Character Arc IRL: The Wound

I’ve been writing a lot, lately. I’ve been studying the craft of writing as I go. From Easy A, we learn that often times that which we study academically will be mirrored in our personal lives. I like to think that lesson isn’t just a plot device. This writing craft is interesting stuff because truly stories are but imitations of real life. And life is lived stories, no?

Pretty sure I was a darn sweet boyfriend.

Recently I posted about the demise of a relationship. *Sigh* It was not a smooth departure, an exit fraught with bumps and potholes. From the “bumps” that lined the path to our break up, I saw that Now-Ex (I’m going to refer to him as such because anonymity and all) had what writers like to call “emotional wounds”, instances of trauma (both mild and intense) that find a way to color our approach to making decisions.

I didn’t see all this right away because he was really cute, and made me laugh. Like, can’t breath tears streaming down my face LoL’ing. I just thought I had failed to be the perfect boyfriend.

Then I got feedback from Maria, a freelance editor. She expounded on the amazing concept of the emotional wound. Apparently my Main Character was lacking one. At least, it wasn’t apparent. What made him want to do the things he did? What fears spurred him or held him back? This lack of past trauma seemed to make him a bit flat. Fair enough. A little bit of pain in life can definitely help add depth to character. I mean, would Thanos have been as compelling if he hadn’t seen his home planet deteriorate? Emotional wound at play. In Hocus Pocus, if Max hadn’t been subjected to bullying (emotional wound) or having lost his friends due to a move (ah! Emotional wound.) then he probably wouldn’t have had the motivation to light that blessed candle, ergo there wouldn’t have been a charming little story.

Hoodie smelled like Now-Ex for weeks.

I needed to find an emotional would for MY character. He needs that extra…sauce, if you will, that lets the reader know this person has seen some things or had some things happen in his life that explain why he is so ambitious, why he doesn’t see a necromancer’s (it’s a fantasy adventure, btw) plot as diabolical. Emotional wounds give writers a map for a character’s journey from one type of person to something different.

I looked no farther than Now-Ex, because what most of us do after a break-up is analyze it to…I was going to say death, but it’s already dead if you’re broken up. It’s like taking road kill home. Yes! Taking it home and pulling the poor creature’s already broken body apart just to, you know, see.

What did I see when I took the painful step of looking around?

I saw that I was pretty decent boyfriend. I also saw that Now-Ex had more emotional wounds than I realized. Well, he had a lot of infection from a couple of emotional wounds. I pieced together what I observed and came to a few conclusions about what Now-Ex must have suffered and how that impacted our….story.

I won’t lay bare all his shit; like an entire post of the emotional wounds manifested. All I’m going to say is: this is why you don’t kick kids out because they’re LGBTQ+. This is why moving around a whole bunch messes kids up (especially if you don’t take the time to process it with the child). This is also why we can’t be afraid or embarrassed of therapy. We use crutches like drugs, sex, or, as in Now-Ex’s case, pets to stopper the trauma. When his poor Sweeite passed all that was left was the added pain of her absence, on top of all the emotional damage that she had helped to mask.

I can still hear Now-Ex’s howls as his little Coping Mechanism left this world. I wish I could un-hear him wailing about how sorry he was that he couldn’t save her. Emotional wound made manifest.

R.I.P Sweetie.

I’m sure we can all point to our own wounds. Sometimes they are only revealed as we travel through our owns stories and we are faced with decisions. Do we let the emotional wounds win over? Or do we face them and steer the other way, to a healthier, more self-aware sense of being?

I guess I left Now-Ex because I was afraid he wasn’t trying to over-come his emotional wound. I had a feeling he found comfort in it. I get it. He went through a significant amount of trauma.

And now I have fodder to help me craft a better, more relatable character. I have a feeling my Main Character’s emotional wound will, like Now-Ex, be related to his mother.

Advice: Listen at Your Own Risk

Let me start off with a line from the renowned novel Lord of the Rings:
“Ask not the elves for advice, because they will tell you both ‘yes’ and ‘no’.”

Yeah, take not the dispensing of advice or commentary lightly. It lands heavily, denting the spot on which it lands….metaphorically.

Reminds me of a recent string of feedback I received from a Beta Reader on my current Work In Progress (a fantasy adventure). A sticking point for this reader was the reactions of my protagonist, Aster, to certain situations….

“I want more of a reaction from these characters to make them seem more relatable. Or at least something that hints that Aster has more mixed feelings, that he’s not just going to let it go, etc.“

“Wait… are we actually going to see the glimpsest hint of believable, appropriate emotion from Aster?“

These comments have haunted me for days. No writer likes to hear that their work isn’t genius and pure perfection right out the gate. It’s usually not, but I’d like to think it’s something quite palatable, so when I see feedback like this I think: did I fall THAT short of the mark?

What is “the mark” though? What constitutes a believable reaction? People are so varied, beyond quantifying. That means characters are as well. Should one person’s expectations be the standard by which all characters (and even people) are measured? No. No, and recognizing that was pretty darn liberating. Advice in proportion isn’t as intimidating. And maybe, just maybe, I wrote something that is actually pretty nifty and not as broken as I believed.

Point is, duly consider advice/feedback, but don’t give it more power or prominence than is needed. Also, be judicious in offering advice/comments.

Why is Writing like a Relationship?

A lot of experiences are probably analogous to relationships; they’re just that intricate.

I’ve recently found myself entrenched in a relationship and I say that with much genuine enthusiasm. I’ve had a good 8 year streak of being single. I feel like I’ve spent enough time honing myself that sharing that self with someone is right.

Hurray for metaphors!

For the most part it’s still pretty much flowers since it’s still in that six-month range, but there have been serious discussions and some bumps, mainly owning to communication. That has spurned the idea: why is a relationship like writing?

Well,good reader, I will tell you….

1. Drafts
   Just writing the story down is important. Doesn’t even have to be perfect that first time around. What’s the saying? Can’t edit an empty page. Yeah, so much like a relationship!
   When I’m in a mood or whatnot, or am not on board with certain plans…well, the BF can’t read my mind. We just need to speak our mind, let the communication flow. If your partner is attuned and mature they will help you edit with follow-up questions. If you have a selfish brat as a partner then gawd help you.
   
2. Character Arcs
   We’ve all read them: hero starts out reluctant or kind of an asshole. Then the adventure happens and they end up brave or empathetic. Usually how it goes.
   Well, we all experience our own arcs. It’s called learning. And if the relationship is absent an arc then the relationship is absent growth and that which does not grow regresses and withers. I mean, the BF is into me because I’m a particular kind of individual. If that doesn’t exists then the interest doesn’t last. If he grows but I do not, will the relationship survive? I wouldn’t think so.
   
3. Drama is NOT story
   I think a lot of people confuse the two, too. Soaps live off just drama, bad stuff happening to characters. That isn’t story though. Story is a conflict and growth. It’s experiences through theme.
   A relationship isn’t exiting when it’s all drama. It’s not boring when it’s long conversation between two individual curious about one another not a parade of dramatic moments. I find myself knowing the BF with these long discussions, finding the disagreements and the commonalities; searching out his views, where he’s been and where he wants to go.
   
4. Conflict IS Story
   Finding that really good adventure, the one that fits your character and teaches him/her something valuable is such a good story. An agreeable world that gives your character everything she/he wants is not going to keep readers going. A character that breezes through every challenge isn’t appealing either.
   I don’t want a relationship with constant bickering and disagreement (see the previous point), but a BF with whom I agree incessantly isn’t going to keep my attention either. It’s been nice to see dimension with my BF. We don’t agree on every single thing because that is about as interesting as constantly squabbling.
   
5. Experience is the Best Teacher
   The best way to learn to write is to write. Sure, some courses and counsel are going to server the author. There’s going to be that long climb to reach the point of wisdom. The story that is in a person’s mind/heart will not make it out into the world until the author stops planning and starts typing. you can prepare, plan, and research on and on and on, but the story won’t get written until you just go for it.
   There’s no better way to improve at relationships than to dive into one. Leave it all out there and ride the waves. The key to connection is to lower the walls, be open (even a bit vulnerable) and commit. I wanted to say the L-word to the BF for a few weeks and I just kept it back thinking it was too early. But hey, it was a feeling that was there, so I finally let that expression loose upon him. Yeah, I said it and it’s been a pleasure to repeat. I don’t think there’s enough preparation in the world for the force of emotions and the investment that is a relationship.

A lil bit of Happily Ever After never hurt…

There you have it: writing and relationships…they’re not that different. Hopefully you find love (in yourself or with another) or a great story….ideally both. Thank you for coming to my “TED TALK”, as they say.

A Treatise (Sort of) on Clever

I’m having a conversation with a friend who happens to be an indie filmmaker. I had just viewed his latest project. You should go give his YouTube channel a view.

His work is layered with little details to which he commented about his need to balance story and those fine details that created a sort of second dimension. The word clever was thrown around a bit.

This made me recall the many times that I’ve told myself: I’m not clever enough to be considered a great/talented writer. Yeah, the self-depreciating dialog is strong in this one. *pointing at self*

I decided to review the catalog of writers I’ve enjoyed in a sort of subjective experiment. Were all of them suitably clever, as I see the word? Is every work they publish of the caliber of wit and observation, as I see it in my head.

Sometime it’s very unfair to put upon ourselves lavish standards. Aiming high and constant self-improvement is a noble endeavor but just maybe the measuring tape in our minds is a little too skewed?

So here’s the Tea: not every successful writer (or creative person) is clever. Sometimes maybe, just maybe, the writer (creator) in question is just highly imaginative.

Of Hellraiser fame.

Like dear Clive Barker here. He has quite the catalog of horror writing/film making. I’ve read a few of his books (and I highly encourage anyone reading this blog to read Books of Blood…after the blog post). I haven’t seen anything particularly clever about his work. Most of the time it’s just so damn far out there and that’s the appeal. I enjoy a lot of his work just the same. It’s…juicy, with plenty of twists and moments that make you wonder: such bizarre circumstances could actually happen. I like that. I enjoy being lost in his version of worlds. Creepy appeals too. Creepy, but not particularly clever.

I don’t need to say his name. You already know.

I may get flayed for this but this guy, the Stephen King, is not exactly clever in my eyes. He is vastly prolific. He’s highly imaginative. I respect the volume of work that he produces. I’m in awe of it, in fact. He doesn’t fall into my view of clever. Oh, he has opened up so many worlds that are deep, unsettling at times, and entertaining on so many levels. Still: not clever.

If you don’t know, you should. I started with The Poisonwood Bible

How about I share with you my version of clever?
This is terrible for a writer to say, but I’m not entirely sure how to encapsulate the vision I have of clever. So examples! Barbara Kingslover…she is clever. Her writing feels elevated. That isn’t to say that literature is of higher quality than commercial fiction. Not so. Her voice, her settings, her stories, just feel a certain kind of luscious. To me, that luxe is an aspect of clever. I guess what she brings, versus what Barker brings is a type of insight vs. his unleashed storytelling.

A man steeped in clever

The other shade of clever is going to the witty version, probably what most people think when they hear the word.
I don’t often find myself snapping lines that elicit amused chuckles. Johnathan L. Howard has written some witty (read: clever) stuff. I find myself charmed by the characters and dialog in his Johannes Cabal series. Some writers just have the knack to work with charm and amusement the way some artists work in clay and paints. That is clever!

So, I may not excavate the sort of insight that Kingslover does with her characters and settings. I may not craft charming, chuckle-inducing dialog like Howard, but I can find in myself the worlds imagined and unleash them like Barker and King.

Major Minor Difference

No, I’m not a musician. I don’t know much about the art form beyond listening and liking, or disliking as the case may be. If anything I’ve written in this post is ill-informed and you know better, I do welcome education.

As a writer, I’m fascinated by lyrics. While writing, I pick music that demonstrates the mood I want to capture on the page. One art form informing another. Circle of life and all that.

In all my years of listening to music, I’ve discovered a fascinating tactic that I like to call “Major in the Minor” or, the flip-side, “Minor in the Major”. This all goes back to scales and chords. And my ignorance is gonna start to show, but what I DO understand is that major chords/scales are the usually bright and cheery sounding tunes while minor chords/scales are (you guessed it) the somber, darker sounds. And you would expect a certain lyrical content with major chords and the same with minor ones. But every now and then an artists flips the…scale on us and gives us lyrics of a “major” nature in a tune that is in a minor key.

Time for a concrete example. So a YouTube troop took “Hey Jude” (a song normally in a major key, with pretty positive, cheery lyrics), and they put in into a minor key. The result is kinda haunting.

So that is the basic concept. Because I’m drawn to contrast (I can’t leave the house wearing dark on dark), this approach to music captivates me. Here are a few songs that are my all-time favorite instances of mix-matching lyrical content and key’s…

1. “Dancing Queen” – Abba
   

   This one is kind of a toss up for me because while it is in key of A major, the lyrics to me are sort of tragic in a way. This song could be a jovial tribute to nightlife, but I just heart a sort of lament for something lost (lost potential; lost youth). I associate this song with the movie Muriel’s Wedding. And if you’ve seen that, you know the mood Muriel is in when she listens to the song: stuck, despondent, but defiant. So I will let others judge this entry.

2. “Lonely Day” – Phantom Planet
   
   Sure, you know “California”. We all do, from that once-hit show The OC. You probably aren’t familiar with “Lonely Day” though, and shame! I’m not sure which key this is in, but the tune is definitely major. Once the lyrics hit there is a shift and the listener begins to hear a song that is not peppy as the sound would suggest. That is what makes this song pretty darn special, in my opinion.

3. “You’re Not Alone (Clue Remix)” – Jose Amnesia & Una
   
   I know, EMD club jam. It’s a good song though. So mood…as the kids say. I’m not sure if electronic-based music has a particular key, but you can hear that it isn’t exactly upbeat and effervescent. Contrast the feel of the music and tone of the voice with the lyrics; those lyrics are deploying a hopeful message in a less-than bubbly tone. And I live for the contrast. Definitely a “Major in a Minor” moment.

Those are my top examples of contrasting music. Does anyone have a favorite? Have you never noticed this phenomena before?

Horrible Horror

Tropes. Tropes everywhere, in every genre, in every medium. That isn’t to say that tropes are all bad and have absolutely no place in entertainment or art. They should just, you know, be used sparingly.

Horror’s own roster of tropes, when done right, don’t come off stale. Like, “The Creepy Kid” trope. When done right, it really makes an impact. It’s chilling to see an innocent-looking kid cause all kinds of violence and madness.

We think they are so cute, but in this moment you feel nothing but fear…and they’re just children!

But among horror-tropes there is one, especially in literature, that really just…it’s like nails on a chalkboard, as it were. Though, scraping against ice is far more grating than nails on a chalkboard. Back on topic…

My #1 least favorite horror trope is….. “Humans are the REAL monsters!” *Cue the intense music…domdomdom*

And this isn’t to invalidate this particular trope; I get it: people can be and are often horrible creatures.

I wouldn’t bother, if I were you.

I recently completed reading Jonathan  Maberry’s GHOST ROAD BLUES. It had accrued some glowing reviews. Maberry had appearances on several lists of horror authors to check out. Not sure why all the praise.
Maybe GHOST ROAD BLUES was the wrong book with which to start.  The characters were “meh”, the plot is a fragment of a whole (to obtain a sense of closure, readers will need to invest in about two or three books, because this one ends right when the action starts to pick up), and the folksy voice telling the tale is just ugh…enough about the night birds! Aside from all those shortcomings, the supernatural element, often a key element to tales of horror, is pushed aside to focus on how miserably humans treat one another. WE GET IT, people are awful! I didn’t buy this book to be reminded about that; that’s what Twitter is for.

Where are the stories that let the macabre and unknown forces reign and ruin the dark? THAT is the kind of horror that is captivating, that take readers away from reality. Not to say that the dark side of humanity should be off-limits, but if a story purports to be about unearthly entities, of supernatural forces that terrorize, then hopefully that element is kept in the spotlight.

Your life is incomplete until you’ve read this book.

Take Clive Barker’s BOOKS of BLOOD. I recently discovered this gem of horror. Most of the short stories in this volume beautifully walk the line between humanity’s disgusting treatment of one another and the supernatural. In (my personal favorite)”Pig Blood Blues”, Barker shows us boys who bully, the ineptitude of human institutions to help troubled youth, but the possessed pig that feeds on human flesh is the star of the story. The ending is just…Wow. This is why I have an aversion to pigs. They are not cute!

I’m hoping that this “Humans are the REAL monsters” trope is one from which authors will ease away.

Adding Depth to Your Fiction—Body Language 101

I’m loving this insight. I feel like I have been using this advice recently. Have you?

Kristen Lamb's Blog

Image by Gopal 1035

Today regular guest writer Alex Limberg is back with a post that will make any of your dialogue scenes sound so much smoother. His piece is about body language. Raise your eyebrows and drop your chin in delight, because Alex is about to help you get under your readers’ skin with your dialogue. Also, you should definitely check out his free checklist about “44 Key Questions” to make your story awesome. Now clap your hands: 3… 2… 1… here we go:

***

“Crossing my bridge on your flying rhinoceros? You better reconsider that,” the troll said and raised his fist.

When you are reading the sentence above, you know immediately what the situation is about: The troll is threatening the other person (and a flying rhino is coming your way). And the reason you know exactly what’s up is, you guessed it, the fitting description…

View original post 1,694 more words

It’s Still a Business

Consumers and business models have all changed drastically in the past ten years. This demands that we as authors change as well. There were many elements we never had to think about twenty years ago. It was an agent/editor’s job to think about the consumer climate and whether or not our book would be something […]

via Want to Sell More Books? Give Consumers What They WANT — Kristen Lamb’s Blog