My Characters Are Not My Kids

I'd like to take a short break from the Facing Our Fears series. Blame it on my Muse. She's not exactly a linear thinker :-) Don't worry, though. We'll get back on track soon enough...

While driving home from work yesterday evening, I got a plot idea for a story I've been working on. A wonderful idea. An awful idea. A deliciously, wonderfully awful idea.

It's wonderful because it fits the story so well and it's true to my heroine and it adds so much nail-biting tension I can hardly stand it...and...and...well, it is exactly what I need. To a tee.

At the same time, it's awful because it requires me to do a really bad thing to my heroine. Bad enough to almost destroy her. Bad enough to cut her off from just about everyone around her. Before you ask, yeah, it is that screwed up, and no, it's not rape, torture or any other form of abuse. It's something a little more subtle, but with equally devastating results.

The funny thing is, as much as I love the idea, a large of me is railing against it because I know just how difficult it will make life for my character---for many of the characters in the story, in fact. And, even though this is a perfectly fictional being we're talking about here, some twisted maternal part of me wants to protect her, keep her safe. I want her to walk, talk and feel as alive as real, flesh-and-blood person, except I don't want her to feel pain. I don't want her to bleed.

Am I the only one who thinks that's a tad bit weird? Gosh, I hope not.

Fortunately, I thought of some wise words from one of my favorite writers of all time, the one-and-only Holly Lisle. I don't believe I've mentioned her on the blog before, but the woman has been an utter godsend for my writing. Her website has advice for just about every writing question you can think of, and 99.9% of it is FREE. Not to mention the fact that her Secret Texts trilogy features some of the most fantastic world-building I've ever come across...

But I digress. Anyway, in her "How to Create a Character" workshop, Ms. Lisle says the following:

You must feel empathy for the characters you create, both the heroes and the villains, but you can never feel sympathy. In other words, you have to understand why your characters do what they do, but you can't let that understanding tempt you to ease their suffering, or let them take the easy way out of situations, or experience sudden miracles that remove their obstacles.

And you know something? That's exactly my problem right now. I'm sympathizing with my heroine instead of empathizing with her. I guess I shouldn't be surprised. I've spent a ridiculous number of years with this character, more years than I'd care to admit. I suppose it's natural that I've become attached to her, that I think of her as a sort of adopted child.

Except that she's not. She's a character, not a kid, and no matter what hell I put her through, she won't break. Besides, if she never has to go through anything tough, no one will want to read her story.

What about you? Do you ever get too attached to your characters? What do you do when it happens?

And Now, For Your Viewing Pleasure...

Hey there, all! Well, as I said in the last post, I've been working hard all week. I'm quite sleepy, so I'm turning in early tonight. Here are some clips of writing advice for you to check out, spoken by some of the greatest writers of our time. Enjoy!

First, the legendary Ray Bradbury:



Next, whether you love him or hate him Stephenie Meyer fans, you gotta admit Stephen King knows a thing or two. And don't you just love the tie-dye shirt?



Lastly, critically acclaimed author Joyce Carol Oates talks about creating characters:



Have a great weekend everyone!

A Brief Hiatus/POV Concerns

Gracious! Has it already been a week since my last post? Wow. I've been working on several newspaper articles lately, and I have one more piece to finish before the end of the week. Between the research, interviewing and the writing itself, I'm keeping quite busy. Not that I'm complaining. Quite the contrary. These days, I'm grateful for whatever work I can get.

Anyway, today I thought I'd pose a question to you all about my current WIP. As I've mentioned before, it's a YA sci-fi novel tentatively titled, The Shifter Files, and I'm totally and completely psyched about it. As much as superhero stories have been done to death, I'm hoping to tell the same ol' yarn in a fresh, exciting way. Most of the characters are still pretty sketchy, but they have the potential to be really dynamic. I just need to flesh them out...a lot.

Therein lies the problem. See, the other day I came across this post by YA author Dawn Metcalf (via Super Agent Janet Reid's blog). Metcalf doesn't mince words when it comes to her dislike of first-person narrative, despite the fact that it's practically the standard point-of-view in YA fiction. And yet, she goes on to sing the praises of Avery Cates, the narrator and protagonist in Jeff Somers' The Electric Church. Here's an interesting snippet from her comments:

"...there is no question in my mind that Avery Cates is not “redeemable” – he will continue to kill people, he will still make bad choices, and he will continue to do horrific things in order to keep himself alive and I’ll still want to read what happens to him...I can empathize with Avery Cates (even though I’d never want to meet an Avery Cates!) but it’s not because I can sympathize with him; it’s because in the pages of Somers’ book, I am Avery Cates."

That got me thinking--well, perhaps I should say worried--about how I'm handling TSF. I adore my heroine. She's tough, she resourceful and she doesn't think twice about shooting her mouth off at shapeshifting terrorists. She's a heck of a lot cooler than I am. So when the idea for TSF first popped into my head, my first instinct was to tell the story from her perspective. And it worked well...in the beginning.

Problem is, the further I get into the story, the more I find myself wanting to pull out of her head and take a bird's-eye view of everything. I feel like I'm losing my heroine's voice. Like Avery Cates, she's an assassin, and sometimes I wonder if the impartial, observatory tone of third-person would be a better fit for the story. On the other hand, I'm nowhere near finished developing her yet. It could be that the reason I'm struggling with her voice is because I simply don't know her well enough yet.

I'm halfway through the story right now, so I feel the need to choose one way or the other. I'd hate to discover that I was using the wrong point-of-view the entire time and have to completely rewrite it.

What do you ladies and gents think? Any thoughts? Suggestions? How do you determine which point-of-view to use in your stories?

Playing in the Big Leagues

Wow. I must admit, I'm a bit overwhelmed right now in the best possible way. Something must be in the water, because virtually every post I read by my fellow writers today was stellar. Even more so than usual. Whether it offered a juicy editing tidbit or sparked a lively discussion between friends, all of them were spot-on when it comes to what I'm looking for in a blog post: a bit of humor, a bit of useful info, and most importantly, something to make me say, "Hmm..."

First up is Amy Sue Nathan with a useful list of words to cut during the editing process (inspired by Erica Orloff, but we'll get to her later). Sadly, I'm quite addicted to using just about every word on this list. I'm also addicted to procrastination, but as I mentioned in an earlier post, I'm also on the road to recovery.

Next is Michelle Hickman at The Surly Writer with a fantabulous post about how to release your imaginative powers...and the wondrous stories that can take shape if you do. What makes it so interesting is that she walks you through the entire creative process of building a sample scene within a story, complete with all the important elements: character, dialogue, setting and point-of-view. It's a long post, but if you have the time to sit and partake of Hickman's knowledge, it's worth every minute.

Now we come to Erica Orloff, whose post about training the editing eye to see became the inspiration for Amy Nathan's post today. Well, Erica has done it again today with another great post about shortcuts in character development. Let me tell you, it knocked my socks off. In my mind, the best type of writing is the type that shows me something about myself I didn't already know, and that's exactly what this post did for me. After reading Erica's words, I thought of all the times in my writing I had taken the easy way out when developing my characters; the child who is bitter from her parents' nasty divorce, the mother who is overprotective of her child after having a miscarriage, the emotionally vacant father who works long hours. My mistakes stood out to me like signs with neon lights.

And last, but certainly not least, Spy Scribbler wrote some intriguing and challenging words about being different that started an interesting, yet always respectful, religious debate. I don't know about you, but it's rare indeed for me to find people who can discuss controversial topics like race, religion and politics without going for blood. It was truly refreshing to see.

The one thing I learned from all of these posts was that me and my writing have a lot more work to do than I thought. I've been doing this thing since I was a kid--almost twenty years now--and though I've never been published (aside from articles in magazines and newspapers), I always believed I understood the craft fairly well. I knew what not to do, at the very least. And I knew I was good. Better than average. Maybe even a lot better. Colleen Lindsay just wrapped up a contest over at The Swivet today (The Swivet: Contest! Query in 140 Characters or Less!) Yes, you read correctly, that's characters, not words. I entered it, and at the time, I thought I had a great shot of winning.


I know differently now. Oh, I'm still confident--I believe in my abilities one hundred percent--but now I see how much I still have to learn. I see how much talent is really out there, and it's a humbling experience. Last time I checked, there were over 300 entries in that little contest I entered, and many of them were as good, if not better, than mine. Whoa (deep breath).

Eh, I'm not discouraged; I'm inspired. British statesman and literary figure Benjamin Disareli once said, "To be conscious that you are ignorant is a great step to knowledge." So I guess that means I'm doing okay. I may be a rookie in the big leagues, but I've found a lot of veterans who are helping me find my way.

Now it's your turn. What have you learned lately about the writing craft? What surprised you about this new knowledge?