Tempting Tuesday: The New Book Adrenaline Rush

We've all had it. That rush of excitement that ripples through us when we get a new idea. If you're like me, you whip out your phone or whatever is closest to make notes. And yes, I've used napkins before. I've also stolen my child's kids menu and crayons to get an idea down. Don't judge—it was a major break through for Light and Dark.

The biggest rush for me is plotting a new book. I'm still a partial panster, but I work out my characters, inciting incident, and end game ahead of time. With The Prophet, I decided to create a town, which is really exciting. The book takes place in southern Mississippi, on the border of Louisiana. Deep south Bible Belt country. I've created antebellum homes, a town map, town characters—all the nuances that are vital to making the book seem real. Starting from scratch means I can do whatever I want with the place (the town is named Roselea, by the way), and I'm loving it.

Of course, this means my brain is working overtime. I'm thinking about the book when I'm supposed to be sleeping. It's on my mind as I exercise and even when I'm playing with Grace. Does Roselea have everything it needs? How would city government be ran? Would there be a city sheriff or county? Would the area be big enough to have a detective? How many churches would the town have? What do they look like? And it goes on. It's tiring, but fun. Creating Roselea has helped me iron out the plot of The Prophet and its main characters. I understand their motivations now. I'm sure they'll change over the course of writing, but I've got a strong starting point. I already love Roselea. I can see its historical homes and tree-lined streets as easily as if I were standing in the town square.

With that image in mind, I wrote the first 1000 words of The Prophet yesterday. A small start, but a significant one. It's only uphill from here.

What about you? What's your favorite part of plotting? Have you ever created a town from scratch?

Dexter: New American Hero?

I’m late to the Dexter phenomenon. We don’t have Showtime, and I just recently started watching this amazing show. Now halfway through season 4, I’m convinced he's one of the best characters I've ever come across—on television or in literature.

At first glance, Dexter seems pretty cut and dried. A psychopath (or is it sociopath? The two often go together) who gets his kicks murdering people, but with a caveat: only the bad guys, so he’s at least contributing to society. This ‘code’ was established by his adoptive father to keep Dexter alive and to help the old man from accepting the fact that his son was a coldblooded killer.

Sociopaths and psychopaths are intermixed and sometimes hard to define. They don’t care about anyone but themselves, have no conscious, no morals. They feel nothing, although many can mimic feelings in order to blend in. Psychopaths are often defined as the monsters in society, and this is how Dexter sees himself. A monster fulfilling his need the best way he can.

Throughout the series, Dexter repeatedly says he can’t feel. He has a girlfriend to appear normal, and she’s perfect because she’s got dark issues of her own. She’s also got two kids he’s very good with. The closest person in his life is his sister, Deb. Still, he doesn’t believe he truly cares for these people. In his mind, he’s going through the necessary motions. And yet he consistently goes the extra mile for all of them.

As the show progresses, Dexter goes from seeing himself as a monster happily blending in to questioning everything he’s been taught by his father. He grows more attached to his girlfriend and her children, going so far as to call them ‘my kids’ when one of them is threatened. He saves his sister’s life at great personal sacrifice and has no regret because he’s ‘fond of her.’

The interesting thing is these aren’t contrived actions. None are done simply to look like he’s the good guy. They’re visceral reactions he can’t explain. After all, he’s the monster who can’t feel.

Yet nearly the entire show revolves around what he’s feeling: about himself, his place in life, the people closest to him. He tries to fit in not because he has to but because he wants to. Even when his darkness calls, he sticks to his code because of his trust in his father’s advice. Dexter claims to have no conscience, and yet every major decision is weighed carefully, with visions of his now deceased father chiming in with guidance.

So what is Dexter? A killer with a conscience, certainly. But is he a true psychopath? There are worse monsters out there. Dexter only kills murders, and only after he has concrete proof.

Eventually Dexter discovers why he kills, and the knowledge sends him on a path of self-discovery. Considering what he experienced, it’s a miracle he functions in society at all. Experts debate whether psychopaths (and sociopaths) are made or if their problems are genetic. One thing they all seem to have is a stressor, a trigger that sends them down the wrong path. This certainly happened to Dexter, and I have to wonder if he would have ever had the urge to kill had he not experienced such trauma.

I don’t believe he’s a true psychopath. His experience likely made him a killer, but Dexter cares too much about those around them to be considered a psychopath. I think he’s convinced himself he’s a monster because he’s afraid to admit he cares. Keeping people at arm’s length not only protects his dark secret but his emotions as well.

One of the most moving scenes (and an awesome performance by Michael C. Hall) is early in season four. Dexter is getting ready to kill a woman who murdered her family. She pleads with him, telling him he's no different from her, that he hides himself from his family. As Dexter thinks of Rita and the kids, a stunning realization hits him: he doesn't want to lose them. He's blown away by the thought and tears come to his eyes. It's an incredible moment of growth for the character, and it's this type of humanization that sets him apart.

However you define him, Dexter is a character of complexities and contrasts. He’s committed horrible crimes and is utterly callous with his victims. He’s out for self-preservation. And yet, he’s a good man. He takes care of his family and friends, his girlfriend and her kids. He lives by a moral code no other criminal would follow. He is in constant flux, trying to understand himself and his place in this world. Viewers root for Dexter. We want him to get away with murder and sometimes we can’t wait until he kills his victim, because they deserve to pay the ultimate price.

What other character has garnered such a range of emotions? None that I can think of. Dexter is a true original.

Strong Female Protags: Beyond the bitchy exterior

Creating a great female protagonist is one of the most challenging aspects of writing. In fact, I think coming up with a strong female lead is tougher than writing a male protagonist. Various studies still show that women read more than men, and let’s face it: most of us are going to be tougher on female leads because we’re seeing ourselves through their eyes. She can be attractive, but not physically perfect. No woman is, and having a beautiful damsel in distress shoved down our throats is a turn-off. Your female lead doesn’t have to be likable, but she’s got to have qualities that make readers empathize with her. Often the best female protagonists are three-quarters bitch, and it’s that last twenty-five percent that make readers root for her.

So what’s in that twenty-five percent? Inner demons, of course. Abusive parent or husband, a drinking problem, drug problem, depression, loss of a loved one – the list goes on. It’s the inner demons that make us feel for the character, and how she conquers them that get us rooting for her.

That’s where the character arc comes in, and it’s all about timing. You can’t wait too long to show at least two-dimensions of your female lead or you’ll lose readers. If she’s perceived as weak, unwilling to change, or just flat-out nasty with no redeeming qualities, readers will toss you aside and move on to the next book. Showing who your characters are is like peeling away the layers of an onion, but you’ve got to give the reader glimpses of who the lead really is or we will never get to see the third dimension, where she conquers all and completes her character arc.

Literature is loaded with great, complex female characters. Here are two of my favorites:

Scarlett O’Hara, Gone With The Wind
Yes, this one is beautiful and knows it. We give her an exemption because beauty is a true part of who she is, and we see right away it’s only one aspect of her personality. Scarlett grows up a spoiled Southern belle and knows how to manipulate the opposite sex for her own needs. But underneath all of that is also a fierce determination to survive no matter the costs. Scarlett’s first major turning point is when Sherman is burning Atlanta, and Melanie has gone into labor. She could have run, but chooses to stay and do the right thing. She tells herself she’s doing this for her beloved Ashley, but we also see her grudging affection for ‘Melly.’

While Scarlett’s driving force is always herself, a close second is her love for Tara. One of my favorite scenes in the movie is after she’s discovered the destruction of Twelve Oaks and is frantically trying to see if Tara still stands. Finally, the clouds part, and she sees Tara. A truly poignant moment and an honest glimpse into Scarlett’s heart.
Throughout the book, she endures heartache and setbacks, and it’s only at the very end, upon Melanie’s deathbed, that Scarlett realizes she’s loved Rhett all along. It’s too late, and we feel her pain because Mitchell created such a complex, fascinating character. Readers fell in love with Scarlett despite her selfishness, and that’s one of the many aspects that make Gone With The Wind such an amazing literary work.

Clarice Starling, The Silence of The Lambs
I’ve always loved Clarice, partly because I’ve had a lifelong fascination with the FBI and serial killers. As I read the book, I felt such envy for Clarice because she was getting to do something I’d always wanted to do and didn’t have the guts to pursue. That very quality could have made me shun her, but how could I not root for a woman trying to break through the ranks of the male-dominated FBI?

Clarice isn’t defined by her beauty but rather her intelligence and raw determination. During her interviews with Dr. Lector, we admire her poise despite her fear. And it’s through Clarice that we come to understand and even empathize with arguably one of the best antagonists in all of literature.

We learn about Clarice’s inner demons very early on – the death of her father when she was a child. She immediately earns our sympathy, and we’re even more drawn to her. But it’s the truth that Hannibal himself gleans from her, the horrible slaughtering of the lambs, that locks Clarice into our hearts. We see her worst fear, and we know she’s only allowing herself to be emotionally stripped because she’s determined to save Catherine.

By the time Clarice discovers Buffalo Bill’s home readers hearts are pounding because of our attachment to the character. She’s overcome so much, and now she must use all the knowledge given to her by Lector to save herself and Catherine. Her character arc is completed, and she has Dr. Lector to thank for it. The true genius of Silence of the Lambs is the relationship between Starling and Lector. Without each other, neither would have found peace.

Other Great Female Leads:

Susie Salmon, The Lovely Bones
Elizabeth Bennett, Pride and Prejudice
Jane Eyre, Jane Eyre
Eowyn, Lord of the Rings
Jodie Piccoult, My Sister’s Keeper and Perfect Match

What are some of your favorite female protagonists?

How much help is TOO much?

There are endless learning resources out there for writers: how-to books, blogs, forums, critique groups, writing workshops … you get my point.

All of these have merit. Critique groups/partners in particular are vital because we as writers are so married to our plot and characters it’s impossible to be objective. Not to mention we’ve read our own stuff so many times we have zero chances of catching even the most glaring of mistakes. Fresh eyes (that aren’t your family or friends) are a great way to get a handle on the quality of our books and generate honest opinions about what needs to be fixed.

But what about the plethora (purpley word, I know) of books about plot, structure, characters, yada, yada, yada? How are we to choose what’s a must-read and what to skip?

Opinions of our peers are great, but a book that strikes a chord with me may fall flat for someone else.

And how much is too much? In the past two months, I’ve read Writing The Breakout Novel, Make a Scene, On Writing, and now Story Engineering. I enjoyed them all and thought I learned a great deal from each one.

And yet, with each read, I’m revising my novel and questioning my plot and structure. If it doesn’t fall into the parameters set by so and so, who claims you won’t get past the slush pile without following the rules, then doesn’t that mean back to the drawing board?

I want to learn. I want to get advice from experienced professionals and writers at all different stages of their careers. By no means do I think I know it all – far from it. So I read the books, follow the blogs, and comment on discussions.

And then I question myself some more. I’m getting opinions from others based on little bits and pieces I’ve told them about my book, and there’s no way to do it justice without at least giving a complete synopsis. That’s not to say that what I’m hearing isn’t valuable – it is. But we can’t allow ourselves to become buried by the enormous amount of information that’s out there.

To make matters worse, one expert may tell us one thing while a second contradicts it. Both have impressive creditials. So who’s right?

We need to pick and choose what to read and how to apply it. Each one of us will do this differently, and the trick is figuring out what works best for our story. Of course we must get the plot and structure right – without them we have nothing but a big pile of goo and months wasted.

But seeking help from too many different sources can bring our writing to a halt as we twist and turn in confusion trying to figure out who to listen to and how to apply their information to our books. We need to be willing to learn and grow, but we also need to believe in ourselves as well.

When you sat down to began your book, you did so because you probably had a great idea or a character you loved. As you’re branching out and learning more about techniques, don’t forget why you started writing in the first place. Don’t stretch yourself so thin by seeking out advice that you end up completely lost and giving up.

Find a critique partner, a couple of blogs to follow. Read a couple of books and learn from them, but remember the rules aren’t always steadfast. Some can be bent. Consider looking into a professional editor (make sure you do your research on this one!) that offers different packages and will give you an experience opinion based on actual pages of your book.

Be willing to listen and grow, but don’t lose your passion in the process. If you can’t love what you’re doing, it most certainly isn’t worth your time.

What about you? Where do you seek advice and how to choose to sift through the information?

April 13 - Writing A Killer Antagonist

While I love all three of my main characters, I have a soft spot for my creeper. He's polite, charming, and well-spoken. He doesn't want to hurt anyone - he just wants his life to be as it once was.

In order to write a great antagonist, we as writers have to create empathy for that character. Sure, your readers want the brave protagonist to win, but they also understand the bad guy's motivation. His thoughts and actions not only give them goosebumps but tug at their heartstrings. On some level, they understand him, which is both fascinating and unsettling to a reader - and it will keep them engrossed in the novel.

Naturally, I didn't think about this when I first began writing my book.

In the beginning, I just wanted my bad guy to freak people out. I wanted readers to be glad he wasn't after them. But thankfully my amazing critique parter and editor pointed out that an antagonist has to be as three dimensional as a protagonist. "And remember," she said, "the very best bad guys aren't all bad - think Hannibal Lector."

And back to the drawing board I went. I asked myself these fundamential questions: where does my creeper come from? What events shaped his life? Did something tragic happen to him? What are his redeeming qualities? Once I began to approach the antagonist's character this way, I had a whole new understanding of him.

My plot benefited as well. A well-rounded antagonist helped me to come up with some great symbolism, and I realized that the showdown between bad and good that I'd originally planned needed to be fixed. Creeper was far too sophisticated to be so brash.

Now, I'm excited about the ending. Matching my antagonist and protagonist against each other will be great fun to write, because I know them equally well.

Although I enjoy the brash slashers and uncomplicated criminals, the best antagonists are the multi-layered ones. A bad guy whose head I can delve into is far more gripping.

What are some of your techniques for writing the bad guys, and who are some of your favorite antagonists?

April 7, 2011 - Just Keep Writing!

When I first began the journey of writing, I had no clue what I was doing. An idea had been swimming around in my head, so I sat down and started fleshing it out. I really thought I had something people would want to read: a unique location, a great antagonist, a suspenseful plot, and good characters. I even had readers tell me the piece was great.

How hard could it be to finish the story and turn it into a book, right? So I decided to take the plunge and write my first book.

A detailed outline was the first step. That's when I realized the plot holes. Another outline. More plot holes and extraneous characters. A third outline.

One day I came to my senses and finally understood that I had no idea how to write a novel.

Time to go back to school. I studied the three act structure and applied to my outline. Slashed more characters and adjusted the plot.

What about scenes, you ask? Right. The cornerstone of any novel. So I brushed up on those as well. The amount of information I'd forgotten since college so many years ago was astounding. I went back to my outline yet again and tore it apart, restructuring everything into scenes and fine tuning my plot.

And then I started to worry. Was I doing it right? The novel - Light and Dark, by the way - features a male and femal protagonist as well as an antagonist. Third person was the obvious way to go. Or was it? Should I just stick to a single protagonist? Would an agent be more likely to pull my novel out of the slush pile if I stuck with simple structure?

But then, who would I cut? All three characters are vital to the book's theme.

I began to go crazy second-guessing myself, and the obession stunted my creative process. My writing became forced, the dialogue stunted, and I began to resent the story.

Thankfully I have an amazing critique partner who believes in me. She kicked me into gear, and I remembered why I began writing in the first place: to tell the story.

I threw out my outline. Don't get me wrong - they are important. Knowing the plot points are important. But I chose to work with index cards, listing key scenes that had to be included. And then I started writing again.

For me, writing is an organic process, and my book began to see the results of sitting down and just writing. In two months, 100 pages were completed, and they were strong. I knew I was headed in the right direction! I finally began to not only learn my characters but to love them. I was excited by the plot again and discovered new twists and turns that I believe readers will love as well. For the first time, I wasn't wondering if what I was writing would turn off an agent, but thinking "this needs to be read. People will like this!" That was a milestone for me.

Writing excited me again and more importantly, I believed in myself.

So don't think about the what-ifs. Focus on your book and the story your characters need to tell. There's nothing for an agent or editor to critique if you don't keep writing.

My first draft is halfway complete. The first act of Light and Dark has gone through extensive rewrites, and I'm sure the next two acts will as well. And that's okay. The only way to improve your writing and story is to don a suit of thick skin and dive in headfirst.

So don't be afraid of change. Don't be afraid of seeking a valured opinion. Read books by the pros - three don't miss reads are King's On Writing, Maas's Writing The Breakout Novel, and Rosenfeld's Make A Scene.

But most of all, keep writing!