Sunshine Award

Let the sunshine, let the sunshine in, the sunshine innnnnnnnnnnnnn . . . Okay, now that I've channeled the musical Hair (yes, I'd be great in a trivia contest). I'd like to thank Stephanie, Bridget, Sarah, Micehlle, Joan, Alison and Lisa of Slushbusters for my snazzy new award.

It's the prettiest award . . . EV-UH, and now I must pass it on to twelve deserving people, in a totally random order.

So, here goes it . . .

Robyn at Putting Pen to Paper

Elana at Elana Johnson, Author

Traci at Words, Words, Words . . .

Marybeth at Desperately Searching for my Inner Mary Poppins

Jody at Author, Jody Hedlund

B. J. Anderson at, well, B. J. Anderson

Nicola at Help! I Need a Publisher!

Scott Bailey at ScottGFBailey

Rebecca at Rebecca Knight: Writer in Progress

Lady Glamis at The Innocent Flower

Tess at Tess Hilmo

Casey at Literary Rambles

Now, I know, some of you may or may not have received this award already. But, it's my little world, and I can do what I want. Personally, I think all of my followers deserve the award. And, since it is my little world, I'm giving the award to all my followers. Copy, paste, and award at will! Woo-hoo.

I follow a ton of blogs, not as effortlessly as Elana, but still, I follow a lot. Every single blog provides useful information and, more often than not, a source of inspiration for my own blog. I'm truly grateful to my followers, and everyone out there in the blogsphere.

S

Excelophobia

In honor of Robyn . . .

I talked about what we don't know about our characters on Monday and the following is part of Robyn's comment: I do like to sketch them out, but excel makes me shake uncontrollably.

Yes, poor Robyn suffers from Excelophobia. It's a horrible, horrible fear that paralyzes a person when they think about using Excel for any reason, let alone sketching out characters.

For me, the Excel worksheet detailing the characters, their traits, likes/dislikes is a nifty tool, especially since I can easily reference the worksheet if I need to mention something about the character such as . . . eyes, hair, clothes, makeup (whoops, I channeled Evita there for a minute - love that musical, btw) . . . because sometimes, I forget the color of eyes, hair, whatever when I'm in the middle of writing. The Excel worksheet also helps with consistency. I don't want Character A driving a Honda in the first part of a book and then all of a sudden he/she is driving a Ford. Now, most people wouldn't notice. I would, it would drive (pun, intended) me nuts and I'd have to stop reading and flip back through to whatever page mentioned that Character A was in love with his/her Honda Hybrid. Then, I'd be like hmmmm, now why is Character A suddenly driving a Ford Focus? Yes, I would. I'm crazy like that . . . sometimes.

The Excel worksheet keeps me on my toes, and looks something like this . . .

The above is just a mock-up of a character worksheet. I put in the information that I'm going to have to remember at a later date. What's a character's favorite . . . book, movie, drink, order at the local Mexican restaurant? How tall is a character? Is the character married, single, or partnered? Is he/she an only child? If not, how many siblings? Where does the character work?

Now, to some people, this might seem needless information. For me, it all depends on the context of the book. In Margarita Nights the characters meet at a Mexican restaurant, drink margaritas (of course, thus the title of the book), and eat. So, I need to know what they eat. In same book, there's a bit of a discussion about books, thus the favorite book category. I also reference the characters family - His sister's in town . . . - at certain points, so it's important (for me) to know that Character A has one sister and one brother. It's also important to know that Character A has a cat, because the cat plays a part in the book as well.

Again, this is just what works for me, and I thought I'd share to try and ease Robyn's Excelophobia! Also, this worksheet doesn't go into intimate details about the character, and there is so much more that I could add. In the end, it's all up to the writer to decide what is needed, or not, in such a worksheet.

How about you? How do you keep track of your characters' traits, eye color, hair color, etc? Do you use an Excel worksheet? Some other format? Share! Knowledge is power, after all . . .

S

What We Don't Know About . . .

. . . our characters!!!

What I didn't know about my characters? Oh, let me tell you what I didn't know about my characters for this project. Everything! Yes, everything. Okay, it really wasn't that bad. I, like my main character, just had these preconceived notions about the supporting players. I mean, I was creating these supporting players, so surely, surely, I knew absolutely everything about them.

Boy, was I wrong.

Like my main character, I suddenly realized that everything I thought I knew, was a tad bit off base. Okay, a bit more than a tad, just a bit, and I realized (well, I already knew this, but I needed a jumping off point for this post) that characters do not leap fully formed from the brilliance of my mind to the Word Document on my computer screen. The characters emerge partially sketched and it is up to me, the creator, to turn that partial sketch into a full work of art throughout the entire writing process, from first draft to final draft. Yes, the characters will continue to change and grow through the various draft forms.

Now, I'm only in rough draft phase right now. I'm typing along, minding my own business, and that of my characters, and suddenly the main character learns some things about his mother. He's shocked, surprised (no, she wasn't running an escort service on the side) and realizes that the image of his mother he had in his mind is more ficitonalized then he likes. In fact, his mother put it so much better (well, it was me, but . . .): You just can't handle it that I'm not the unaccepting bitch you imagined I'd be.

In a nutshell, the illusions are shattered and the MC realizes that, unfortunately, his mother is right.

Now, all through the manuscript, up to this pivotal point, I painted the mother in a fairly harsh light. I had no clue about her outside activities (who knew she worked for a covert operations team and - kidding, she didn't, but . . .) until one character spilled the beans. I hate when my characters keep secrets from me. It's really not fair. Then, suddenly, even I was seeing this character in a different light and - bingo, bango, the light bulb went off that: I really don't know my characters completely when I first begin the story. I, like the future readers of my novel, get to know this character slowly, over time, and not in one, fell, swoop!

Then, there is the character without a name. Yes, he is nameless. At this point, he's always referred to as the youngest son, your brother, your father's clone or some other reference. Why? Well, I'm not sure what purpose he serves and, until he serves a purpose, he shall remain nameless. I know the basics of this character, as sketched out by the other characters, and I see the potential for one, big, dramatic, scene that, if the book were a movie, would be an Oscar winning performance. Okay, maybe not, but a guy can dream!

The thing is, as much as we (I) sketch out our (my) characters beforehand in a nifty little Excel worksheet, there are times when these characters will do or become the unexpected. The mother of my main character did just that, and boy, did she surprise both the MC and me! Now, her motivations for what she did (think Mother Teresa but on a much, much smaller scale - okay, not really, but . . .) weren't golden in the beginning, were a bit selfish, but, over time, the reason changed. She changed.

So, as you're writing along, and one of your characters does the unexpected, don't go WTH, but rather, go hmmmmm and keep on writing. For, as much as we think we know about our characters because we created them, we really don't know that much about them until we actually finish our manuscripts of brilliance.

Conflict

By now, every writer knows that without conflict, well, what's the point of the book in the first place. Every single book, story, has conflict. Little Red Riding Hood was skipping through the forest, minding her own business, when the Big Bad Wolf stepped out in front of her. Conflict. The wolf wanted to eat her. He didn't - still haven't figured out that one. I mean, seriously, he was a wolf, she a little girl, and he just lets her go. Was he secretly thinking about a two for one special? Hey, I can get grandma first, she might be a bit tough and leathery, but still, then I can get Little Red. Why not just have at Red to begin with and then go get grandma? Hey, does that constitute a plot hole? Am I remembering the story wrong? Anyhow, Little Red skipped on down the path to Grandma's house and "my, what big teeth you have, grandma". Without the Big Bad Wolf, the story would have been about a girl on the way to grandma's house to deliver a basket of goodies. Woo-hoo, that would have kept me turning the page.

Conflict is the necessary ingredient of any story. Without conflict, well, it's like chicken noodle soup without the noodles.

So, in thinking a lot about conflict as I work on my query/pitch I realize (and this is all thanks to a comment Sarah left over at Slushbusters on the pitch I entered in their contest) . . .

The conflict needs to be specific.

The reader needs to know the conflict.

The reader also needs to find out what the character needs to do about the conflict.

And . . .

Sometimes, the conflict is the catalyst for something different.

This is the case with the MC in Margarita Nights. The conflict - realization of feelings for someone other than his partner - makes Jared realize that his current relationship is lacking. It is safe and comfortable, but there's something missing. He settled into the routine of comfort/safeness so easily, that he failed to realize the relationship wasn't exactly what he expected and wanted.

So, the conflict served a purpose. It's not a do/die situation. It is only a situation where the character must struggle with his own needs/desires and figure out the best option for him. Does he give in to his fear of ending up alone (an old man at the bar desperately hoping someone will notice him) and stay in the relationship because it is safe/comfortable? Does he sacrifice a part of himself by knowing he's not in love with his partner, and yet stays in the relationship? Does he risk everything by walking away from a good (if not satisfying on all levels) relationship? What if his ideal of a satisfying relationship doesn't exist? What if, horror of horrors, he does end up alone? Would, in the end, his sacrifice of a safe/comfortable relationship have been worthwhile?

So, there is conflict - an attraction outside his relationship that makes him realize, over time, not right away people, that he is not in love with his partner.

The conflict, however, unlike the Big Bad Wolf who eats grandma and tries to eat Little Red, doesn't propel the story from beginning to end, it only sets the MC on a journey of self discovery.

What about your manuscripts of brilliance? Is the conflict straightforward? Character A must overcome this/that or he/she will die? If Character A doesn't overcome this/that then the world will end? Or, is the main conflict more a catalyst that, like Jared, sends the character on a journey of self discovery that doesn't necessarily have a happy ending?

S

Conversational Snippets as an Outline

Scott (the other one, not me) over at The Literary Lab did a post about narrative proofs yesterday. Yes, the man dared link writing with math! I mean, seriously people, algebra was not, and still isn't, my friend. The minute I read the word math I go into a trance like state and . . . . hey, now, what was I writing about? See!! One simple word and I totally lose my train of . . . . it happened again, dangit!

Seriously though, you need to check out the article. Very good, even if it is about math . . . in a way.

Scott (again, the other one, not me) also gave a glimpse of one of his narrative proofs (i.e., outlines) and posed the following question: does anyone else work in a method similar to this?

Well, of course, I don't, because, for the most part, I don't outline. For the most part . . .

My current WiP (title still in the ever changing mode, btw) does have a rough outline. The thing I realized is that a good portion of my outline is based on conversational snippets.

So, rather than go into a lengthy, highly intelligent btw, discussion, I figure it's easier to show than tell! Ha!

The outline looks something like this . . .

New Concept: brief, very brief, summary of the new concept. Sorry, don't want to give away the brilliance.

Chapter Titles = sentences from chapters (this wasn't in the original outline concept, but was added later when I decided to do chapter titles).

Part I:

• The Swan is Dying - brief explanation of what the statement means, etc.
• Ride from airport
• "She's not faking, is she?" "Would she do something like that?" "In a heartbeat. She's a master at manipulation."
• 1st Meeting
• "You'd better be dying, old woman!"

Part II:

Well, I'm guessing you're getting the point right now. The outline is filled with various snippets of conversation that become the basis for the various chapters. Yes, in some instances I have certain things like "sees so-and-so across the room" or "encounters wicked witch of the east" - okay, that's not in there, but . . .

I might not have a mathematical theory to compose a very rough outline that barely begins to skim the surface of what is going into this current WiP, but I do have stepping stones, so to speak, that are leading me down the path of completion. For me, the conversations between the characters are at the heart of his manuscript.

Are you disappointed I'm not the unaccepting bitch you thought I'd be?

Maybe the first check I wrote was out of guilt, maybe the 20th as well, but at some point, my guilt no longer mattered.

I felt betrayed.

You were my greatest hope and turned out to be my greatest disappointment.

You were just jealous that I got to wear a dress, and you didn't.

All of these lines come from different chapters, or prospective chapters. For whatever reason, these conversational points guide me from chapter to chapter.

I often just start scribbling down conversations on a piece of paper. Yesterday, I filled up the front and back of a piece of paper, little snippets here, there, and everywhere, and then had to sort those snippets into a coherent order as I wrote the chapter. Yeah, that happens sometimes.

So, the point of this post, other than that we all do things differently is, that outlining isn't necessarily a precise, bullet point document. Sometimes, it's something similar to a mathematical theory, or snippets of conversation, or something else entirely. An outline, in any format, is just what works for a particular writer.

And, since questions are the thing, and discussions are great, do any of you do anything similar? Totally different? Discuss! Enlighten.

S

Links

Today's post is about some linkity-links. Yes, feeling a bit lazy today, well, not really, but . . .

and the moon rose over an open field - Betsy Lerner, The Forest for the Trees blog. Best line from this current post: I think one of the worst parts of being a writer is trying to appear normal. Check out the post and the comments.

Log Lines! Book Summaries! - Casey McCormick, Literary Rambles blog. This entry provides great links for loglines.

February Secret Agent Contest - Miss Snark's First Victim. The contest entry date is next Monday, so, if you completed, ready to query manuscript fits . . .

Pitch Your Hook - Nicola Morgan, Help! I Need a Publisher blog. Yes, this ties in nicely with Casey's blog. I figure we need all the help we can get . . . well, some of us, perhaps not Super Ninja Elana!

I'd Really Like to Know - Tess Hilmo, blog of the same name. Why this link? Well, because I just found it really interesting. This is my blog after all. I'm allowed. : )

Writers: It's not life or death. Have fun! - Plot Whisperer for Writers and Readers blog. Best lines from this post: Don't take it too seriously - the writing. Don't take yourself too seriously - the author. Check it out! This blog is a really handy tool regarding plot. I've only barely begun digging my way through the wealth of information.

And I think that's it for this previously unscheduled Tuesday post. Enjoy the links.

S

Chapters

Today, class, we're going to talk about chapters. Well, I'm not really going to talk about chapters, I'm going to let you, dear readers, in the comments talk about chapters.

In my latest, greatest, most brilliant EV-UH, WiP, I have short chapters. I'm talking 2 - 4 pages - MAX!! This is new territory for me. Normally, I have some good lengthy chapters. Okay, not truly lengthy, but normally 10 - 25 pages depending on what's occurring with my characters.

So, my first question (yes, there's more than one): Do you write long or short chapters? Why? Yes, I snuck in a second question. It's my right as a blogger!

Third Question: Do you title your chapters?

Normally, I don't. I'm all about Chapter One, Chapter Two, Chapter Five Hundred. I normally (yes, key word, pay attention here) don't do fancy little titles to my chapters. I've tried that route and it hasn't worked for me, so I stick (well, stuck, since the foreshadowing thingy is done with) with that habit.

In my current WiP, I began to insert chapter titles. I don't know why. I don't know how. I just did. Basically, for this WiP (btw, just by reading this blog you've signed a confidentiality agreement and cannot disclose . . . kidding, a bit snarky this morning) I'm using a sentence from within the chapter as a title. For example: You were my greatest hope and my greatest disappointment. Yes, that's an actual title.

Now, when I begin a chapter, I just title the chapter, well, chapter. It is only as I'm writing the chapter that a sentence suddenly leaps out at me and I know the sentence is actual the chapter title.

So, back to my third question: Do you title your chapters?

Fourth Question: If you title your chapters, how do you do so? What's your formula??

I mean, with me, current WiP, it's a sentence from within the chapter that becomes the title. Do you work in the same way? Different? Spill the details in the comments.

As for my current WiP, it is progressing quite well, short chapters and all. I truly wasn't expecting this project to take off, but it did, so I'm not complaining. I'm just writing when I can write, my notepad is by the bed in case I get a spurt of inspiration at 2 AM - hey, it happens, and I'm enjoying the heck out of writing, even though I know I need to work on my query. I think this writing project is a form of procrastination, but, I'm writing, so, well . . .

S