of possible tasks. Typically, you need to at least do these three:

1. Make the character appeal to readers

2. Introduce the character's strengths and weaknesses

3. Build the plot


How do you make the readers invest in the character? Indicate the lack, the problems caused by the lie, but be careful. You don't want to go too heavy on the negatives. Make us identify with the character, then point out the flaws! Hook first. What do you like about them? How can you highlight that?


Special Focus! This chapter has a little section called “Convince Readers to Invest in Your Character.” It starts out by reminding us that even focusing on three aspects (make the protagonist appealing to readers, introduce strengths and weaknesses, and build the plot), the Characteristic Moment is tricky. In particular, Weiland tells us that “We need to indicate the character’s “lack”—the problems in his life caused by the Lie—as soon as possible. But we don’t want to focus too heavily on the character’s negative aspects right away.” You want to make the reader sympathize with the hero before you start revealing flaws!


Now, for example, if the growth is going to be towards courage, honesty, and selflessness, then the character needs to start out not being brave, truthful, or generous, right? But starting with a selfish, cowardly liar is a good way to make most readers run away.


Weiland urges us to make our job first and foremost hooking the reader. Make the character generally likable. Craft a scene that highlights what you like about this character.


Okay? Don’t start by telling us what a bum you have for a hero, because frankly, most of the time, we won’t stick around to find out how he or she changes to become wonderful. Start by showing us someone we can empathize with, someone who may have some flaws, but also has some admirable qualities. Then, once we like and care about this person, you can start letting us in on the problems, on the Lie that is holding him back.


Now, you want the characteristic moment to be memorable, to be a big scene. So spend some time dreaming up options, and try out more than one. Then pick the best one.


Here's a list of questions you might want to consider.

1. What personality trait, virtue, or skill best fits the protagonist?

2. How can you best dramatize that?

3. How can you dramatize and introduce the plot?

4. How can you demonstrate the character's belief in the lie?

5. Can you reveal or hint at the Ghost in this scene?

6. Can you use the scene to reveal what he or she wants?

7. Does the character's pursuit of the scene and story goals meet an obvious obstacle? I.e., is there conflict?

8. How can you share key details about your protagonist, such as name, age, and appearance quickly and unobtrusively?


"Don't settle for anything less than spectacular for your characteristic moment. This is your opportunity to create a fun and effective scene that will introduce readers to your character in a way they'll never forget -- and from which they won't be able to look away."


Exercise? I think the best thing to do here is to sketch out three to five versions of that characteristic moment. Go ahead and enjoy yourself, give the protagonist some real unusual scenes to start out with!

EXERCISE: Pay Attention to the Mermaids!

[mbarker]

 Original Posting 9/17/2019

There was a Facebook post that started out with this quote...

"In case of volcanic eruption, you will hear mermaids. Do not ignore the mermaids; they are there for your safety."

Followed by the note:

Perils of Google Translate No. 44a. People seeking greater warning of volcanic eruption want sirens, _not_ mermaids. (Spanish: Sirenas).

But, you know, in the fantasy worlds and worlds of mythology, you might very well hear mermaids. So, your exercise is simple. Write up a scene with the character encountering the first quote in a context where it is literally correct! That's right, the character is warned that the mermaids are there for your safety, and... they really are! Go ahead, set us in that world where the mermaids sing when the volcano erupts, and you had better pay attention to them.

Bonus points if you go ahead and have a volcanic eruption, and an encounter with the mermaids. What the heck, follow the flicking fish tails?

EXERCISE: The elephant in the room!

[mbarker]

 Original posting 9/18/2019

A Facebook posting pointed out...

"Six ton monster with spikes and a giant tentacle growing out of its face" sounds way creepier than elephants actually are.

So... imagine writing a scene such as

There was a six ton monster with spikes and a giant tentacle growing out of its face walking towards me on the road. I waited for the elephant to pass me, then looked around...

Here's your assignment. Take some routine objects, animals, plants, whatever. Consider how you might describe them for your horror and fright festival (Halloween is coming, isn't it?). Go ahead, put us in that scene, and make us shiver as the elephant in the room smiles at us.

The little bundle of wrinkles wiggled, and a miasma of incredible odor floated out of the diapers. Time to change the baby, I guess...

Go for it! Which monster are you living with?

WOW: Nanowrimo?

[mbarker]

 Original Posting 9/19/2019

Nanowrimo, as most of you know, is the National Novel Writing Month that used to be known as November. The challenge is simple -- write 50,000 words during November!

Now, there's a website over here https://nanowrimo.org/ that can help. They let you register, provide tracking for your numbers, will count the words in your final draft, and give pep talks, certificates, and other stuff.

Right now, they are running a preparation course. Apparently, a six week course that started last week (whoops!) and runs through the middle of October. You can download the whole handbook, and catch up if you want to. The six pieces they are tackling?

1. Develop a story idea you're passionate about
2. Create complex, believable characters
3. Construct a detail plot or outline
4. Build a strong world for your characters
5. Organize your life to support your writing goals
6. Find, schedule, and manage your time

I find it slightly amusing that they are giving a six week workshop to get ready for a month-long (four weeks, right?) writing binge, but...

Some of us like preparation, others prefer jumping in and discovery writing (aka pantsing). If you are interested in getting yourself ready for Nanowrimo, their prep program looks pretty good! Go for it!

And then... in November!
WRITE!

TECH: Character Arcs (part 6) (665 words)

[mbarker]

 Original posting 9/20/2019

All right! So we have taken the lie that our character believes, what they want and what they need, and the ghost that is driving this, and we have at least thought about the characteristic moment that introduces this character to the reader. What's next?

Well, in Chapter 5, K. M. talks about the normal world. The normal world? Aren't stories about exciting, different, challenging worlds? Well, yes, but typically they start in the normal world. This is the context for the characteristic moment. The normal world has an important role in act one. Really, this is set up. The normal world grounds your story in a concrete setting. This also provides the baseline to measure the personal and plot changes that are coming. So, think about setting. Where would the character be complacent?

Often, the normal world manifests a wonderful surface, until it cracks open and shows what's underneath. It may be safe but boring, and the protagonist wishes they could escape. It may also be lousy, and the protagonist feels that they are stuck there. Or, it might actually be pretty good, but the protagonist just doesn't see it. It may even be challenging, but the protagonist is not yet able to deal with those challenges.

Symbolically, the normal world is a place that the protagonist doesn't or can't leave. It's the staging ground, and in some ways it represents or at least supports the lie. You may want to think about what kind of world makes a good backstory for why this character believes the lie. Make it comfy for the lie. Also, make it a good contrast to the adventure world!

So, the normal world is the before state.

Some questions you might want to ask yourself:
1. What setting opens the story?
2. How does the setting change at the first plot point?
3. How can you best contrast the normal world and the adventure world?
4. How does the normal world dramatize or symbolize the lie?
5. How does the normal world cause or empower the lie?
6. Why is the character in the normal world?
7. If the character doesn't want to leave the normal world, what masks the discomfort of the lie?
8. If the character wants to leave, what stops him or her?
9. Will the character returned to the normal world at the end of the story?
10. If the normal world is a good place, how does the character need to change to appreciate it?

So, now we're wrapping that characteristic moment in the normal world, a larger setting.

Let's step back for just a moment and look at what K. M. Weiland has laid out so far. Basically, the character arc is going to be about some internal problem, a flaw, a mistaken belief, that the character has. So, right up front, think about that Lie that the character believes. This lie, and the symptoms of it, tie right into what the character wants (usually something they believe will give them relief from the symptoms of the lie) and what the character needs (the Truth that will set them free from the Lie!). That conflict, between what the character wants and what they need, drives the character arc, and lies underneath the external conflicts, the plot events, that will teach our character the lessons they need to learn, and eventually result in the change they need to have. Behind that triple threat of lie, want, and need, we have the ghost, the hidden trauma or secret that taught them to believe the lie.

All of which you probably want to think about a little before you start trying to put together the characteristic moment, the scene where your readers meet your character for the first time. Then, wrapping around that characteristic moment and the adventure world that will teach our character lessons, we have the normal world! That greater setting that holds the initial scene, and gives us a starting point for everything that is ahead.

And that's just the start of the story!

TECH: Character Arcs (part 7) (760 words)

[mbarker]

 Original Posting 9/27/2019

Now, in Chapter 6 of Creating Character Arcs, K. M. Weiland looks at the First Act. As she points out, this is setup. Both for the plot and for the character arcs. Given that you have all the prep out of the way, you’ve decided the Lie your character believes, what he wants, what he needs, the ghost behind it all, his characteristic moment, and his normal world... all we need to do is piece together how to get going, right? So what’s Act One? Well, Weiland reminds us that A Writer’s Journey by Christopher Vogler suggests this represents the hero’s decision to act. (Act 2 is the action, and Act 3 is the consequences in that model).

So, Weiland suggests there are six parts of the character arc that usually get fitted into the first act. You can put them in wherever it fits your story and timing.

1 Reinforce the lie. Mostly this happens through revealing what he wants and what he needs. The characteristic moment and the normal world also help illustrate the lie. Part of what we are doing here is showing how the internal problems tie into the external problems.

Now, there may be several aspects to the Lie, and you can distribute the revelations of them throughout the first act (roughly the first quarter of your story).

2 Show the potential for the character to overcome the lie. We need at least a glimpse of the capability for change. What quality does the character have that will help them overcome the lie? Show us the seed of what’s coming.

3 Character’s first step to discovering how to grow and change. Foreshadow the change, Hunt at the lie and the truth. Weiland reminds us that this doesn’t necessarily mean they start to change, but it starts to lay the foundation for that change to come.

4. Give your character an inciting event to refuse! Inciting events are opportunities for a character. It may be horrible, but it’s a chance for the character. Most times, characters don’t like the inciting event at first. Nope, not for me. But a good inciting event has already kicked off changes. There’s a problem here, something that needs doing.

Most times, the inciting event comes about halfway through the first act. Introduce the character and their world, then wham! Inciting event points at the major conflict coming up.

5 Evolve the belief in the lie. Let the character struggle a bit, let them refine that lie to make it fit more comfortably, let them defend it.

6 Make the character decide. What are we going to do about that nasty inciting event? All right, let’s step through that doorway, and go on a trip!

Which pushes us to the first plot point. To be described in the next chapter, and our next episode!

Weiland’s list of questions about the character arc in the first act

1 How will you introduce and reinforce the lie in the first act?

2 How are you going to spread the layers and revelations about the lie, your character’s goals, and their personality in the first act?

3 How are you going to hint at the potential in the character to overcome the Lie?

4 What can you share about the Truth with the character in the first act? How are you going to share it?

5 What is going to be the inciting event?

6 Why will the character reject the inciting event at first?

7 How will the character get over that rejection, and accept the call to adventure?

8 How will the character’s belief in the lie evolve?

9 What decision will the character make that engages them with the inciting event? (I.e., what makes them step through that doorway?)

Think of the first act as the building block for the entire story. Setup what you need for later parts here. Engage the readers, and launch the character into an adventure that will change them forever. Wow!

So, really, Weiland is turning us loose on the first quarter of the story! We’ve got the basics of the character arc, and we need to spread the setup for that throughout the first act.

Exercise? Either take that story that you’ve been analyzing, and look at how they handle Weiland’s six beats, or go ahead and start an outline for a story of your own, and consider how to handle her beats (and questions). Heck, if you want to, you can start writing a draft of the first act, and then check her questions.

Write? Why not!