Showing posts with label Characters. Show all posts
Showing posts with label Characters. Show all posts

Monday, April 28, 2014

Has Rebecca Taylor ever had a character do a 180 on her?



I’ve never really had a character change SO MUCH by the end of the first draft that it creates a continuity problem. I mean, we want our characters to change and grow, of course, as our story progresses—that’s character development—but have I had one of them change so much that they have actually become someone else??

Hmm. In my original conception of ASCENDANT, in the thinking and mulling stage before I realized it was a YA story, my main character was a college student working on her Ph.D who was delving into the mysteries of alchemy. So yes, I have had a character change, but because I’m a “mostly plotter” I usually have a pretty solid plan in place before I start writing.

That college student never even took a breath in the first draft!

On a more recent project, THE EXQUISITE AND IMMACULATE GRACE OF CARMEN ESPINOZA, I did cut a superfluous character altogether. In chapter two, I had my main character, Carmen, falling for and starting to date a guy—but it did nothing for moving the plot forward.

Her thoughts, feelings, and actions with this character did reveal Carmen’s inner insecurities, but there was a much easier, and less time consuming way to do that without the need for this tertiary boyfriend character going nowhere. To confuse matters more, when she meets her “guide” in the desert, the guide looks just like the guy she was falling for and she ends up calling him the same name.

WHAT?!?

Hello, editing required!

So yes, I have chopped out entire people from my books and left them writhing on the cutting room floor. I can always tell I’ve made a good choice when it pleases me to see them gone and I end up with a much cleaner, more direct and enjoyable plot.

Maybe I should post some of those deleted “boyfriend” scenes on my blog.

Monday, April 14, 2014

When a Side Character Isn’t Likeable by KRISTI HELVIG


 
Side characters might not be the main protagonist of the story but they still have their own motivations and desires, so you want to make them well-rounded. However, whether it’s the jerk friend or the annoying sidekick, well-rounded doesn’t have to equate to likeable. The balance is making them seem human versus a stereotype. One of the issues I had with my side character Britta in BURN OUT is that she was way too unlikeable in early drafts. My beta readers disliked her so much that it caused problems with how the end of the book played out.

The challenge I had was to make the readers feel a little more sympathetic toward her even though she wasn’t the nicest character (okay, she was a total bee-atch). This involved more explanation of her character and what made her the way she is, which translated into more scenes throughout the book. One of my best beta readers read the last draft and said she couldn’t believe I’d made her care about Britta, but the thing is, I cared about her too by that last rewrite. I don’t think it’s a bad thing to get the first draft down knowing you will still have some fleshing out to do. Basically, if every character in your book was nice, it would be a very boring book. So make your characters mean, revengeful, or annoying—just keep them real. 

 
Kristi Helvig is a Ph.D. clinical psychologist turned sci-fi/fantasy author. She muses about Star Trek, space monkeys, and other assorted topics on her blog and Twitter. Kristi resides in sunny Colorado with her hubby, two kiddos, and behaviorally-challenged dogs.

Monday, April 7, 2014

The Darker Side of Cutting Characters by Margo Kelly



Is every single character in your story important? Are you sure?

Here’s an exercise to determine the depth of your characters:
On strips of paper, write the names of every single character mentioned in your manuscript (except for the protagonist and antagonist). Put the strips into a bowl and mix them up. Pull out one strip at a time and answer these questions:

1.     What is the most outrageous thing this character does in the story?
2.     What is the driving emotion behind this character?
3.     What does this character strive to achieve within the plot?
4.     How does this character provide conflict in the story?
5.     How is this character different than the protagonist?
6.     Who in the story’s cast of characters is the complete opposite of this particular character?
7.     Who is similar to this character?
8.     Could this character be combined with a parallel character within the story?
9.     What would happen if this character had never been born in the world of your manuscript?
10.  Would his/her absence change the plot?
11.  Would the protagonist suffer from never having known this character?
12.  Are there other characters in the story that would simply pick up the slack and move the plot forward in the absence of this character?
13.  Why does this character matter?
14.  What does this character do to earn his/her spot in the story?
15.  Why do you want to keep this character in your manuscript?

Secondary characters must strive to earn their spot in the manuscript; otherwise they’re taking up unnecessary space, and most likely, they’re forgettable.

This is the dark truth.

If you cannot handle eliminating a needless secondary character, then you will have to dig deep to make him/her matter. By utilizing the questions above, you will be able give your secondary characters depth and importance.



Margo Kelly writes thrillers for young adults, and her debut novel WHO R U REALLY? will be published by Merit Press in 2014.  Follow her blog at www.margokelly.blogspot.com for the latest news on the cover reveal and publication information. You can also follow @MargoWKelly on Twitter.