One of the most beautiful things about being a writer is the ability—well, for me, at least, the need—to create story, to design and get to know characters, to watch and manage how they interact within their environments and their circumstances. The process is surprising, incredible, and depressing in turns, but it’s never boring. Continue reading
Winner: The Demolished Man by Alfred Bester
The Demolished Man was the 1953 winner of the first Hugo Award. Alfred Bester’s thrilling science fiction tale of trapping a murderer creates a universe populated by characters with questionable intentions as Bester explores what was believed about the psyche in the mid-twentieth century. My personal exposure to what can be called early (very early!) “science fiction” in literature begins and ends with Verne, whose stories did not concentrate, in large part, on the characters’ psychological motivations, reactions, or abilities (unless you consider A Fantasy of Dr Ox as exploring psychology–I highly recommend this book as it’s hilarious). Consequently, I’m not going to attempt a review of The Demolished Man, being otherwise unfamiliar with the literary and scientific conventions of the time.
I’ll do my best not to post anything spoilerish, and my notes are merely that: impressions, techniques and tactics I can quantify and explain. They are by no means comprehensive, and I suggest you attempt to get a copy of the book and read it for yourself. Continue reading
With the conclusion of my official education in financial planning, I found myself purposeless. I’m one of those nerds who revels in studying, who grins at the idea of intellectual challenge, who laments the fact that I cannot know all the things I know I do not know, but dang it I’m going to try. So, with studies finished and my time no longer devoured by incessant nosing-to-textbook, the Question became evident: what next? Continue reading
As I remodel my room at the glacial pace of an AOL dial-up, examining closet doors, crown molding, and the proper plywood to build bookcases from scratch (I’m so excited for this last), I’ve been thinking a lot about description in stories, and how one balances narrative with exposition.
Today’s Daily Post prompt, interior, is related, for in many cases I’m describing the interior of a building. Only so many ways exist to explain what a window looks like or the general configuration of a room or that the ceilings are vaulted before those summaries become white noise in the background of the general plot. I’m in favor of arranging description so that the reader is lost in the action of the story, sucking in visual clues without thinking about them, but unless those descriptions are embedded in the action, they can easily become the focus of a reader’s attention–and therefore lose the reader’s attention.
Writing is a lot like Latin grammar: the exception is the rule. But in my case, unless my purpose is to explore the setting for my own, non-readership use, spending more than a couple of paragraphs detailing a scene–and especially when I’m only detailing a scene–isn’t necessary unless the setting is important to the plot narrative. That can mean that it influences how the characters act, i.e. when my rustic MC enters the Versailles-like royal palace, she is not only awed, but has to overcome a base urge to pocket a gold-gilt clock. The clock isn’t just sitting on a table in the hallway, it’s evoking a response in the MC, one that reveals her inner character, upbringing, or experience.
I tend, however, to get too detail-oriented with my descriptions. I won’t stop with a quick sketch or impression of a setting. Before I know it, I’m explaining the crown molding is as wide as a tree, hand-carved into friezes depicting scenes from the kingdom’s prevailing religion, and brushed along the edges with gold, and then, in a series of several more paragraphs, describing in magnified detail everything else in the room, from the bust of an old diplomat carved from marble to the hand-purled rug imported from the country in the north threatening war, et cetera, et cetera.
These details, couched in narrative (i.e. I picked up a blue-veined marble bust of an indubitably important nobleman with the facial hairstyle of my grandfather and shook it like a discipline stick at Louis. “Don’t get any ideas.”) can work to great effect in evincing a more holistic cultural experience of the story and its environment. Characters should not just move through the story in empty space, but should interact with their surroundings, so that their surroundings become part of the story, or are at least portrayed as being a natural extension of the action. The reader gets a picture in his head without it being included in the wordsketch of a still-life.
But listed as part of a series of articles, one static and generic prop among many others, the details become boring to read about. This, I think, is where point of view comes into play. A reader should experience the setting as a character does. My MC is not going to mentally catalogue every luxurious thing she sees in the palace–that is, unless her intent is to capture the picture as a painting or to spell out the decadence of the place to her less fortunate best friend. If this isn’t immediately noted–and I don’t think even in those cases that we as readers need to know every little piece–I stop paying attention and start scanning for the next dialogue quotation marks.
I have a long way to go before I’ve balanced the pacing of my description, action, and character reflection, but my hope is that identifying my weak areas will save me the trouble of struggling through them too long before I catch them. How do you balance action with description, or narrative with exposition?
“If there’s a book that you want to read, but it hasn’t been written yet, then you must write it.” –Toni Morrison
Have you ever just really wanted to read a certain book, but it doesn’t exist?
One of the driving forces behind my writing is the fact that my stories intrigue me. I don’t mean just interest me, the way that watching an aerial show or listening to Christmas music during the holidays (and at other times) do. I mean they are ideas that compel me to search online and in bookstores for a version already committed to paper, colored by the ideas and experiences of another author.
Sometimes I find something similar enough to take the edge off my impatience. But sometimes, even if I find something similar, I don’t care for the execution of it, or I would do it differently. Other times, I can’t find anything close enough to temper my desire for such a story.
I’ve discovered that there are a lot of “books” I want to read that don’t exist yet. It’s up to me to write them myself, if I want them to see the light of the world. That’s one of the reasons I’m a huge proponent of the idea of writing for yourself. You have to enjoy your own work before anyone else can (though I can admit, as an artist, I always find room for improvement and am never 100% satisfied with my work). Part of this is innate joy in the subject matter, but sometimes it’s mind-trickery: keeping yourself interested in your own work by adding certain aspects to it or developing characters and plot elements that you know you enjoy.
Some ways that I have accomplished this in the past:
- Make a list of the things you love. They don’t have to be things you know, things you’ve experienced, or even things you expect in or relate to literature. My list includes mountains, sailing, bicycles, noblesse oblige, myth and mythology, and the click of heels on tile.
- Inhabit the shoes of your characters. Many readers use fiction as a vehicle for vicarious experiences, and to maintain their interest, a writer should make a character relatable and enjoyable to be around, even when that character is not Miss Sunshine. If you can enjoy living the story with the character, chances are, readers will, too.
- In a similar vein, give your characters unique–but not annoying–voices. Readers (I’m speaking as one) will love you for it. Become friends with the people populating your story, and readers will follow suit. Take fanfiction, for example: Readers have become attached to the characters and develop more adventures to enjoy with them.
- Make the story uniquely yours. I have always loved the story of Cinderella. As a reader, this is great. As a writer, this can pose a problem. A story can only be told so many ways, right? Wrong! Make it yours and own it. Feeling a sense of possession and pride in your own idea can help you to focus on the story at hand and enjoy the spin you put on the basic conflict-resolution arc.
The only downside to this, for me, is being inclined to read what I’ve written of the story already just for fun, which precludes further development!
What are some of your favorite elements of a story? How have you made them yours?
On the rare times I share a work, whether it’s a story or music or a painting–anything creative–I usually present it with the caveat “it’s not my best.” Sometimes I say that out loud to the person to whom I’m presenting it. Other times, it’s a given in my head, a silent reassurance to myself that I can do better.
But, more often than not, I find myself using it as a defense mechanism.
I preface my presentation of a work with the line because the blow of any subsequent criticism or dislike is cushioned by my personal acknowledgment that, no, it’s not my best, so they’re not really judging the full me or the extent of my skills, just a mediocre or satisfactory part of me. And I’m my own worst critic, so anything they have to say is kitten purrs compared to my own narrow-eyed frustration with my work.
Before learning that I had won honorable mention (fourth prize) in my writing group’s annual short story contest earlier this week, I explained to a fellow writer, while we were talking about the contest, that my submission was “not my best work.” To be fair, it wasn’t. The prompt teased, laughed at, and finally turned its back on me, so that the story I had been trying to manufacture in the two months we had to write it fell apart the day before it was due. After an hour of painful brainstorming and rearrangement, I selected a different story to write, which I submitted about an hour before it was due after only a cursory editing glance. So, not my best.
But my use of the line made me think. What is my best? The works of which I have been somewhat proud have all been critiqued one way or another, always found lacking in something–hey, I’m not perfect, and don’t expect that any of my stories will find a universal audience. Nonetheless, I continue to tell myself, even when these stories are picked (or ripped) apart, it’s not my best effort. I can do better. They just haven’t seen my best yet.
That, consequently, sent me into a spiral of despair. What was this mysterious, elusive “best” piece I had in my portfolio? What shining weapon of cutting prose did I keep in my arsenal? Why was it so good? What made it my best? The answer came to me like a thunderclap: It doesn’t exist yet.
My work will never be “my best” because my best is hiding somewhere in the future, and it may not ever actually be written. My best work is not necessarily my best possible effort–the full potential with which I have been gifted. I may never reach a point when I utilize it in its entirety. And that’s okay, because I’m always improving. With deliberate practice, I work hard to get better. That means that the short story I wrote last year looks ridiculous to me now, because between then and now, I’m a different writer, with new perspectives, aesthetic tastes, and priorities. My interests remain the same, but my approach to them shifts over time as new understandings and new influences alter my writing style.
So, while no work may ever be my “best work” at any given time, I can stop hiding behind that line, which is little more than an excuse for material not up to par. My best work lay out there somewhere. But more importantly, I think, than even my phantom best work is my better work, because each improvement is a step closer to best. The ultimate destination of where “best” lies is up to critics and readers, if ever I make it that far, but I can rest assured knowing that I am and will continue improving. I want to own my work, best or not, with all its faults and failures.
My NaNoWriMo novels are full of clever characters, which has baldly reminded me just how difficult it is to write crafty people. I can just see my character acting like Tom Sawyer, but I sometimes struggle to envision the actual behaviors that he or she would use to pull off his or her wiles. It’s great to think my character is tricky, but the number one rule in writing is to show, not to tell. I have to give examples of my character being cunning, not just tell the reader he or she is.
As a reader and a writer, I’m drawn to devilishly shrewd characters. There is something compelling about a brain that works two steps, five steps, or even ten steps ahead of its opponents, and you can find such brilliance represented in all sorts of stories: Coyote and Loki the trickster gods; Sherlock Holmes the master of disguise (and his devious, master-of-the-web archnemesis, Moriarty); Nancy Drew, sleuth extraordinaire; Locke Lamora the penultimate thief.
But how does one write such a clever person?
If you’re anything like me, you have an idea of what you want your mischievous character to be like. You can imagine him one-upping his adversaries, laughing at their stupidity in juxtaposition to his or her intelligence—or respecting an evil but equally sharp counterpart. You can even feel the surprise the reader will feel when he or she reads about the trick. But, if you’re anything like me, you have trouble figuring out ways to pull that off.
My struggles have led me to outline eleven different ideas you can use to brainstorm ways to make your character cunning.
1. Give your character the element of disguise. This can mean anything from a change of clothes to a change of personality to actual shapeshifting. Deception can be in the way a character looks or in the way he acts, and takes a certain talent and confidence to pull off.
2. Let your character use reverse psychology. Tricking another character into doing something doesn’t have to be obvious. It’s clear to us in The Adventures of Tom Sawyer that Tom is baiting the others into whitewashing the fence for him, but your character doesn’t have to be that transparent. Consider a character who whispers suggestions in a way that comes across as concerned for another character in order to inspire that character to act in a way the trickster can use to his own advantage, eventually revealing his true, deceptive colors at a moment most pivotal for the unsuspecting victim.
3. Make your character a chess master: the eternal planner. Who says a clever character’s strengths have to rest in spontaneous ingenuity? The mastermind is deliberate and future-thinking—that is, he might not have the wittiest lines, but he’s got his opponents right where he wants them, because he has a plan for any action they take and any position they’re in.
4. Make your character unreliable. Characters don’t have to come across as honest or dependable (think of unreliable narrators). And they can be the types of people who “didn’t lie, just omitted the truth.” Work a character’s mystery or secretive nature to full effect. Let your character be untrustworthy, for good or bad, by letting them misguide or misdirect other characters.
5. Make your character resourceful. Some of the cleverest people are those who know how to use what is around them to their advantage. Surround your character with props and environments he can use to his advantage. When you’re writing, don’t just mention the vase for the sake of filling up space or imagery. Have your character seriously consider smashing it to create a diversion, or for the usefulness of its shards in an escape attempt, or to elicit a particular reaction from another character. Give your character the ability to get out of tight spaces. Use even bad or neutral situations to the character’s advantage. Hamlet hired the services of visiting players to generate a guilty response in his uncle. After all, “the play’s the thing wherein I’ll catch the conscience of the King.” And it worked.
6. Make your character an expert at reading people. This can come in handy in a lot of ways. When your character understands another very well, he might know how that character will act. That means your character can be good at predicting a person’s actions well, prepare for them, and appear to all others that he is omniscient or prophetic. Furthermore, it gives your character the know-how to play other characters off of each other for the purpose of securing a result beneficial to the trickster.
7. Give your character connections. Dimensional characters have different reputations among different groups. They may have secrets known by certain people, which influences how those other characters relate to them. Think of how Tom Sawyer is able to trade his whitewashing “earnings” for all the Bible tickets to amass enough to earn a Bible, much to Mr. Walters’s shock. In another way, Sherlock Holmes is well-reputed and respected among the elite branch of London, but he engages with a personal network of London’s homeless for reconnaissance missions, which gives him a powerful resource.
8. Make your character sneaky. Being able to travel from point A to point B without being noticed or caught is a great skill. Setting up an alibi for himself in the event that he may be linked to an unfavorable situation is also pretty crafty, especially if he ties up all possible loose ends. And being sneaky isn’t restricted to the physical realm; if your character works at an office, he can be sneaky in thoughts, plans, and social situations.
9. Make your character undermine others’ confidence in themselves/their situation. The most dangerous battles are in the mind, and a cunning character would know this. This can mean showing the trickster having no trouble at all with a situation or thing (or several), while the character whose confidence he’s trying to undermine is shown to struggle with these “simple things.” The trickster himself might have set a task set up to be or look easy for him but especially hard for his adversary. Your cunning character can also say something discouraging or misleading when he knows his adversary can hear him.
10. Use a problem as a solution. That’s right; turn something on its head. The problem in “The Final Problem” for Sherlock Holmes was that he was set up to be alone with Moriarty at the waterfall. So he used the problem to solve itself: by throwing himself over the cliff with Moriarty. Another of my favorite instances of this is the Grimm Brothers’ fairy tale “The Three Spinners.” The girl can’t spin, but three spinners help her to win the prince by passing their work off as her own. Once married (due to her supposed industry), the three spinners explain that their physical deformities are due to spinning, which scares the prince into swearing his wife will never spin. Problem solved.
11. Make your character witty, sarcastic, quick, and sharp. Record witty comebacks you hear or say in everyday life and give them to your character. Fill your mind with fiery ripostes when you write, and you might be surprised by how clever your character speaks.
And remember, you’re not under any obligation to write a genius. Not all geniuses are clever, and not all clever people are geniuses.
What techniques do you employ to make your characters clever?
Happy Memorial Day, and God bless all those who have served in the American Armed Forces. May we remember with respect and gratitude all that they sacrificed for our freedoms.
I grew up in a city famous for its ties to the circus, and lately I feel like I might actually be a part of a three-ring shebang. Between juggling about a thousand interests, tasks, and obligations and trying to balance on the great tightrope between work life and home life, I could probably at least qualify to be a clown. Continue reading
I’m not sure about anyone else, but I’m a plotter. When it comes to stories, the bulk of my brainstorming is devoted not just to “what happens” but the minutia of plot twists, the evolution of cause and effect, and ensuring that the plot is tight without being too predictable (disclaimer: I make no claim that I succeed in these endeavors).
When I was first starting to write serious, novel-length stories (or, at least, stories that were intended to be novel-length) in middle school, the way to accomplish this kind of plot-heavy story was by slapping stereotypical personalities on my characters. My stereotype of choice for the main character was almost always a kick-butt heroine. She would inevitably become the puppet operating within the context of my author-manipulated plots (what can you expect from a twelve-year-old?), a vehicle through which I could vicariously live to experience adventure. She was bland just for this reason. Continue reading