Begin Your Dream, Then Finish It

WRITING WEDNESDAY
Millions of people dream of writing a book.  In fact, it's said that in the U.S. alone, 200 million people want to write a book.  Only a small percentage actually do.

Maybe you're one of that small percentage who has actually sat down at a keyboard or held a notebook and pen/pencil in hand and started writing.  If so, I salute you!  It's the first step of making your dream come true.

But there's more to it than that first step of beginning.  The hardest part is to finish writing that story.

An idea springs to mind, and we start writing.  Before long, we lose interest, we hit a wall, we start to lose interest in our characters or story.  Or all of those things!  And then we quit.  We shove the story aside and wait for inspiration on a new story.

A few false starts aren't bad.  Nothing but starts isn't good.  How will you know if you're able to write a complete book, if you stop a few chapters into writing it?   Some authors do well with 80,000 to 120,000 word books.  Others aren't comfortable writing anything more than 50K to 75K   Some writers panic at the thought of anything over 30,000 words, while others enjoy writing short stories.  What do you feel is your comfort zone?

I'm here today to tell you that tossing it aside isn't always the best thing to do.  In fact, if you're a new writer, it's one of the worst things you can do.  I have everything I've ever written saved, either in hard copy or on computer (disk or whatever).  I became serious about writing with the hope of someday have my books published in 1996.  Because my focus then--and still is--romance, I joined Romance Writers of America (RWA) and went to my first National RWA Conference in July that year.  Kathie DeNosky and I had met briefly online, and we met in person at that conference.  Within very little time, we became friends with two other aspiring authors, Janet Lee Barton and Belinda Barnes.  The four of us eventually formed our own, small critique group.  It was Kathie who pushed me into entering writing contests.  My first entry, Contract for Love, placed Honorable Mention in the Love in Uniform Contest in 1996.

I entered more contests, each time with a finished manuscript.  After placing or winning in six more contests with three other finished manuscripts, I hit the jackpot in 1999's Georgia Romance Writers Maggie Award for Excellence and won first place with the first 30 pages of the book in the Unpublished Short Contemporary Category.  When the final judge, Silhouette Editor Mary-Theresa Hussey, asked to see the full manuscript of The Rancher and the Runaway Mom, it was written.  In April of 2000, I got The Call that Silhouette Romance wanted to buy my book.  (A short P.S. on this.  Every other book I'd entered in contests had been completely finished when I entered, except this one.  I was short less than two chapters when I sent in the entry, and I finished it, long before the finalists were announced.)

By the time I SOLD what later became Rachel's Rescuer, I'd written nine previous books.  Of the ten, including my first sale, half of them have been published.  Those other five?  I still have them, and plan someday to rewrite, revise, and polish.  The stories aren't bad, but they need work, and I've learned SO MUCH in the years since I first wrote them.  Cowboy Over a Barrel (original title) and published as A Saddle Made for Two, was my second Silhouette Romance.  The Cowboy and the Ice Princess (published as The Rodeo Rider, the first in what has become a 10-book series) was my second Harlequin American Romance.  Who knew they'd love cowboys as much as I love writing them?

If all that sounds like bragging, it isn't.  Admitting and patting yourself on the back or having others pat you on the back makes doing the hard work that much more special.  Kathie has by far surpassed me in the writing world.  She sold her first Silhouette (now Harlequin) Desire on my birthday in 1999.  Belinda sold in December of that same year.  Of the three of us, I came in third in April of 2000.  Jealousy never had a place in our friendships and never will.  Envy?  Yes, but along with that came admiration and Kathie kicking my backside to keep me going.  I have no room to brag.  Sharing the things I've learned (and will continue to learn) with others makes me hopeful that one smidgen of something I've shared might be the one thing needed to create an award winning book and author.

So now you know why tossing a beginning aside isn't a good thing, right?  But why?

• Each book started as an idea.  Ideas grow into completed books, if you stick with it.
• As a writer, each finished manuscript is a learning process.  You grow as a writer with each one.  If you're part of a critique group or enter contests, there will be people who are willing to help, to tell you your strong points and help with your weak points.
• If a book doesn't sell, it might be perfect later.  Publishing tastes change.  Those tastes could be right up your writing alley.   

Here are a few tips I've learned along the way.  Whether you're just beginning or have been writing for much longer, but feel you're getting stuck and going nowhere with your writing, these are a few things to keep in mind and give some thought.

1. READ!!  What type (genres and sub-genres) are your favorite reads?  Which of those do you feel you are best at writing?
2. Study and know your market.  Always keep in mind that what's selling now may or may not be hot in the future, but it's worth a try.  Yes, some writers make it big with something completely different, but it's rare.
3. Hone your skills.  This includes grammar, spelling, and all the mechanics of writing.  Editors (if traditionally published) will love you for this.  Readers (if you're self-publishing) will, too!  There's not much worse than trying to read a good story, while bad writing keeps pulling you out of it.
4. Learn to plot.  It doesn't have to be scene by scene, chapter by chapter, but have a solid idea of how and where the story begins, turning points, hooks, black moments and resolutions (aka Happily Ever Afters).  If you don't understand those terms, check out some of my older blog posts and especially check out the blogs, books, and advice of other authors!
5. Your non-writing friends and family can be a part of your pep club, but they will always love your writing, no matter what.  Get outside that circle t learn.  Join a writing group, a critique group, or enter contests.
6. Keep learning.  Always.  Nothing is better than knowledge, not even talent.  Without knowledge, even the most talented will struggle.
7. Don't give up!!  I was lucky enough to find writing friends who wouldn't let me do that.  Throwing in the towel was something I often considered, but they kept me from doing it.  My mantra became, If you quit now, the next book probably would have the THE ONE. Who wants to tempt fate that much?
8. Enjoy writing, but also enjoy life, yourself, your family and friends.
9. WRITE!!  Each time you sit down to write, whether it's been an hour, a day, a week or months, you'll learn knew things.  If something isn't working, try thinking about it from a different direction.
10. FINISH THE BOOK!!  Because an unfinished book will languish.  Until you finish writing that first book, you'll never know the wild exhilaration of writing THE END.

One more special hint and the reason I'm blogging about this.  Write on, don't edit.  I hear a lot of "But...but..." out there, so here are two great links I found today, which led me to write this blog post.

• Lessons from Oleander–The Dangers of Premature Editing, one of Kristen Lamb's blog posts, this one from yesterday (March 25, 2014).  Short, sweet and to the point.
• 5 Tips for Writing Quickly and Effectively from workawesome.com

Read them.  Think about them.  Ask yourself if you're brave.  Maybe next week we'll look a little closer at what these two blogs/articles have to say.  Why?  Because it's important.  Write on!

Never give up; for even rivers someday wash dams away. ~ Arthur Golden

Building Character(s)

Basic (romance) Characters

No GMC today.  Instead, we'll take a look at characters before getting into the goals, motivation and conflict of our characters.

Let's face it, characters are what make a book. If you don't have strong characters---and I don't mean the kind that lift weights---your characters and your story will fall flat.  And so will you.

Characters can have many traits.

• Physical: hair color, eye color, height, body type, etc.
• Overall physical: Handsome, beautiful, plain, scarred, etc.
• Occupation: Doctor, nurse, cowboy, spy, mother, secretary, CEO, business owner, cowgirl...

All of the above make up our basic idea of a character.  But a character isn't only what s/he looks like and does for a living.  A well-rounded character will have other character traits, just as we real people do.  These are what we call personality traits.

If you've ever taken a psychology course in school, you've learned about personality traits, those thing that make us who we are.  The term "strong characters" refers to the strong personality traits of a character.  No one wants to read about a one-dimensional character.  Even a walk-on character often has certain personality traits.  Sometimes that's why one book will branch off into a second book, a third book, or even a multi-book series.  In some books, a secondary character already has a story within the story, written as a subplot to the main plot.

Building a character means knowing a character even better than you know yourself.  Many times writers find a bit of themselves in their characters or perhaps the opposite of themselves.

If you're a new writer and don't understand about characters, there are tons of websites where you can learn about characters and personality traits.  If you're beyond the new writer stage and are struggling with creating a new character, those same websites and others can help you can jump-start your character.

• The Myers & Briggs test can teach you about basic personalities and how they affect each of us.  In addition to the Myers & Brigss website, there are other websites you can visit for more information on it.  TVtropes.com is a good one, and there are many more.
• The Enneagram Institute uses 9 different personalities.  You can take a test to try it out.
• Books for writers, such as the one I mentioned last week by Tami D. Cowden, Caro LaFever, Sue Vider.  The Complete Writer's Guide to Heros & Heroines: Sixteen Master Archetypes has an interesting take on characters for an even different take on personalities.
• Still a little confused?  You can download character sheets to get a handle on who and why your character is.
• Don't stop there.  More information is available by doing a search online for fictional personality traits or character description in fiction.  Or think up your own!

The above could keep you busy for quite a long time.  Learn what you can, then think about it when you're working on your current or next story.  You don't have to be exact with your characters. You don't have to give your readers every, single detail about your character.  Be careful to show and not always tell who and why your character is who s/he is.  Sometimes a little pre-writing can help you get a grasp on your characters.  What does your character say?  What is your character thinking?  Is body language involved?  An excellent source for that is The Emotion Thesaurus (The Bookshelf Muse Descriptive Thesaurus Collection).  While that blog has moved to a new location, Writers Helping Writers, there is still a propensity of information about characters, especially how to show, not tell.  If you find either of these helpful, I advice getting the book at Amazon or B&N.

Choosing characters wisely is a huge part of what creates their goals, helps with understanding their motivations and builds their conflict.  And you thought writing was easy!  Most of the time it isn't difficult, but knowing the things that will help will put you on the road to stunning and memorable characters and their stories.

I'll be moving my topics to different days next week, so look for Writing Wednesday on...Wednesday next week.  Do opposites attract?  And just how opposite do they need to be?  Sort of a prerequisite to GMC. :)

The most important aspect of any story, to me, is character. ~ Nora Roberts

The Perks of Writing a Series

Why would a writer consider writing a series?

I've already blogged about what a series involves and how to keep track of the information involved in writing that series.  Now let's see why a series can be a plus for a writer.

Throughout the ages, series have been written, read, and reread.  Many of them have been written for children.  The most popular include Anne of Green Gables, Harry Potter, Little House on the Prairie, The Babysitters Club, The Hardy Boys, Nancy Drew, and Trixie Belden.  Adult series include Sherlock Holmes, A Song of Fire and Ice, and too many in-between to list.  Everybody has their favorite. :)

What is a series?  According to Dictionary.com, a series is a set of successive volumes or issues of a periodical published in like form with similarity of subject or purpose.

CONNECTIONS MAKE IT EASIER

The "similarity of subject or purpose" can also be called "connections."  It only takes one book or idea to spawn more.  In that one book or idea, a writer has a variety of connections from which to create a series.  If you're looking for one, the following are a start.

Theme
Because series books already contain some type of connection, there's a huge chance you have a theme.  Whether it's family, a town/city/area, shared backgrounds, fighting the bad guys, weddings, saving a marriage, sheikhs, cowboys and ranchers, babies, good vs. evil, and more, there's a basic theme or thread that runs through all of books.

Characters
Most books don't involve only one, main character.  In fiction there are two: the protagonist and the antagonist.  In romance, there are also two:  the Hero and the heroine (H/h).  These second two may switch roles as protag and antag.  Whatever type of book you're writing, each of these two characters has:

• Background - Friends or a acquaintances, occupation, hobbies/interests, training, school(s), life experiences, and more.
• Family - Bothers, sisters, cousins, parents...
• Conflict - What keeps them from getting whatever it is they want

Setting

• City, small town, apartment complex, neighborhood, office, armed forces, jungle, desert, distant planet, the future, the past, alternate reality
• Seasons or weather related.  For instance, three books could be three different stories about surviving the same natural disaster.

MINOR CHARACTERS

The role of a minor character can lead to the role of a major character (protag/antag) in the next book.  This could be a friend, relative, or any other character that appears or is mentioned (introduced) in the first book. The latter can be used especially for longer series that isn't necessarily based on a family.  At least that's what I discovered when 2 related books became an 8 book series.

Summary aka let me confuse you:  After the line I first published with closed, I sold a book to Harlequin American.  I needed more and wondered if anything I'd considered writing in the past would work for this new-to-me line that focused on Home and Family.  I had two stories that were interrelated by the two heroes being friends (1st connection-friends).  These were stories and characters I'd always liked and had hoped that some day they would be published.  They were originally set in two different areas, so to help tie them together a little more, I decided to move the second book to the same setting as the first.  Desperation, Oklahoma (2nd connection-town) was born.   The heroes were both rodeo cowboys (3rd connection-occupation), although they didn't compete in the same events.  One was a bronc rider, the other a bull rider.

So now I had two heroes, Hero1 and Hero2.  While working on those, I discovered some old notes on a story about Hero1's younger brother, who had run away and vanished when he was in high school.  Their father had died, their mother had deserted them, and little brother had picked up and left, early on.  My editor, however, wanted to see a story about the sister of Heroine2 (1st connection for bk3) .  Okay, that was doable.  Enter Heroine3.  Add Hero3, the town's sheriff, and there was the story's 2nd connection: the town.  I adjusted Book 2 to add in a mention of a secret relationship between what would become Hero3 and Heroine3, and decided not to go with the younger brother quite yet.  I had an idea.  Why had the mother of Hero1 deserted her husband and two sons?  Answer:  She was pregnant and too young to be the mother of three.  Of Native American heritage, she wanted to join the rodeo and did.  Aha!  A secret sister!  Heroine4 was created, the unknown sister of Hero1 (1st connection-family, and a new character).  Heroine4 knew who her brothers were and she arrived at her brother's ranch, looking for a job as a wrangler for Heroine1's boys' ranch.  (H/h1 were, by this time, married with a young son).  A revisit to the setting in the first book created the 2nd connection of both ranch & town.  Hero4 was the head wrangler, and of course the two butted heads.  And he was a new character.

Still with me?  Yes, it can be confusing. 

PIotting for future books, if there might be chance there might be some, I'd added a new female doctor to the town.  Hero5, Hero1's younger brother, (1st connection-family) arrived at the ranch in the epilogue of Book 4 (2nd connection-ranch & town).  Yes, his story was next.  Because of a debilitating injury, Hero5 was tended to by the female doctor (Heroine5).  As it turned out, the doctor had a brother, who had moved to town to become the city attorney a few years earlier and was introduced briefly in Book 5.  We're on to Book 6 with the brother (Hero6) of Heroine5.  Confused?  I am.  Heroine6 had appeared briefly in several of the books, so now she had her own story.  Several tries later, a new set of old characters never mentioned before, stepped forward for the telling of their stories.  Hero7 and Hero8 were brothers (1st connection-family), and another duo of old stories begun, but never told.  The location of their setting was moved within the state, so they could now friends with earlier heroes and heroines (2nd connection-town), they fit well in Desperation.  Heroine7 and Heroine8 were both new characters.

I'll be the first to admit that sometimes it took some thinking and brainstorming to keep the series going.  But I'll also admit that it was fun.  Books 1 and 2 led to books 3 and 4, which led to 5 and 6, and now 7 and 8-- with a bit of new, yet staying with the town, family and friends...and even occupations as ranchers, it worked.

Why did it work?

REVISITING FORMER CHARACTERS

One of the things I enjoy reading the most in a series or connected stories is learning what's been going on with former main characters or simply seeing the mention of former minor characters.  Having those minor characters or even briefly introduced characters take on a major role is just as good, if not better.  That's also why I've enjoyed writing a series.  People grow, their families grow, and so should fictional characters, whenever possible.  Stephen King, even when not writing a "series," will mention a place or name from previous novels.  It always brings a smile to my face.


PERK SUMMARY AND THE BIGGEST PERK

Readers Love Series

With the Desperation series (Hearts of Desperation, if you like), the connections are many.  Theme is much the same as Harlequin American Romance.  Home and Family.  Setting?  A small town.  Characters are connected in many ways, including friends, family, and occupations.  One grows out of the first and so on.  But first and foremost, I'm a reader.  I enjoy seeing "old friends" in a series, meeting new ones, and knowing that in a series I will have my favorites, whether reading OR writing.  That's the biggest perk of all.

As a writer, are you a reader?  Do you enjoy reading books in a series?  If you do, why aren't you writing one?  Yes, it takes work, and sometimes it might seem that there's nothing more to tell.  But in fiction, as in life, there's always more.  Give it a try.  The first book lays the groundwork, the second and subsequent books build the series.  Just remember to have fun!

I'll be a guest blogger at Tote Bags 'n' Blogs on Monday, June 24th.  I'll be delving into the setting of small towns, so stop in and say HI.  There may be some free books available for lucky visitors, too!

The greatest gift is a passion for reading. It is cheap, it consoles, it distracts, it excites, it gives you knowledge of the world and experience of a wide kind. It is a moral illumination. – Elizabeth Hardwick

Hearts of Desperation Main Characters and their Connections 
THE RODEO RIDER, Book 1 - Tanner O'Brien and Jules Vandeveer
 BACHELOR DAD, Book 2 - Dusty McPherson (friend of Tanner) and Kate Clayborne
 THE LAWMAN'S LITTLE SURPRISE, Book 3 - Morgan Rule (town sheriff) and Trish Clayborne (Kate's sister)
 THE RELUCTANT WRANGLER, Book 4 - Mac MacGregor and Nikki Johannson (Tanner's sister)
 THE MAVERICK'S REWARD, Book 5 - Tucker O'Brien (Tanner's brother) and Paige Miles (new doctor in town)
 BACHELOR DAD, Book 6 - Garrett Miles (Paige's brother and city attorney) and Libby Carter (works in the  local tavern, where Kate Clayborne McPherson provides her famous barbecued beef sandwiches)
 A NANNY FOR THE COWBOY - Luke Walker (friend to many in and around Desperation) and Hayley Brooks
 DESIGNS ON THE COWBOY - Dylan Walker (Luke's brother) and Glory Andrews

Do Opposites Attract?

THE CREATIVE PROCESS

Spring Break came two days early for us, and yesterday involved keeping five children from driving us over the cliff of insanity.  Writing anything--even my name--was nearly impossible with an interruption every five or less minutes.  This morning they're keeping themselves busy with other things.  Yes, I'm grateful. ☺

 My writing group has been discussing plotting on our email loop, which brought us around to GMC (Goal, Motivation and Conflict), a method offered by author Debra Dixon.  For me, it's a starting place.

GMC is a quick telling of what the character wants, why the character wants it, and what is getting in the way of not getting it.

Does that mean that the two main characters need to be opposites?  No.  But they must have opposing goals, somewhere along the line.

A few weeks ago I posted the following opposite traits.

Disciplined/Free Spirit
Homebody/Nomad
Driven & Determined/Lives for the Moment
Cheerful/Angry
Courageous/Fearful
Rigid/Adaptable  

In the above, any could be negative traits or positive traits.  And, yes, they are a bit cut and dried.  We, as well as our characters, don't have only one trait.  We're a mixture of many, both positive and negative, weak and strong.  Our characters should be this way, too.

If you've chosen to have one character  who is disciplined, follows a strict path in life and never waivers from it, while the other is a free spirit, spontaneous and loves to do things on the spur of the moment, you've already set up a conflict, simply in personality types.

But what if you have two characters who are both Driven & Determined?  Where's the conflict?

Within a relationship, whether it's family, romantic, or even business, no two people will be exactly alike, even if they share the same major traits.  Two driven or even rigid people can have conflict with the other character, especially where their goals are concerned.  Neither is willing to give an inch, when it comes to what they want and what they'll do to get it.  Two cheerful people won't always agree.  Somewhere they will differ.  That's where knowing your characters comes in.

And that's when GMC steps up to the plate.  On the surface, these two seem perfectly compatible, but somewhere they'll differ.

• Two sisters are close to each other, they share a room, they share their life, they share secrets.  But one sister loves red, while the other loves green.  It's never been a problem between them, until they have an opportunity to make changes in their personal environments.  Their goal is to paint their room.  Suddenly, this goal is going to raise some conflict.
• A woman and a man are driven to be successful in business.  But what if they're vying for the same job?  Or have competing businesses?
• A couple planning their future together want to buy a home, expecting a happily ever after.  They share many of the same likes and dislikes, whether it's music, movies, dancing or no dancing, TV and reading, and things to do in their spare time.  Her dream is to live in the city, while his is to live in the country.

These are simple, basic things that set each of us apart.  A courageous person can become fearful, while a fearful person can be forced to become courageous.  Rigid people can adapt, when needed.  A homebody may find that he/she enjoys a bit of traveling.  Those sisters above may find a perfect way to mix their favorite colors.

As people, we learn to compromise, and that's what our characters will also learn to do.  Even if they share basic traits, each will have something that is different than the other.  If they don't, if there is no conflict, we'll become bored with them.  Each character is different in some way.  Find it and run with it.  Create memorable characters and you'll end up with a memorable story.

If you're writing about a character, if he's a powerful character, unless you give him vulnerability I don't think he'll be as interesting to the reader. - Stan Lee

Make Your Characters Real

 THE CREATIVE PROCESS

It's easy to fall into the trap of not fully "fleshing out" our characters.  Even with strong GMCs, our characters can still be flat and uninteresting.  And boring characters will have readers closing the book.

What does "fleshing out" mean?

Fleshing out means to expand or become more substantial.  For writers it means making characters more human.  There's nothing worse than a perfect person...or a perfect character.  And that's as if there really was a perfect person.  We do try, but we're human...and that's what the characters in our stories should be.

Each character must have, well, character.  After all, that's why they're called characters. ;)  Character is made up of different things.  Because no one (especially our characters!) is perfect, there are both positive and negative traits within our personalities, just as we have strengths and weaknesses.

• Human Traits
• Strengths
• Weaknesses

When thinking of main characters in a romance (hero and heroine), having different and sometime opposing traits, strengths and weaknesses, is ideal.  Here's a short list for some ideas:

Disciplined/Free Spirit
Homebody/Nomad
Driven & Determined/Lives for the Moment
Cheerful/Angry
Courageous/Fearful
Rigid/Adaptable

Don't shy away from putting them at odds from the very beginning.  Do be sure each trait is motivated (think backstory of character).  What has happened to the character in the past?  Or is happening now that will keep them apart?  (Remember that Push/Pull thing.)  For some reason, these characters should not come together and have a happily ever after.  Read the back covers of your favorite books for ideas, but mix them up, don't steal. ;)  It doesn't matter if the hero and heroine have a past together or not.  Don't always stay in the safe zone.  Mix it up.  The only thing to keep in mind is that motivation.

Give your characters weaknesses.  That's what makes them interesting and real.  Fear works well as a conflict.  It builds conflict.  Connect that fear to the the character's backstory and well-motivated goal that are counter to the other character's, and you're building the conflict between them.

Make them human.  Give your characters a personal habit or small mannerism that sets him/her apart.  I recently turned in a book with a hero who answers "Right," instead of "Yes" or "Okay."  I didn't intend it to happen, but that was a part of him.  Does the heroine cross her legs and nervously wave one foot when seated?  Does she slap her hands on her hips and jut out her chin when angry?  Be a people-watcher for mannerisms to use.

Make them different, even when it's different from the "real" them.
I'm a huge Susan Elizabeth Phillips fan.  Her books are funny and wildly emotional.  I have three that are my favorites.  The first is IT HAD TO BE YOU (Chicago Stars Series).  The heroine, Phoebe Sommerville, is my all-time favorite heroine, so when I had the good fortune to attend a writers' workshop given by SEP, I was thrilled when she talked about building characters using Phoebe as a example.  If you haven't read IT HAD TO BE YOU, Phoebe is a buxom, curvaceous woman and always dresses to show it off, who happens to wear pristine, white underclothing.  Nope, no thongs or bikini undies for her.  She uses her seemingly sexual appearance (through clothing, swiveling hips and pouty lips) as a shield to hide the real her.  There are reasons, meaning she is well-motivated.  What I remember most of that workshop was SEP sharing that she started with a very private heroine, who wore white, common-sense undies and bras.  That was the skeleton of the character.  As SEP built the rest of the character from the inside out,  Phoebe became a "sexpot" on the outside.  People saw one type of woman, but inside there was an insecure girl.  So even within one character, there was conflict, and that's what it's all about. Of course there's always Push/Pull within a character.  It's the I want but I can't have conundrum.  Let's face it, we all have a secret self.

The above is a reminder that our characters should reveal their true selves to the reader, long before revealing it to the other character.  Do it slow and easy.  Don't dump it immediately.  And when you do bring it out, little by little, show it, don't tell it.

Make your characters three-dimensional by using:

• Internal thoughts
• Emotions
• Actions

While your character may say and act one way, what that character is thinking (internal thoughts) and feeling may be quite the opposite.  Be certain you don't forget that or leave it out.  A character may be hard and unforgiving, but when it's shown that it isn't so by using internal thoughts along with clear motivation, that character has dimension.  As for actions, we all know the old saying that actions speak louder than words. Tears welling in the eyes, tone of voice, teeth or hand clenching, and more can be felt by the character and seen by the other.

Make them unforgettable.

When readers close your book at the end, you want them to feel an emotion.  A good emotion.  A smile, a happy sigh or even a tear will endear a reader to your characters and your book.  Make those characters touch the heart by becoming "real."

“I will go to my grave in a state of abject endless fascination that we all have the capacity to become emotionally involved with a personality that doesn't exist.” 

― Berkeley Breathed

Building the Story: Characters

THE CREATIVE PROCESS

As I work on making changes on a proposal, I'm given pause to think about how important characters are to the plot of a book.  It's characters and our love of them that make a great story.  And, yes, even a mountain or a whale can become characters that change another character.

In romance, our characters are sometimes both two protagonists, while also being the antagonists.  If the two solve their differences--of which there should be one tough one and other smaller ones--and the conflict is resolved too early, the story dies.  While it's nice to see two people get together, it's even better when there are problems to deal with and eventually solve to get to that happily ever after.

I'll freely admit that I'm constantly learning, and I appreciate that I have an editor who is willing to teach me, in a asking-the-right-questions way.  I truly appreciate that she makes me dig deeper to build better characters, GMC and, in the end, stories.  If that means reworking a project, so be it.  One more lesson learned by redoing.

Making mistakes (by not fleshing out the character and their emotional conflict, as was my recent case) does teach us, if we let them.  Throwing up our hands and giving up is the stuff of people who refuse to try, to learn, and to redo, if necessary.  And we all make mistakes, whether in our writing or our lives.  It's making the most of them--learning from them--that makes us better writers and people.

So how do characters help build our story?  Much of it comes back to good, ol' GMC, but if the Conflict isn't strong enough, the story is weakened.  That's what I was facing last week.  Yes, there was conflict between my H/H, but as my editor pointed out, it wasn't strong enough.  It needed to be something other than their conflict in the past.  It could stem from the past, but it had to be an emotional NOW not THEN.

Once I gave some thought to what she said--and added the brainstorming genius of a writer friend (Thanks, Kristi! And Kathie for the ranching info!)--I was on the road to a better, more emotional story.  The basis was there, but the push-pull of the romance and the conflict needed to be pumped up.

The characters themselves was the answer, and it had been there from the beginning.  I just hadn't dug deep enough to reach it.  Once it was pointed out to me that the two characters were a lot alike, that their biggest strength was also their greatest weakness, that push-pull emerged.  Two people, who had always insisted on having complete control of their lives and everything involved, would always be at odds, often about nearly everything.  Add in the past they shared that had often found them not only at loggerheads, but as adversaries, in spite of their secret attraction to each other, and that conflict is going to grow larger when they meet again.  Not to mention that night, fifteen years ago...

Just what is push-pull and how does a writer use it?  Take two people who might not normally be even friends, much less lovers, throw them into something that will push them together and make them grow.  But don't forget to throw in something that will pull them apart, not once, but several times.  Think turning points.  Yes, those things that change the course of the characters and/or their journey to their goal, and sometimes even their goal.  Keep their motivation in mind, too, since it's the reason for those goals.

Turning points can be both negative and positive.  Growing closer is a positive (push), whether it's a first kiss or a realization or acknowledgement of love that brings them emotionally closer.  But it's those negative ones (pull)--the overheard conversation, the words or actions of one, the knowledge of something previously unknown and not particularly welcome--that keep the story rolling and the reader reading.  When it comes to characters, bring them up, then smack them down.  Torture them, but don't forget to reward them.

Digging deeper isn't always easy, but it's well worth the time and effort.  In the end, it will make for a better, emotional book.

Shameless Promotion
The story that spawned this blog post is still in the submission stage, but it's the story of the sister of two brothers who are the heroes in two books coming out this year.  This new sister/heroine does make an appearance in both, so it's become close to my heart.  Only time will tell if Erin's story will hit the stands. Until then, I hope you'll give her brothers' books a read.

Especially for fans of cowboy heroes...singing ones...

Don't miss Kristi Gold's THE CLOSER YOU GET, available NOW!

A little more persistence, a little more effort, and what seemed hopeless failure may turn to glorious success. ~ Elbert Hubbard 

Mapping Your Story

THE CREATIVE PROCESS

Last week was the pits.  Whatever the current respiratory flu is that's going around in my part of the country, it decided to visit me.  Last Wednesday and Thursday were spent sleeping most of the day away.  Friday was better---until I started to chill...and not in a good way.  My temperature hit 103.5.  I couldn't get warm.  Some ibuprofen, OTC cough medicine, and echinacea (my go-to whenever I feel something coming on) finally did the trick after three hours of shivering in bed.  I spent the weekend being a slug, and finally felt about 75% human by Tuesday.  I'm still tired, still would like to crawl between the covers, but I might begin to like that.  Now it's back to the business of writing and the creative process we go through with each story.

The word "plotting" strikes fear in the heart of many writers.  It did me for many years.  For some of those writers, not plotting can lead to stalling or writing in fits and starts or, even worse, coming to a complete stop with a story that is never finished. Or many stories that are never finished.

But plotting doesn't have to be the terror that many believe it is.  Plotting doesn't mean knowing every little detail of every scene.  It's basically nothing more than a road map of where your characters and their story are going.  Each writer has the option of how detailed that road map will be.

One caution:  Trying to plot before knowing your characters can lead to insanity.

Back in the olden days when I first decided to try my hand at crafting a story, I never plotted.  That's right, I said never.  There were a couple of reasons for that, the first being that I feared it would spoil the journey for me, and I'd lose interest.  I've learned since then that the more I know about my story, the easier the journey is.  I'm able to enjoy the process, instead of wasting time wondering what to do with my characters next.  The second reason had a lot to do with not having a clue HOW to plot.  And this is the first time I've ever admitted that. ☺

There are as many ways to plot as there are people who do it.  My fellow authors and good friends, Kristi Gold and Kathie DeNosky, both plot in their own, special way.  My way isn't their way, anymore than each of their ways is mine, but there are aspects we all share.

Kristi isn't a put-it-on-paper plotter, but once she starts going, it's solidly in her mind.  She knows what's going to happen, although only certain things seem to be detailed to her.  Still, her plotting has led to book #32 (THE CLOSER YOU GET, Harlequin Superromance, February 2013) hitting shelves in a matter of days.  She's obviously doing something right!

Kathie long ago shared her plotting method with me, and she also shares it on her website for others.  She taught me that each scene needs its own GMC, just as the characters do at the beginning of the story.  To keep her on track and able to have written over 30 books, with her newest, IN THE RANCHER'S ARMS, Harlequin Desire, coming out in April 2013.

While I can't take a photo of Kristi's brain, complete with plots and characters, I can share Kathie's index card method.

A closer view of  two cards used for one scene.

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Kathie based her scene card method on Jack M. Bickham's SCENE AND STRUCTURE, but added her own little twist.  She shared it with me, and although I no longer use the actual cards in the same way, it's (luckily!) stuck in my head.  Plus, I always know that I can go back to it, if the need arises.

~  ~  ~  ~  

Next week I'll go into more detail about beginning the plotting process, but for now, check out Kathie's scene cards and Kristi's upcoming book!  Oh, yes, and in March, the 7th Hearts of Desperation series book will hit shelves!

Don't fear failure so much that you refuse to try new things. The saddest summary of a life contains three descriptions: could have, might have, and should have. ~ Louis E. Boone