When Characters Come to Life

While spending Christmas Eve and Christmas Day at the Abe Martin Lodge in Brown County, I was surprised to learn that the renowned tourist attraction is named for a character of fiction—a cartoon character to be precise. Hoosier artist Kin Hubbard conceived Abe Martin as a backwoods philosopher who commented on the political scene, family life, and a wide range of other topics with more candor than a proper editorial writer could have. You’ll find sketches of Abe and his cohorts all over the inn, as well as the nearby tourist haven of Nashville.

I wonder how many other states have named public works after characters of fiction. Indiana may be unique in that respect. Hubbard drew the character so clearly and expressed his opinions so winsomely that Hoosiers now give old “Abe” as much deference as a real person.
While there, I read the autobiography of Anthony Trollope, a 19^th century British satirist who is best known for the Barsetshire Chronicles, a series about the foibles of clergy in an imaginary Anglican parish. Trollope says that the series “failed altogether in the purport for which it was intended” (i.e., to end a system that allowed clerics to use endowments for the poor to feather their own nests). “But it has a merit of its own… The characters of the bishop, of the archdeacon, of the archdeacon’s wife, and especially of the warden, are all well and clearly drawn. I had realized to myself a series of portraits, and had been able so to put them on canvas that my readers should see that which I meant them to see. There is no gift which an author can have more useful to him than this.”

Most of Trollope’s work is now forgotten, but the Barsetshire Chronicles remain in print and became the basis of a “Masterpiece Theater” series by PBS some years ago. These characters still live in the imagination of millions of readers and TV viewers.

How do such characters “come alive”? In these blog posts, we talk a good deal about the techniques for evoking them, but notice Trollope’s comment about how his characters began to take shape: “I had realized to myself a series of portraits,” he says. He visualized each of them as vividly as if he were standing before their portraits, studying every eyelash and wrinkle with appreciation. Only when he saw them in his imagination did he “put them on canvas” so that readers could see them as well.

Do you see your characters that clearly? In Trollope’s opinion, it's the most useful gift an author can have.



Joe Allison has been a member of the Indiana Chapter of American Christian Fiction Writers since 2010. He lives in Anderson, IN. His non-fiction books include Setting Goals That Count and Swords and Whetstones.
 

Ye Shall Know Them By Their T-Shirts

By Jeff Reynolds

On a vacation earlier this year, my wife Becky and I stopped at a rest area. As I headed to the restroom, a gentleman walked out wearing a T-Shirt which read, “Sarcasm is another service I provide.”

A second later, it hit me. I need a line on my character profiles listing what T-shirts they have.

After all, the slogan shirts someone has tells something about them. They also can make a first impression. For example, one weekend I was reading at Lazy Daze Coffeehouse when a young girl and her friends came in. Her shirt read, “Cute is what I aim for.” Over it, she wore a sweater with a pattern of alternating roses and poison symbols.

Bumper stickers and posters can be included in that section. In my WIP, my main character leaves his teen-age daughter in the car as he visits a friend at the hospital. When he leaves, he takes a look at an empty car and wondered if the girl ran off. Then, he notices bumper stickers on the car he thinks at his and realizes that definitely isn't his car.

Side note. In this case, I used bumper stickers that the character would not use. The fact that he wouldn't have certain bumper stickers reveal his character just as clearly as one he would have.

I have several T-shirts with sayings on them. Some were given to me when I was a member of the YMCA in Tennessee ages ago, that rarely are worn off my property. A pair were acquired at work. Another four are from political campaigns, two of which were successful and two which weren't. (One of the two was for my former state rep – last year's redistricting gave me both a different state rep and state senator.)

I also have two T-shirts from Voice of the Martyrs. The first has the VOM logo on the front pocket and on the back the eyes of a lion with the words, “It didn't end at the Roman Coliseum. Christians Still Die.” The other's back features Romans 1:16 on the back while the front informs you, “This shirt is illegal in 52 countries” and lets you know how many countries are restricted (where official government policy persecutes believers) and how many are hostile (where the government's not involved but there are attacks on believers by the general population).

T-shirts and posters promoting certain musicians, actors, and movies/concert tours are another means of revealing something about the character. For that matter, so is sports paraphernalia. I remember a story of someone wearing a Pittsburgh Steelers jersey early in '06, after they eliminated the Colts in the playoffs due to a missed field goal attempt. The name on the back of the jersey was Vanderjagt. If that name doesn't ring a bell, he was the Colts' field goal kicker that year.

The sports outfit reflects something about the person. If a character in Indianapolis is wearing a Manning jersey, is that jersey for the Colts, the Broncos, or the New York Giants? If he's wearing a Colts shirt, is the setting Indy, Baltimore, Boston, Nashville, or Beijing? If the name on the back is Tebow, it reflects something about the character regardless of whether the jersey is Broncos or Jets, or for that matter the city the character is in.

Hope my hints are helpful. Sometimes things like T-Shirts and bumper stickers help with developing personality. So does a blog. Today's blog, for example, let's you know that my genre of writing probably isn't historical romance.

Liar, Liar

Liar, liar, pants on fire
Hanging on a telephone wire.


Okay, I really don’t know what that little ditty means and when I turned to the Internet to figure it out, it wasn't much help. But we’ve all heard it, most likely even said it, at some point in our life. I don't make lying a practice in my life (and I hope you don't either) but let's face it, we sometimes need our characters to be able to tell a believable tall tale.

I recently heard about a book written by Janine Driver (with Mariska Van Aalst) called You Can't Lie to Me.  Driver, a” lie detection expert for the FBI, CIA, and ATF,” helps readers recognize when people are telling the truth and when those around you aren’t delivering it straight up. I haven’t read the book, but I think I may check it out. It sounds interesting  first because I’m a parent and I think it would come in handy. I also think it could benefit my writing by making my characters more authentic.

 As writers, we are always playing with characters, developing them, tweaking them, making them unique and memorable. I am a fairly new writer and I have some ideas of unusual or creative places to go to help flesh out characters, but I wonder what you do? What books, magazines, television shows, websites, or other sources do you use to make characters with believable ticks, habits, and mannerisms?

Nikki Studebaker Barcus

A Study in Character

Well, if anything will cause you to think about character, it is a house full of 9- and 10-year old boys. Son #2 turned ten today and last night he invited just a few of his buds for an evening of swimming, video games, playing outside in the dark, and eating way too much food.

On my personal blog I call Son #2 Jot because jot means "the smallest character". He is my littlest guy and he is for sure a character. He adores collecting rocks and bones and discovers fossils nearly every week in random places. His tender heart always roots for the under-dog and never wants to see anyone left out, teased, or hurt. As the baby of the family he excels at making us laugh and lightening any tense situation.

As I served up pizza, cake and ice cream last night, I listened to their banter, their negotiating skills, and their humor--all in light of their individual personalities. I have a fondness for studying personality, so this was fascinating to me.

Of the five boys sitting around my dining room table there was the Peacemaker, the Sports Star, the Entertainer, the Old Man, and the Loyal Friend. It was a study in characterization just listening from the other side of the door.

So today I've been thinking about character and my favorite characters.

So, my question for you is: How do you create believable, interesting, three-dimensional characters? What sources, resources, websites, books, charts, or other things do you use when you develop your characters? I'd love to hear some dialogue about how you get those gripping heroes, heroines, and villains.

Nikki Studebaker Barcus

Soapy Writing

Wikimedia Commons

The same tricks that hook a soap opera audience are the same ones that can keep your reader turning the pages. What follows are some of the ways writers of soap operas get their audiences tuning in day after day.

• Secrets. Untold ones. Soap operas overflow with secrets. People find them out and tell them to others and the secret gets twisted and people who aren’t supposed to know them find out and then stuff happens. But there are also secrets that the audience doesn’t know yet and they tune in faithfully so they can find it out. Readers love secrets. 

• Open-ended possibilities. A character dies, but soap opera viewers know they could somehow rise again. Maybe it was a twin and not really the character themselves in the coffin. Or someone who had plastic surgery. Or a robot. Or…That type of wondering, leaving the viewer with the “I just gotta know if that guy really died” feeling, works for your novels, too. Create several scenarios for the outcome and leave the reader turning the pages wondering what might happen next. 

• Relationships with the characters. Because the audience loves the character or hates them, they develop an emotional attachment to them and want to know how they are doing, what’s happening to them each day, and whether or not their goals will be fulfilled. They cheer or boo for them and it’s a very real relationship. Forget to record a soap opera addict’s episodes and see what happens.   

• Curiosity. Humans are inquisitive, curious creatures. We want to find things out. The only way to learn what happens next is to watch. Create events in your stories to entice curiosity. Will he or won’t he? Is that rumor really true? What’s on the other side of the door? On the next page?

• Drama. We say we don’t like it but the fact is, we do. Our culture bears this out. We may not like it in our own life, but human nature does enjoy watching it outside our family circle. Our logical side likes think about what we’d do in that situation. Or judge the character for the choices they make. Give the reader an emotional ride with drama.

• Cliffhangers. Who shot JR? (Hey, Dallas is back!)

• Escape. Riches, jewels, designer clothes, mansions, fancy cars, exotic locations—we wonder what it’d be like to have them. Readers open books to escape. Give it to them. Soap Operas are a great escape for people because they last longer, and the viewer can escape every single day from their dull routine and fall into the fictional world of glamorous people. Are your stories providing a great escape?

• Reality. Even though readers want an escape, it has to be realistic. That’s where relate-able characters come in. If characters feel reachable, then viewers will become attached. Create characters readers can relate to as easily as they do their friends and neighbors. Make them touchable, relevant and accessible in their experiences of people they know. Create people they can identify with.

• Cure for loneliness. Some people watch soap operas because they perceive the characters as people they invite into their home each day. Are your protagonists and their friends the sort of people readers would enjoy inviting over for coffee or tea? On the other hand, are they people they'd like to fantasize about meeting? Will they want to open the book when they’ve been away to visit with them again and again?

• Feelings. Soap Operas create dramatic feelings as people grow to love the characters, develop relationships with them, and begin to have visceral reactions to the things they go through. Are you writing in such a way that the reader feels what the characters feel? Does your book leave readers feeling good? Wanting more? Wishing the story wasn’t over?

What are some books that have kept you turning the pages? I’d like to know so I can read them, too!

 Karla Akins is a pastor's wife, mother of five, grandma to five beautiful little girls and author of O Canada! Her Story and represented by Hartline Literary Agency. She lives in North Manchester with her husband, twin teenage boys with autism, and three rambunctious dogs. Her favorite color is purple, favorite hobby is book-hoarding, and favorite food group is cupcakes.

I Don't Believe It! (But I Want To...)

It is called suspension of disbelief. One of the most challenging balancing acts in fiction-writing is to captivate the reader's imagination and allow him or her to escape into the fantasy of your story while still believing the events could, at least in that context, occur.

Readers want to pick up a book and lose themselves in a fantasy world, a mystery, or a romance. They will believe that a farmhouse from Kansas can travel through time and space and squash a wicked witch in the land of Oz. Or that an elderly English spinster will solve the mystery and save the day, because Miss Marple always catches her man (or woman). Can a Civil War-era southern belle rebuild an entire plantation all on her own? We believe that if anyone can, Scarlett O'Hara is the girl for the job. We willing suspend our disbelief because the author makes us believe and makes us want to believe. Through the development of characters, plot, and setting we accept the story the writer delivers and find ourselves fully invested in following it through to The End.

In recent months, I've read two unrelated stories where the heroine died (or appeared to die) but was actually in a herb-induced very deep sleep. In one case the reader knew the plan ahead of time and in the other the reader learns of the plot twist as it occurs. In both cases the authors excelled in creating a believable back story, conflict, and tone as to make the scenario not only credible, but entirely thrilling.

So, I've been thinking about this whole suspension of disbelief business and I am curious about your thoughts, too. What scenarios have you read that seemed unbelievable but the author developed so well that it made perfect sense for the story? What books would you recommend with those captivating plot twists that leave you holding your breathe and racing to the last page? And what plot turns have you read that just left you feeling disappointed and shaking your head. ( Please, in this case, don't use the titles or the author's names.)

We know that many of the things in the stories we read aren't plausible, but, when the author does it right, we just can't seem to get enough.

Nikki Studebaker Barcus

Theology 101 For Novelists: How :"Boring" and "Divisive" Doctrine Can Make Your Story More Interesting

Angelology and eschatology can produce a best seller, but a study on harmatiology can create a deep and thrilling novel.

No, I'm not cursing at you and I'm not speaking in tongues either. And no, you don't need to grab your dictionary – I have some long words you may not be familiar with, but I'll define them.

Raise your hands if you think theology is something that can enhance your novel. I see one hand. Wait, that's my hand I see!

Some may think theology is boring. It can be but not if it's taught right. Others will say that theology is divisive. Technically, it's the differences in theology that divides.

Let me surprise you. All of you have a theology. In fact, if you're a Christian you have a belief in the ten major fields of theology and if you're not you still have views in the vast majority. You may not have it written out with notes indicating the Scriptures you appeal to for that belief or even be aware of it, but you still have a theology.

Is that enough of a shocker? Let me go a step further: Each of your characters has a theology in the ten fields I'll introduce you to. The characters might have varying theologies and these might bring about the conflict.

As I said, theology in and of itself isn't divisive. We may disagree on some of the aspects of these ten fields, but I'm sure we agree about that we have beliefs that fit in these categories. I'll be sharing these theological divisions in the order that my college curriculum covered them.

1. BIBLIOLOGY: Doctrine of Scripture. Is it inspired? How was it inspired? Does it contain errors?

2. THEOLOGY PROPER: Doctrine of God. What are His attributes? Is the Trinity fact or fiction?

3. CHRISTOLOGY: Doctrine of Christ. (That was a tough one to figure out, wasn't it?!) Is Jesus Christ God in the flesh? If so, was he fully God and fully man? Was He sinless and could He have fallen into temptation?

4. PNUEMATOLOGY: Doctrine of the Holy Spirit. What is the nature of the baptism, indwelling, and filling of the Spirit? Spiritual gifts falls into this category as well.

5. ANTHROPOLOGY: Doctrine of man. A term not limited to Christianity. Was man created in God's image? What was the nature of the fall?

6. HARMATIOLOGY: Doctrine of sin. What is sin and how does it affect our relationship with God and with each other?

7. ANGELOLOGY: Doctrine of angels. (Another one that you wouldn't have guessed without help, right?!) What is the nature of angels? This field also deals with Satan and demons. Frank Peretti's Darkness series deals with this field.

8. SOTEROLOGY: Doctrine of salvation. Are we saved by grace alone, by our good deeds, or some combination? Are we elect or do we have free will? Can we lose our salvation?

9. ECCLESIOLOGY: Doctrine of the church. What is the nature and authority of the church? Is the local church autonomous?

10. ESCHATOLOGY: Doctrine of last things. Is there a coming, thousand-year long Kingdom? If so, will Christ return to set it up or will the church establish it with Christ coming to claim it? Is there a coming time of testing? Will the church be there for all of it, none of it, or part of it? By the way, has anyone heard of a series which started with the book Left Behind?

As I have on my tagline, who says theology can't be thrilling? Hopefully, you no longer see theology as boring or a field that distracts from the action. And maybe you don't see it as much divisive as a great source for page turning conflict.

By the way, I am an ordained minister. I've graduated from Southwestern Conservative Baptist Bible College (now known as Arizona Christian University) in Phoenix, Arizona.

Who's Your Family?

Family.

We all have them. And they are all so different.

I have been blessed with an amazing family.

This is my dad with me and my siblings on his back...a long time ago LOL. My parents just left yesterday after coming out for almost a week to free me to work on edits for two August 1st deadlines. They sent me flowers ahead of time to thank me for letting them come!

Did I mention I'm blessed?

But not everybody is so fortunate. They didn't grow up with loving parents in a secure home. They didn't receive hugs freely as a kid to have them to give to their kids. They didn't hear that they were treasured by God from an early age.

Experiencing that marked me. It made me the woman I am today.

Not hearing or experiencing that is just as scarring. It makes people who they are.

So think about your characters...what's their family like? Are their parents married? Divorced? Were they an only child or surrounded by siblings? Did their family have money? Were things hand to mouth? Did they grow up in a family with parents who led them to God? Or did their parents give them a warped image of God? Those questions matter because the answers change how they will respond to the life and challenges you're giving them today.

So what about you? Was your family more functional...or dysfunctional?

Building Character

Characters can be tricky to build. I found it took weeks or even months for me to fully find myself inside a character’s head. But with deadlines now looming on the horizon, I do not have the luxury of letting characters simmer until well done. I need to know them now.

I’ve been busy the last few weeks nailing down the tweaks on a couple characters. And since I have this milling around inside my head, I thought I would share the questions/method I have been using.

1) Name. Even though I write fantasy, I like names that are familiar yet different and pronounceable.

2) Age. Obvious one, how old is the character?

3) Race. Irish? Jewish? Alien? Hobbit? What race is this character?

4) Core Personality. This is really the skeleton by which every other part of my character hangs on. I use a combo between Meyers-Brigg and DISC. Is the character an introvert or an extrovert? High paced or slow paced? Methodical or a dreamer? Whatever the core is, the character’s personality will color every other part of his or her being.

5) Physical appearance. Hair color? Length? Eye color? Skin? Body build? I usually go into great detail (just for my info) even going as far as eyesight and perhaps a sense more attuned than the others.

6) Birth order. Family is important and greatly influences for good or bad. Is this an only child? Siblings? Good home? Bad home? Left at the orphanage? What does my character think of his/her parents?

7) Culture. How has culture influenced my character? Is she from a tribal situation? Is he from the Depression Era? Is she technology savvy and knows how to text, twitter, email, and facebook all at the same time? What is important to that culture? Are there taboos? Does he/she fit in?

8) Religion. Christian? Atheist? Muslim? How devoted is the character?

9) Embracing God’s Approval. How does the character see his/her self? How do they think God sees them?

10) What is likable about this character? Sometimes this can be a hard one for me, especially if I am dealing with a logical bookworm. Why would others like this character?

11) How do others perceive this character? This is where I take all the other main characters and write out how they perceive this character. I also write out how this character would be perceived if met on the street. What are the first impressions?

12) Manner and topic of speech. Accent? Use big words? Proper or slang?

13) Inner journey. What is internal knot that is tripping this character up at the beginning of the book? Why is it harmful? What will happen if the character never changes? Does the character change? What causes the character to finally deal with it?

I hope these questions help you discover your character(s) beyond surfer dude, high school jock, timid housewife, or evil dictator. And to give credit where credit is due, I first heard these questions during a science fiction and fantasy writing track taught by Jeff Gerke at the 2010 Mt. Hermon Writing Conference.

Ten Steps Toward a Good Character Interview

In case you don't already know these two, it is my pleasure to introduce Leah Bright Maxwell and Trevor Aldrich Logan. Leah is the protagonist of the middle-grade historical fantasy I'm working on, and Trevor is the shy neighbor boy of Leah's Aunt Becky. The two share a commonality: each has lost a parent. A third character is about to become a member of what Leah sardonically calls the "Dead Parents Society."
     When I was about a hundred pages into the story, I realized I didn't really know Leah and Trevor all that well, so I decided to take the advice of fellow Hoosier Ink writer Ramona K. Cecil and interview these characters. After all, I'm an experienced interviewer, having written for two newspapers for nine years. All I had to do was apply the same techniques I used to interview mayors, judges, quilters, blacksmiths, E.R. medical staff, politicians, drugstore proprietors, old farmers, and boxers.
     Below are ten guidelines for interviewers interested in getting to know their characters. Following the guidelines, I've included the interview with Trevor. He surprised me the most.

1. Find out as much as you can about your subject. Research the settings of time and place. If your character has a special hobby, interest, or line of work, learn about it. Obviously, you can't research what you don't know about, and your character may very well reveal something along these lines through the interview.
2. Set the interviewee at ease. When I'm interviewing a living, breathing person, I'll engage in some small talk and ask some innocuous questions before entering into the heart of the interview. I may even talk a little about myself, perhaps telling something a bit personal, so the interviewee will feel comfortable in telling me some personal things.Your interview with your character should flow naturally, so a little small talk may help with that.
   
   (At this point, I'm taking a little break to tell you that at first this may seem awkward--interviewing a fictional character as if he were sitting across the table from you sipping chai. I understand that. Fact is, your character should be so real to you that you can almost smell the onions on his breath from the sandwich he had for lunch. You're a writer. Relax. We have a special license to be crazy upon occasion.)
   
3. Take careful and copious notes. This does two things. It captures your thoughts and records them, and it slows the interview down so that both the interviewer and the interviewee can gather their thoughts.
4. Take time to listen--really listen. Allow time for the character to say all he can regarding a particular question. Wait. Listen to the silence. Is he on the brink of saying something more? What's holding him back? What are his facial expressions? His gestures? Does he seem nervous? Perturbed? On the brink of tears?
5. Ask follow-up or probing questions. You can't do this if you've not listened closely, if you're too busy thinking of the next question, or if you assume you know the answer. You have to deliberately listen to hear.
6. Show genuine interest in what your character is saying. 
7. Study to remain neutral. If your character reveals a reprehensible act or motive, instead of shutting him down, let him talk. Encourage him by saying something like, "Yes, go on. What thoughts went through your mind when...?"
8. If you have questions about an answer, repeat to the character what you heard. "Did I understand this correctly?" you might ask. 
9. Interview all significant characters. It may be helpful to take on the role of your characters--play act--answering as each character would.
10. Allow your characters to be real. Don't try to impose a preconceived personality or behavior on him. Prepare to be surprised. You will end up writing genuine, round characters.

Interview with Trevor

With Notes

Me: What is your name?

Trevor: Trevor Logan.

Me: Middle name?

Trevor: Aldrich. It was my grandpa's name, but everyone called him "Al." I didn't know what his middle name was. I had to look up the meaning before I'd agree to use it.

Me: Trevor Aldrich Logan. That a good, solid name. Do you know what the Aldrich part means?

Trevor: Yeah. Spear wielder. Like a soldier, I guess. Like my dad. And my grandpa. Until I asked this, I knew nothing about his grandpa.

Me: Is your grandpa deceased?

Trevor: Yes. So is my dad.

Me: Oh, no. I am so sorry. How did he die? Your father, I mean.

Trevor: He was a brave warrior.

Me: Oh?

Trevor: He died in Iraq. He . . .

Me: I know it is hard to talk about. You don't have to . . .

Trevor: No. I want people to know, because I'm proud of him. He threw himself on a grenade to save his buddies. I already had decided that he died in Iraq, but I didn't know how. The interview filled in that detail.

Me: Oh, Trevor. He was a very, very brave man.

Trevor: My grandpa died shortly after we heard about Dad dying. Mom says Grandpa died of a broken heart. Didn't know that, either.

Me: What about your grandma?

Trevor: She lives with us. Actually, we live with her. It's her house. She and Grandpa built it a long time ago. The front part used to be a little gas station, back before Grandpa decided to retire. So it's kind of an odd house, with old gas pumps still out front.

Me: It has character.

Trevor: (laughs)

Me: So how did you and your mom—what's her name?

Trevor: Wilhelmina, but no one calls her that. She's called "Willie." I hadn't known this before.

Me: I can understand that. So how did you and your mom come to live here? Where did you live before?

Trevor: We lived in North Carolina. After Grandpa died, Grandma called Mom and said, "Wilhelmina, why don't you and Trevor come to Indiana and live here with me? We'll take good care of one another." So we did. This all was news to me. If I hadn't decided to interview Trevor, I wouldn't have known.

Me: She's your father's mom, isn't she?

Trevor: Yeah.

Me: Are your other grandparents, your mom's folks, still living?

Trevor: Yeah. They live in Illinois. Close to the Mississippi River.

Me: The grandma you live with, what's her name?

Trevor: Fern. [News to me!] I like that name. The woods around here are full of ferns and I think they're really pretty.

Me: I like ferns, too. Have you met the girl who is spending the summer up on the hill?

Trevor: With Miss Becky? Yeah.

Me: What do you think of her?

Trevor: I don't know her much. She's from Chicago, so she's probably uppity. Of course, he's talking about Leah, and this is early in the novel.

Me: "Uppity"?

Trevor: Yeah. You know. Snobbish. I think her dad's a college professor or something like that.

Me: Her name is Leah. You and she have some things in common, you know.

Trevor: Like what?

Me: Well, she's only a little bit older than you. And she has lost a parent. Her mom died in a car wreck. She was hit by a drunk driver.

Trevor: That's sad, too. Seems to be a lot of that going around.

Me: Do you know Miss Becky well?

Trevor: Yeah. We go to the same church. She was my Sunday school teacher when I was in third grade. I like her a lot. I go up to her house a lot. She lets me help her in her garden.

Me: Don't you have a garden at your house?

Trevor: Yeah. We all three work in it. But I really like to grow things and take care of them, so I help Miss Becky, too.

Me: I would think that would keep you pretty busy.

Trevor: Yeah. But I like to be outdoors, so it's fun for me. My dad did, too. He was a woodsman. He taught me all sorts of things about the woods and how to survive out in the wild. Like Brian in Hatchet.

Me: Oh, so you've read Hatchet.

Trevor: Yeah. It's pretty good.

Me: Do you read a lot?

Trevor: Not really. That was a book we read in school. Mostly I read to find out stuff. You know. Not made-up stories. Books about nature, an' stuff like that. My dad used to get me them kind o' books just about every birthday. I have a bookshelf in my room—well, it's part of my bed—that Mom calls my Lewis and Clark shelf. You know. After the explorers?

Me: Yes, I know. I've heard of them. So what kinds of books are on your Lewis and Clark shelf?

Trevor: Dad got me a lot of books about how to identify stuff. Trees, wildflowers and medicine plants, birds, mushrooms, butterflies, insects, snakes, mammals, reptiles, amphibians, dragonflies. . . you name it. It's prob'ly in one of my books.

Me: I might not be able to name it.

Trevor: Then we'll look it up in a book.

Me: Those are important things to know.

Trevor: Yeah. I know the woods around here real good. Are we about done?

Me: I think so. Unless there's something else you'd like to tell me.

Trevor: Nope. I want to go see if I can help Miss Becky.

Me: Thanks for talking with me.

Trevor: You're welcome. See ya later, alligator!

Me: After while, crocodile!

Now, it's your turn. Do you interview your characters? Which ones do you interview? Have you learned new and amazing things through the interviews? Please share your experience with our readers.

What year is this?

When I set out to do historical fiction I was advised to tread carefully, readers quickly catch on to inaccuracies. Seemed easy enough, just plan well, take some notes etc. Flash forward to my last writing session.

I had sent a goal and was only on w0rd 401 for the day. The first paragraph went fabulously. Then, each word became so difficult to plunk out- slow and I'd even say painful. It is difficult being fully aware that you are writing slush pile material, but still pressing on, knowing that you can't edit what isn't written. Giving up wasn't an option.

Join my brain in progress...The main character is having her hair done for a family photo. That is where the trouble started. What kind of hairstyle? Went to the trusty Internet for some pictures. Realizing that the style I was thinking of was in the wrong decade. One m character is a musician and part of the jazz era. Then I realized the car I'd given him wasn't created yet!

Thus began a desperate search through the 20's, 30's and 40's to attempt to pinpoint the year. Ahhhh! He couldn't drive a 40's Plymouth, have his favorite song be on the radio in the 30's and get into speakeasies. Well, I guess he could in my mind but it didn't translate to the written word well. Now I am faced with having to deal with the Depression or World War II. Sigh. How could a hair style lead to so much bewilderment?

Here is the funny part. My husband who is neither a writer, nor a fan of reading came home late from work. Needing to get these "hefty" ideas out of my head to keep my sanity, I share my dilemma. His eyebrow went up on one side, thoughtfully. I told my beloved that the writing was junk that day but I found out a few new things. Frank (my imaginary character) finally agreed to do.....and then....well his wife was not happy about THAT....and then Lizzy (the daughter) was at school and some girl said to her, "Everyone knows your dad is a lousy drunk!" I told him how my character responded. Am I rambling yet? I imagine so, you should see inside my head :).

As the writer, I was surprised to find out that the whole town already knew about Frank. And Lizzy surprised me by slapping another character! I concluded at least I learned something new about my story.

My husband was still staring at me like I was crazy. He calmly said, "She pinched her?" Then he started chuckling as he walked up the stairs. I was stunned. All that mental effort and that is what he took away from this genius plot?!?

What must it be like to love a writer? Someone who seems somewhat normal but talks about her characters as if they were alive. And he surely can't understand how I can be as surprised as the next person when there are new revelations about my fictional friends.

How about you, ever feel like you are somewhat caught in your writing; in the specifics of time or character? Can anyone relate?

Now, back to the turn of the century I go to start again. I have got to know what year my story takes place. After all, Frank needs a new suit for his photography session and I don't want him to be out of style...

Christa Sterken

ALL ABOARD?

When I critique the first chapter of a novel for a critique partner, I like to start with a Quik Crit of the first 500 words.  My focus is on the protagonist, the story question, and the hook.  If those particular elements aren’t up to snuff, chances are an agent/editor won’t read past the 501^st word.

Story trumps all, and since the protagonist carries the story it’s important to see how the protag is introduced. First I check for specific character qualities. I list them for the author and ask her, is this the impression she intends the protag to make on the reader? I’ve been surprised by how often a protag is introduced in a totally negative light. As in whiny, sullen, arrogant, resentful—in a word, a loser with nothing to make her/him attractive to the reader. In a recent crit, I pointed out how the protag was pictured as short, morose, weird, and punishing himself for something not explained to the reader. Imagine my surprise when in Chapter 2 he showed up as a tall, gorgeous hunk who was charming, confident, and striding toward his goal. Huh? The author was equally surprised at my first impression—until she examined what she’d actually put on the page. Secondly, I look at the action. Is the character moving the story forward? It doesn’t need to be at a gallop, but it needs to be more than simply milling around displaying character qualities.

I recently read an intro scene that was deliciously written. The protag was appealing, and I loved the author’s voice. But there was no story question worked into all those fabulous words. No hint of a flaw or a dilemma or where the story was headed. The character was simply… introduced, period. It was like being handed a train ticket with a lovely, young companion to sit next to, but without a destination to orient me. The train ticket is the author’s promise to tell a good tale, and the tale needs to begin with not just the intro of the protagonist, but with the big bump in the road—er, tracks—that makes it into a story.

We hear a lot about hooks—that chunk o’ chocolate that entices the reader to stick with the story long enough to get the train rolling. Fortunately the options are many and varied, and an author can be successful with a tried-and-true technique or come up with her own. The point is, by the 500^th word, is the reader captivated enough to read on?

There are other story elements that can be looked at in the first 500 words, but the profit of the Quik Crit lies in evaluating what the reader’s first impression of the book might be.  Are the most important elements there? The Quik Crit can also be used in a small gathering of authors (such as a “cluster” group) who would like their openings evaluated. Is the group on board with what the author intended, or did she unintentionally put the readers on the wrong train? 

by Steph Prichard