Character Consistency & Writing in Scene

Two recent consultations. Two common problems.

1. Telling rather than showing.
A scene shows. A summary tells. The difference? A summary puts distance between reader and character (this also applies to bloggers who blog about themselves). A summary is necessary for a variety of reasons, but scenes are where the story plays out.

Invite your readers in by setting the stage and creating a compelling reason to stick around (character dilemma) and read more (dramatic action). Do this in scene and stick to the universal story form for structure and impact.

2. Not keeping the character consistent.
Determine what the character does to sabotage herself from achieving her goal. This becomes the basis for the character transformation. Be consistent. If her flaw is that she doesn't stick up for herself, then don't have her fighting back in the first 3/4 of the project.

Any other ideas???

Addendum to Previous Post

I ran into a couple of writer friends yesterday, one of whom usually comments on the blog. They each said they had read the last post, but hadn't left a message.

Too chaotic to ask why not, but I wonder -- did the subject of breaking through emotional walls put them off???

I find the quest in the question posed in last week's post a worthy one. The closer we get to ourselves emotionally, the closer we can get our characters. I found a list of emotions I'll share below. Try exploring these emotions with your protagonist.

The key is not to ask yourself what you would do in the situation, but ask yourself what you would do if you were the character in the situation. Always bring the emotion through the character herself.

Identification with the protagonist is paramount to creating a compelling read, whether a novel, screenplay, memoir, or a blog. Readers identify with characters, through the character's emotion.

Exhausted
Confused
Ecstatic
Guilty
Suspicious
Angry
Hysterical
Frustrated
Sad
Confident
Embarrassed
Happy
Mischievous
Disgusted
Frightened
Enraged
Ashamed
Cautious
Smug
Depressed
Overwhelmed
Hopeful
Lonely
Lovestruck
Jealous
Bored
Surprised
Anxious
Shocked
Shy

Did I miss any???

HELP REQUESTED

I recently received the following query. Any of you have anything to suggest???

Question:
I really enjoyed the workshop and have gotten so much out of it. I will definitely be contacting you for future plot consultations.

I really want to break through my emotional walls in order to take my writing to the next level. Do you have any recommendations for books that may help with this? I have been looking at Julia Cameron and Eric Maisel. There are so many books on this topic that I wondered if you had any favorites.

Thanks.

Answer:
I used to call Carolyn Myss my spiritual guru. Although I haven't followed her for a few years, the help and insight she offered remains with me. I especially benefited from listening to the audio version of Energy Anatomy: The Science of Personal Power, Spirituality, and Health.
I have reread The Power of Now by Eckhart Tolle more times than I can count and am rereading it yet again now.

Although both of these resources are more spiritual guides than emotional, I found great help and comfort in them. I hope they might serve you well, too.

WRITING THE CRISIS

At the writers conference this past weekend, I asked an audience of writer which of them knew the Crisis of their story. I had been talking about the three important scenes -- one each in the:
Beginning (1/4) -- End of the Beginning
Middle (1/2) -- Crisis
End (1/4) -- Climax

We had reached the Middle section and after I discussed the parameters of the Crisis, I asked for a show of hands. Barely a smattering. Surprised, I reworded my question. Still just a few.

I asked if they were worried about that. The answer lay in their looks of bewilderment.

I've always been fascinated in the study of energy. I tried to show this pivotal scene energetically. With the help of the Plot Planner template, I showed how a story rises in intensity. The dips only come in moments of introspection and planning by the protagonist (under-the-line scenes). The rest is conflict that rises with obstacles and antagonists and insight into the character's issues (above-the-line scenes), deepening what was introduced in the Beginning.

After having read for this long, the reader/moviegoer demand a release or irritation will set in. The best place for the scene of greatest intensity so far -- the Crisis -- is around the 3/4 mark in the story. What does the protagonist still need to learn? A story is about character transformation. What situation can you put your character in that flows from the story and would provide the greatest impact energetically to both the reader and the protagonist?? For a new self to be created, the old self must be stripped away. What would best provide a mirror for the protagonist to see who they really are?? How they get in their own way?? Sabotage themselves?? Write that scene = the Crisis

The Climax at the End will show the newly created self, the character transformed. The protagonist confronts her greatest foe at the Climax and prevails in a way she never could have at the beginning of the story.

Each ordeal, each obstacle, each antagonist in the Middle provided the protagonist with opportunities to learn about herself. The Crisis in the Middle is the moment she can no longer hide her head in the sand or talk her way out of problems or rationalize her failings or blame others for her inadequacies. The Crisis forces her to wake up, become conscious, begin the process toward wisdom.

Do you know the Crisis of your story???

PREPARING FOR A CONFERENCE

Tomorrow begins the East of Eden Writers' Conference. Steinbeck Country is difficult to describe to anyone without some first hand experience in dry, dusty heat, yellow hills and giant oak trees, hawks and buzzards, cows and sheep. The road trip runs through dirt so rich it's called black gold. Men and women bend in the hot sun to pick strawberries.

250 anxious, eager, inspired, tortured writers will be on hand at the conference -- energy galore.

For me, the excitement is teaching writers plot and scene and structure.

I'll let you know how it goes....

When was the last time you put yourself out there for your writing???

Blogging and the Muse

A writer recently left the following message:
"Sometimes when I'm writing I feel like someone else is in my head writing it for me. Weird when the characters take over but not uncommon apparently. This doesn't happen when blog writing by the way."

I surmise it is the muse in the form of the characters that is taking over. Somehow, this writer is able to surrender his/her ego (what some call the critic) long enough for the creative force to work through him/her when writing fiction.

I find it interesting that blog writing isn't the same. I wonder if that's true for others???

Perhaps blog writing is so quickly accessible to public scrutiny that the ego (critic) can't let go. Does that make blogs more ego-driven???? The writing more self-conscious???

Any thoughts???

Villains

I respond to the first query about villains with intrigue. I teach writers to use as many antagonists as needed to create conflict and excitement on the page. I seldom concentrate on the archetype of the villain. The antagonists I focus on are the seven internal antagonists that plague our characters (as well as ourselves). There are also seven external antagonists.

I generally address only dictionary definition #3 of villain: a character in a story or play who opposes the hero.

My intrigue turned leery when I noticed the same message appear in the comment's section of the blog -- this time repeated three times.

Before I have a chance to post, I personally get slammed in the face with #4 definition of villain: one blamed for a particular evil or difficulty. Caught completely off-guard by the vehement anger and resentment thrown at me, I could not help but note the timing. My hesitancy to write about the villain paired with the email experience forced me to face my fear of the villain. Bullies scare me. So much easier to see them as antagonists -- a concept. Removed.

Instead of an actual post, I twittered about villains. Cop-out, I know. But still, a step...

Before I have a chance for an actual, the message returns, now with a threat. Don't answer and the writer will take his question elsewhere. My deepest reaction? Relief.

The message comes back.

Here goes:
The protagonist of a story of any kind, even in a blog post, sets out on a journey. Along the way she is tested both internally -- fears, hates, and / or flaw. She is also tested externally -- society, nature, other people, machines. Other people can be family members and friends, anyone out to stop the protagonist from getting what she wants.

A villain is darker and meaner. Family and so-called friends can be or become villains. The villain welds power enough to demand their own plot line. They are not changed and transformed by the dramatic action in the story -- as the protagonist is -- but their story has to hit the same key scenes in universal story form.

Have you ever faced a villain?? Not an antagonist but the archetype of a villain?? How dark and how evil? How do you deal with a villain -- in life and in your writing?? I only have that once. My lasting impression is being overpowered by blackness.

Plot at the Local Children's Shelter

Seven young adults between the ages of 12 to 17 shuffle inside the Children Shelter’s classroom. The boys loom large. The girls shift from motherly to sexy and back, like blinking red lights.

I break down some stories to them with a focus on the Beginning 1/4 of the story and ending at The End of the Beginning. I ask them to write the beginning of a story real or imagined that leads to a moment of no return, a moment when life shifts, when good turns bad or bad to worse. I suggest that the character want something that now becomes seemingly impossible to attain.

For a girl with clear brown eyes, her main character wants more time with her dad. The End of the Beginning is when her dad dies. Another girl shows a mom in heaven remembering her beautiful little girls. The End of the Beginning is when the girls go live with an uncle with a belt.

For the Middle of their stories, I asked them to describe the new world the main character is now living. I ask for three bumps that shake the character, stop the character, interfere with his/her dreams and leads to a Crisis. The Crisis is is the dark night of the soul.

Before I release them to their writing, we play charades. The two biggest boys and a girl with incredilbly long eyelashes act out emotion cards. The other kids and volunteers and counselors guess at the emotions. I stress for descriptions of what they see that leads them to know the emotion. I wanted them to "show" the character in the emotion, not "tell" the character.

To demonstrate anger, the biggest boy grabs a chair, swings it over his head and slams it to the floor. The girls reel backwards and scream. Counselors leap to their feet. I ask him to do it again but without the violence. Then we dissect his facial expressions to find the more subtle signs of anger and rage.

After a lunch of pizza and juice, we trudge back inside for the End. The room is stuffy and close, but feels safe and womb-like.

I give examples of characters overcoming tremendous odds at the Climax and being deeply transformed by the experience. We talk about what stories mean overall: a tough time leads to a lifelong belief that people are no damn good? (my father throughout his life) Good triumphs over bad (the girl with the belt). Bad triumphs over good (the boy with the rage).

My hope is that giving the kids an opportunity to get the bad stuff out of their bodies and moving is good. Rather than let it sit and fester, to bring the fear and disappointment out to the light of day is a good thing.

What have you left buried deep inside????

Allow Your Dreams to do Your Heavy Plot Lifting

Following is an inspirational way to use your dreams to write your stories by hynotherapist, author, and radio personality Kelly Sullivan Walden.

Like Kelly, I, too, use my dreams to support my writing and you'll usually find me up before dawn, writing.

"While I was up to my elbows mid-way through writing my recent book, “I Had the Strangest Dream…the Dreamer’s Dictionary for the 21st Century” (Warner Books), I developed the practice of rolling out of bed and into my “writing station.” While still in the in-between-worlds place I would open my laptop, take a deep breath, and with eyes half closed, let my fingers do the tapping. Before my logical brain woke up, I would give myself permission to write whatever wanted to be written from my subconscious/dream state.

This “dream state” writing would often wind its way to being relevant to the particular aspect of the book I happened to be working on. Even if my writing took a detour I would nonetheless find myself opened to a smorgasbord of thoughts and feelings that I could apply to the subject at hand that never would have occurred to me otherwise.

If there was nothing in particular that wanted to be written, I would simply write about my dreams from the night before. This actually has become a practice I believe will be with me ‘til the day I die, and perhaps the most valuable practice I have ever discovered. I believe there is a brief and precarious window period between the realm of sleep and awake, and if accessed, our entire day becomes brighter with a heightened awareness and aliveness. I actually feel that this may very well be the short cut to truly developing and strengthening our intuition. As a writer, what gift could be more valuable?

I believe it is specifically due to this practice that I was able to “dream up” an entire novel. About a year ago, I awoke at 3am (many writers tell me that their best writing ideas come to them at this god forsaken hour) with the entire story…the beginning, middle, end…the characters, their names, dress, voice tonality, the whole 9, as it were.

Without having to painstakingly try to figure out these characters and plot line, it was delivered to me, and all I had to do was take dictation.

I’ve talked to many writers that receive their best ideas, or plot lines from their dreams…and why not? Our dreams connect us with the vast aspect of who we are…as we sleep we dance with souls from time immemorial and explore realms about which have heretofore never been written. Why not let your dreams do your heavy plot lifting for you so that you can spend your precious awake time downloading these inspired messages. Who knows, tonight you just may receive the plot twist you’ve been praying for!

May your wildest and most wonderful writing dreams all come true!"

***************
Kelly Sullivan Walden is a Hypnotherapist, Dream Coach, and author of Warner Books’ I HAD THE STRANGEST DREAM, THE DREAMER’S DICTIONARY FOR THE 21ST CENTURY. Author of DISCOVER YOUR INNER GODDESS QUEEN, an Inspirational Journey from Drama Queen to Goddess Queen, Kelly is also the publisher of GoddessQueenMagazine.com. Her specialty is in empowering people to live the life of their dreams. Kelly is a regular guest on FOX news New York, CBS/AOL Psychic Radio and has recently been featured around the country on ABC, FOX, and NBC news, as well as in Cosmopolitan, Woman’s Day, SELF, ELLE and the Chicago Tribune. Kelly is the creator of The Dream Project, a local movement for Global change.

Join Kelly’s Dream Circle Membership Program and receive Kelly’s FREE Weekly Dream Symbol and subscription to Goddess Queen Magazine. If you are interested in more information about the Dream Project, talking with Kelly about private dream coaching sessions or booking her for any future speaking engagements, you may contact her at: kelly@kellysullivanwalden.com.

Do you use your dreams to help support your writing? Write while the rest of the world sleeps?

Tells the Story -- What or Who?

Have you ever been told your characters read like cardboard figures? Agents complain about not being able to get close enough to the main character? That they couldn't stay interested? It happens to all writers, whether action-driven or character-driven.

Writer's Test:

You're in an elevator with the exact right agent for your book. You have three floors to attract the agent's interest, get her to ask, "what happens next?" and, at the third floor, give you her card to send the first 50 pages.

Do you:

1. Start by saying something about the character: It's a story about a beautiful Swedish girl who comes to America looking for love. She gets a job in the kitchen of a society family in New York City. The family's silver and gold go missing. The man who interrogates her is tall and handsome. She has to defend herself with only the English she learned in school.

2) Start by giving an overview of the dramatic action: "It's a story about a land deal in New York City between the Elks Club and the mob. Money and silver go missing from the Elk leader's home. The next day he is found dead.

3) Start with a brief idea of the theme: It's a story about corruption and greed, the wealthy and poor, loyalty and love.

I have ideas about each of these, but lately am fascinated by #2. I'll post some tips and tricks in the coming weeks. Be patient.