Tickling the Dragon’s Tail

The bravest are surely those who have the clearest vision of what is before them, glory and danger alike, and yet notwithstanding, go out to meet it. —Thucydides

* * *

Dr. Louis Slotin was a brilliant young physicist. Only thirty-four years old, he had been working at Los Alamos on the super-secret Manhattan Project since 1943. He was known to be a quiet, reserved man, and yet one who was attracted to dangerous assignments.

Perhaps that’s what drew him to an experiment that would ultimately kill him.

Most of us are in awe of the work done on the Manhattan Project. Names like Oppenheimer, Bohr, Fermi, and others who worked there defined much of nuclear physics research in the mid-twentieth century. Yet despite the magnificent brain power, one of the experiments that was required in order to construct an atomic bomb was surprisingly primitive.

“Critical mass” is a term that describes the condition that occurs when the amount of fissionable material brought together is enough to start a nuclear chain reaction. In an effort to determine critical mass in the Los Alamos lab, a human operator would bring two hemispheres of such material close together until the mass just started to go critical. A Geiger counter and a neutron monitor would gauge the radiation emitted by the two lumps of metal. The goal was to get the assembly to begin to go critical but stop before it became dangerously over-critical and released lethal amounts of radiation.

Louis Slotin had performed this experiment dozens of times using a simple screwdriver as a lever to control the approach of one lump of material toward the other. He referred to the procedure as “tickling the dragon’s tail.”

On a fateful day in May 1946, Dr. Slotin was in the lab. Amazingly, there were visitors in the room to observe the operation.  According to an article on the Canadian Nuclear Society website,

The experiment involved creating the beginning of a fission reaction by bringing together two metal hemispheres of highly reactive, beryllium-coated plutonium.

Seven people watched as Slotin brought one hemisphere close to the other. The Geiger counter ticked a little faster.

Then Slotin’s hand slipped, and the upper hemisphere of metal fell onto the lower one causing a hard release of radiation. The Geiger Counter went crazy, then stopped completely, and people in the room reported a strange blue glow.

Slotin lunged forward and flipped the top hemisphere of beryllium off and onto the floor. Nine days later, Dr. Louis Slotin died in a hospital from the results of radiation poisoning. Miraculously, none of the other people in the room succumbed.

* * *

I have read “The Strange Death of Louis Slotin” by Stewart Alsop and Ralph E. Lapp several times. Each time I read it, I’m surprised by the crude contraption used to determine critical mass. The scientists at Los Alamos would have known better than anyone else how dangerous a mistake could be.

I’m even more surprised by the willingness of anyone, especially someone with a clear understanding of the risk, to volunteer to run the experiment. But there are those people who not only enjoy a sense of danger, but even seek it out. Those to whom “tickling the dragon’s tail” is an essential part of their lives.

* * *

It makes me wonder. Who are these people who enjoy living on the edge? Are there many of them?

Last week, Alan mentioned a test pilot friend of his had died while flying an experimental aircraft. It reminded me of books I’ve read about test pilots, and I wonder what it takes for a man or woman to climb into a contraption that’s never been tested before, and take off. I think of the Wright brothers, Charles Lindbergh, and Chuck Yeager.

And what about those ultimate test pilots, the astronauts? Can you imagine sitting on top of a rocket with a few hundred thousand gallons of fuel underneath you, and blasting off to be the first to land on the moon? Neil Armstrong and Buzz Aldrin were willing.

Maybe those are the extreme examples. More down to earth (pun intended) are police and fire fighters whose livelihoods embrace danger.

And then there are fictional characters who refuse to back away like Atticus Finch, James Bond, or Sam Spade. How about Nancy Drew?

Writing mysteries, thrillers or suspense means we create characters who deal with danger in a variety of ways. Some are attracted to it, some run away, and others don’t seek it out, but stand and fight.

So TKZers: Do you have favorite fictional characters who love to push the envelope? How about the characters in your books? How do they handle danger?

* * *

 

Private pilot Cassie Deakin doesn’t go looking for danger, but she lands right in the middle of it when she searches for the key to a mystery—and finds a murderer.

Available at  AmazonBarnes & NobleKoboGoogle Play, or Apple Books.

Find the Right Critique Group for You

Photo credit: Photo by Dylan Gillis on Unsplash

by Debbie Burke

@burke_writer

Recently Jim Bell suggested I write a post about critique groups. Thanks for the idea, Jim!

What should a new writer look for?

New writers need three things:

  1. Accountability – A critique group motivates you to write consistently. It’s human nature that you’re more apt to meet someone else’s deadline than one you impose on yourself. A frequent comment: “If I didn’t have to turn in pages for my critique group, I wouldn’t have gotten around to writing.”
  2. Readers – Unless you’re keeping a journal only for yourself, you eventually want others to see your work. Critique groups are good first readers for a new writer.
  3. Feedback – The most important job of a critique group is to improve your writing. They spot trouble areas, inconsistencies, lack of clarity. The writer is often too close to the work to see problems. Critique groups offer objectivity. They make suggestions such as how to strengthen prose, what parts to cut or expand, ways to make characters come to life, etc.

When I was starting out, critique groups filled all three needs for me. Thirty-five years later, I’m pretty good about #1 (accountability) but I still need #2 and 3, readers and feedback. Currently I participate in two groups, one with long-time author friends, the other on Zoom with writers scattered around the country I’ve never met in person.

“But I’m not a joiner.” If you can effectively work alone, that’s great. But consider a critique group or beta readers for feedback before submitting for publication.

How to find a critique group:

  • Take writing classes – My first group grew out of students I met at creative writing classes at the community college.
  • Join a writing organization – Check out this list. Some are generalized with a broad interest range that includes fiction, nonfiction, poetry, screenwriting, journalism, memoirs, etc. Other groups focus on specific genres like romance, mystery, historical, children’s, Christian, etc. Most organizations offer active programs to help you meet other writers in your area of interest.
  • Attend a conference – Critique groups sometimes form among attendees.
  • Ask local bookstores and libraries – They frequently serve as meeting places for critique groups.
  • Search online – Meetup.com, Google, social media, etc.

How to set up a new group:

  • Gather six to eight other writers. That’s enough to give a variety of viewpoints. More than that, it’s difficult to review everyone’s submission in a timely way. If possible, find writers with more experience than yourself who are willing to help those with less experience.
  • Decide how often to meet–weekly, bi-weekly, monthly.
  • Find a convenient location, such as members’ homes, coffeeshops, bookstores, the library, etc.
  • Meet remotely via Zoom, Facetime, etc.
  • Agree on rules. Basic guidelines are: be respectful, courteous, helpful; don’t interrupt and don’t be snarky.

Join an existing group:

Some groups are open to newcomers. Others are by invitation only. You may need to submit a writing sample, or be recommended by someone already in the group.

Two common formats:

  1. Read pages aloud to the group. This takes time and limits the number of submissions that can be reviewed. But it also helps newer writers hear problems they don’t see on the page.
  2. Submit pages in advance, then discuss at the meeting.

Generally, the author remains silent during discussion. Afterwards, they may ask questions or comment.

Authors frequently want to defend their work or explain what they really meant, which is not necessarily what is actually written on the page/screen. Remember, when the story is published, the author isn’t there to explain. The writing must stand on its own.

Is this the right group for me?

  • Trial run – Ask if you can attend a couple of meetings (in person or by Zoom) to get to know other members. You can tell a lot by how respectfully they treat each other. Strong suggestion to newcomers: listen more than talk.
  • Compatible chemistry – Can you work with these people? Can they work with you? A group that writes gritty noir is not useful for a children’s picture book author.
  • Tone – Lively discussions are not the same as pointless arguments.
  • Attitude – Are they helpful and encouraging? Do they actively look for solutions to problems? Do authors go home excited and energized?

Danger Signs to Watch For:  

  • Poisoners – Some groups are just plain toxic. They exist to savage someone else’s writing to make themselves feel superior. Avoid such people at all costs. They never help and destroy your enthusiasm and confidence.
  • Divine Emperor – Someone appoints themselves the ruler of the group, delivering proclamations straight from Mount Sinai. When you’re not experienced, it’s easy to be intimidated by those who know more than you do. But what often masquerades as “knowledge” are simply arbitrary rules.
  • Monopolizer – This person demands attention. Drop everything right now and focus on my story because the world really does revolve around me. All take and no give doesn’t work in critique.
  • Closed Ears – This writer won’t listen to suggestions. S/he repeats the same problems month after month.
  • Frustrated Actor – This writer wants applause from an audience. S/he wants affirmation, not constructive criticism.

What Are Potential Problems?

  • In groups of new writers, sometimes the ignorant are leading the uninformed. Educate yourself by reading craft books and articles and taking classes. Expand your knowledge at the same time you practice writing.
  • Personality clashes may arise. Try talking one on one to work out your differences outside regular meetings. Maybe you can agree to disagree and keep discussion civil. If you can’t, one of you might have to find a different group.
  • Lack of participation. Some people rarely submit and offer lots of excuses. They’d rather talk about writing than write. Some submit and accept feedback, but don’t comment on others’ submissions. A group only works with active give and take.

Here are a few additional thoughts from one of my early guest posts for TKZ.

 I’m a big fan of critique groups because the ones I’ve been in included good people who are eager to learn and are glad to help others. YMMV. If you had a bad experience in the past, consider trying again with different people.

We all start out as beginners. Learning to write is intimidating. Sharing what you write with other can be scary.

But it can also lead you to rewards you never imagined.

~~~

TKZers: Are you in a critique group? What helps you? What causes problems?

~~~

Critique groups contributed invaluable help to every book in Debbie Burke’s Tawny Lindholm Thriller series. Available here.

Creating a Main Character Persona

Cary Grant

Last weekend I watched a Dyan Cannon interview in which she discussed the new movie, “Archie” (Cary Grant), and her marriage with him. When asked about the Cary Grant film persona, Cannon said that Archie Leach had picked attributes from multiple actors he admired and created the Cary Grant persona, which he perfected to became so famous and successful.

Here’s an article on the subject which confirmed Cannon’s assessment:

https://lareviewofbooks.org/article/a-man-and-his-persona-on-cary-grant-a-brilliant-disguise/

I had planned to start a discussion in March on “creating main characters” for a Friday TKZ post. I thought this would be the perfect time.

There are many excellent books available for new writers on the subject of creating characters. A quick look at my shelves reminded me of three of my favorites: JSB’s Writing Unforgettable Characters, Nancy Kress’s Dynamic Characters, and Nancy Kress’s Characters, Emotion, and Viewpoint.

Today, to help beginning writers and readers, let’s focus on (a) the character attributes we have used in our own characters, or the character traits that are most likely to draw us to characters in someone else’s writing. And, (b) the books we found most helpful in the beginning of our writing careers to create such characters.

Questions:

  1. What character attributes have you used in building main characters?
  2. What main character attributes are most likely to keep you reading?
  3. Which books did you find helpful in the beginning of your writing journey?

Villain Survey

by Debbie Burke

@burke_writer

Readers love a good, juicy, memorable villain.

Villains come in more flavors than Baskin-Robbins features: sinister, seductive, calculating, bumbling, scary, funny, tortured, etc.

Who can forget Danny DeVito as the Penguin; the bunny-boiling “Alex” played by Glenn Close in Fatal Attraction; The Wicked Witch of the West who frightened generations of children with her threat, “I’ll get you, my pretty, and your little dog, too.”

As writers, we’d love to create a character who endures for years, like Professor Moriarty, Nurse Ratched, Darth Vader, Cruella de Vil, Hannibal Lecter. 

Joseph Campbell’s The Hero’s Journey and Chris Vogler’s The Writer’s Journey-Mythic Structure for Writers examines the hero.

Riffing on that structure, I’m working on a writing craft book that follows a similar theme but instead takes readers on The Villain’s Journey.

I deconstruct various villains by asking questions. What are their origin stories? What are their needs and desires? Are they psychopaths, sociopaths, narcissists? What drives them to do antisocial acts? Are they forced by circumstances to step over the moral line from ordinary to evil? How far will they go to achieve their goals?

What are qualities that make a villain memorable? Here is a partial list:

1. Powerful – They are in control of their situation and the people around them. They are stronger than the hero, at least initially.

President Snow in The Hunger Games keeps his districts impoverished, desperate, and fearful to the point that people accept the cruel practice of children murdering each other for rewards.

2. Cunning – They use intelligence, guile, and manipulation to achieve what they want.

In several Arthur Conan Doyle stories, detective Sherlock Holmes dubs  Professor James Moriarty “the Napoleon of crime.” Moriarty is the only person who can match wits with the brilliant Holmes and best him.

3. Ruthless – They are willing, sometimes even eager, to harm others and cause destruction to achieve their goals.

In The Godfather I, the climactic baptism scene shows Michael Corleone becoming the godfather to his sister’s son at the same time his henchmen kill the leaders of all the rival families. That clean sweep elevates Michael to reign as the undisputed Godfather of crime. 

4. Terrifying – They exploit deep human fears like helplessness, pain, and death to overwhelm their victims with physical, psychological, or emotional threats.

Agatha Trunchbull is the sadistic, bullying headmistress in Roald Dahl’s Matilda. The 1996 film was rated R because of scary (although absurd) violence like the pigtail hammer throw scene.

5. Ordinary – On the surface, villains can seem like regular people. They blend in with normal society and don’t attract attention to themselves. That’s how they get away with immoral acts. Their invisibility makes them chilling.

In Catherine Ryan Howard’s The Nothing Man, the murderer of Eve Black’s family is a supermarket security guard living an inconspicuous life until Eve writes a true crime book that taunts him with threats to reveal his identity.

6. Reluctant – circumstances may force a law-abiding person into committing crimes. Their reasons may be justifiable but the acts are evil. 

In Death Wish, Charles Bronson plays a grieving widower whose wife was killed by thugs. He takes justice into his own hands, becoming a vigilante. 

7.  Persistent – They may appear to be vanquished but they don’t give up. Remember the Terminator’s immortal line, “I’ll be back.”

Now I’d like to ask readers of TKZ to participate in a survey for The Villain’s Journey.

Who is your favorite fictional villain?

Why is s/he compelling and memorable to you?

Please answer in the comments. Your response could be included in the book (with permission).

Thanks for your help!!!

~~~

 

Please check out the manipulative, seductive, ruthless, cunning, ordinary, persistent villains in the Tawny Lindholm Thriller series

Seven Questions to Test Your Characters

By Debbie Burke

@burke_writer

How characters act under stress is one of the best techniques to show what they’re made of.

Photo credit: Lisa Brewster, CC-BY-SA 2.0

 

 

If there’s a minor hiccup in their routine, do they take it in stride or become a drama llama?

 

 

 

 

 

 

 

 

When life delivers an unexpected setback, do they pick themselves up, dust themselves off, and make a new plan? Or do they stand around wondering “why me”?

 

 

 

 

 

Photo credit: Pixabay

 

 

A catastrophe threatens their lives or the lives of others. Do they freeze, flee, or run toward the disaster?

 

 

 

 

Whether large or small, a crisis brings out new aspects of the character’s personality, thought processes, emotional reactions, strengths, and weaknesses.

Are they courageous? Cowardly? Indecisive? Altruistic? Sneaky? Conniving? Manipulative? Driven by selfish interests?

Do they take charge and tackle the problem head on? Or do they avoid it until forced to face it?

Recently I ran across a 1980 book by Terrence Des Pres entitled: The Survivor-An Anatomy of Life in the Death Camps. He did extensive research, studying the differing reactions of people who survived the Holocaust vs. those who didn’t.

In the introduction, he wrote:

“It turns out that survival is an experience with a definite structure, neither random nor regressive nor amoral. The aim of this book has been to make that structure visible.”

Two of his conclusions were startling.

First, newly arrived prisoners had the highest death rate.

Second, criminals had the highest survival rate.

Why?

Newcomers often froze. They went into shock and denial. They couldn’t adjust physically, mentally, or psychologically to their horrifying new circumstances. That paralysis and inability to adapt led to high death rates.

Criminals, on the other hand, adapted better and survived at a higher rate. Because they were used to living outside of society’s rules and norms, they changed their behavior more easily to avoid being caught in the daily dangers of the camps.

How do your characters handle stress? Do they freeze and withdraw? Do they pivot in a new direction? Do they react impulsively? Do they make a rational plan to overcome difficulty? Do they wait/hope for someone else to solve the problem? Do they seek guidance or cooperation from others, or are they lone wolves? Do they manipulate the situation to their advantage?

Here’s an unscientific quiz to test the mettle of characters in your WIP. The questions range from trivial annoyances to life-or-death disasters.

How characters react to small problems may indicate how they treat more serious trials.

Or not. A character who appears fragile or weak on the surface may rise up to show hidden strengths or talents.

Try running all your major characters through the quiz—protagonist and antagonist, as well as secondary characters who play important roles like partners, love interests, family, coworkers, mentors, etc. See what each one does. Discover what conclusions you can draw from their behavior.

There are no right or wrong, good or bad answers. The only meaningful answer is whether a character’s reaction is authentic and true to their personality.

Question #1 – Your character runs out of shampoo in the shower. What does s/he do?

  1. Screams for someone else to bring more shampoo.
  2. Uses soap instead even though it leaves hair greasy.
  3. Says screw it and finishes with water only.
  4. Wraps up in a towel and drips down the hall to find more shampoo.
  5. Fill in a different answer.

Question #2 – In a remote location without cell service, your character’s car doesn’t start. The only other vehicle around is a stick shift, which your character never learned to drive. What does s/he do?

  1. Tries to call Triple A, hoping for a signal.
  2. Tinkers under the hood to try to start it.
  3. Starts walking.
  4. Drives the unfamiliar vehicle, even though the gears grind.
  5. Remains in the broken-down car with windows up and doors locked.
  6. Jacks the first car that comes along.
  7. Fill in a different answer.

Question #3 – Your character lands in a foreign country and doesn’t speak the language. Luggage is lost and a pickpocket steals passport, credit cards, and cash. What does s/he do?

  1. Screams at airport employees.
  2. Tackles the thief and beats the snot out of them. And is probably arrested.
  3. Uses sign language to report thefts to the authorities.
  4. Contacts the embassy or consulate for help.
  5. Hopes a sympathetic stranger feels sorry enough to offer assistance.
  6. Fill in a different answer.

Question #4 – The electricity goes off and there’s no cell service. What does your character do?

  1. Starts up the generator that s/he bought to prepare for this contingency and proceeds with normal activities.
  2. Ambushes the prepper neighbor who has the generator and takes it away from them.
  3. Reads a book by candlelight and thinks “Gee, this is kinda romantic.”
  4. Hyperventilates. Alternatively, hides under the bed so the bogey man can’t get him/her.
  5. Goes searching for missing family and friends.
  6. Seizes this golden opportunity to commit crimes b/c the chances of getting caught or punished are low.
  7. Fill in a different answer.

Question #5 – The house/apartment catches fire. What does your character do?

  1. Grabs the already-packed bug-out bag which contains medications, passport, flashdrive backups, and cash.
  2. Grabs loved ones and pets and runs like hell.
  3. Grabs a fire extinguisher and fights the blaze.
  4. Stands and watches because s/he just dropped acid and is enjoying the far-out colors, man.
  5. Shoves an abusive partner into the flames, slams and locks the door, and runs like hell.
  6. Fill in a different answer.

Question #6 – Your character’s spouse and child are drowning. S/he can only save one. What does your character do?

  1. Saves the child.
  2. Saves the spouse.
  3. Saves the closest one.
  4. The decision is too impossible to fathom so they all drown together.
  5. Prays for a miracle.
  6. Drowns themselves b/c they can’t live with the guilt.
  7. Fill in a different answer.

Question #7 – Your character is facing death with no possible reprieve and no way out. What does s/he do?

  1. Prays.
  2. Requests a blindfold and a last cigarette.
  3. Weeps.
  4. Sends a last message to loved ones.
  5. Shivers with terror.
  6. Takes down as many enemies as possible.
  7. Screams, “This can’t be happening!”
  8. Fill in a different answer.

Did you learn more about your characters?

Do these insights help your story? Drive it in a new direction?

In a sad, ironic footnote, author Terrence Des Pres died at age 47 by hanging, his death ruled “accidental” by the Madison County (NY) medical examiner’s office.

~~~

TKZers: Please share “different answers” you filled in.

~~~

 

By book #4 in the Tawny Lindholm Thriller series, I thought I knew the two main characters well. But I learned surprising new facets when they are caught in Hurricane Irma in Dead Man’s Bluff. Stranded in an unfamiliar, flooded Florida landscape without electricity, they must hunt for a missing friend. Soon they discover predators, animal and human, are hunting for them.

Special price today only $.99.

Reader Friday: Best Conditioning Programs for Characters

Labor Day is past. Schools are in session. And with that, high school and collegiate athletic programs are in full swing. Football players gather on their field for conditioning and to practice their plays. Cross country runners pound the sidewalks of our cities and villages. Soccer and Field Hockey athletes work at conditioning and improving their skills.

But, what about our characters in our books? We are warned about two-dimensional “cardboard” characters, and are instructed to fill them out with backstory and motivation. Do we also provide them with a conditioning program to make them buff and tough and ready to take on the nasty plot twists and turns we will throw at them?

What conditioning and skill program do you enroll your characters in, so they can take on Goliath and eke out a victory?

Or

What is the best conditioning program you have seen a writer employ to prepare their character for battle with the protagonist?

What My Horse Taught Me About Character Arcs

“No one can teach riding so well as a horse.” –C.S. Lewis

* * *

Two years ago this month, I wrote my first guest post for the Kill Zone Blog, and I will be forever grateful to Debbie Burke for offering me that opportunity. Later that year, I became a regular contributor, and I have loved the experience so much, I thought I’d celebrate this anniversary by re-posting that first article.

I hope you enjoy reading it as much as I liked writing it.

* * *

It was a day for speed. A wind-at-your-back, smile-on-your-face day when a youthful gallop overruled frumpy caution, so we barreled down the dirt trail into the park and around a blind turn. As the bushes on our right gave way and the road ahead came into view, a terrifying specter suddenly loomed up in the middle of the trail, no more than fifty yards in front of us.

Dixie, my high-strung, prone-to-panic filly, slammed on the brakes. I had no idea a horse could stop like that. Two stiff-legged hops – thump, thump — to a dead halt.

I went straight over her head. Turns out an English forward seat saddle is particularly ill-suited for sudden deer sightings.

As I was flying through the air, anticipating an unpleasant reacquaintance with Mother Earth, Dixie began some kind of crazy cha-cha in reverse, trying to flee the tiny deer creature. I was still holding on to the reins, however, so she couldn’t turn and run. Instead, she made a determined dart backward, dragging me along in her wake.

You might be wondering why I didn’t just let go of the reins and save myself from a mouthful of dirt and a painful awareness of my sudden change in circumstances. I’ll be honest with you. I would have let my horse drag me into the next county before I allowed her to return riderless to the barn. I have my pride, you know.

Body-surfing down a dirt trail at the whim of a frightened animal is an excellent way to focus one’s mind.  I’m older now, but sometimes I still get that urge to gallop furiously into the next adventure, no matter what form it takes. But when I recall that day in the park, the awful taste of grit in my mouth, the look of terror in Dixie’s eyes, and the acrid scent of fear in the air, I pull back the reins on my emotions and proceed at a deliberate trot.

* * *

Whether dramatic or not, we each have a set of experiences that have transformed the way we view the world. Likewise, we all know the characters we write about must change from the beginning of the story to the end. Whether the arc is positive or negative, the change must be meaningful.

* * *

So TKZers: Tell us about a character in one of your novels that went through a metamorphosis. Was it a dramatic, once-in-a-lifetime experience? Or a slow coming to grips with reality over the course of the story? How did you accomplish the change in a way that would grab your readers?

* * *

 

Cece Goldman reluctantly faces her fear of horses and learns to ride in Dead Man’s Watch. She learns a few other things about herself along the way.

Archetypes; Unmasking Your Villain; and the Final edit

I am currently in the throes of rewriting my mystery novel and doing some deep character work on my hero. A couple of Sundays ago, Jim mentioned Victoria Lynn Schmidt’s 45 Master Characters in a reply to a comment by me. Years earlier I had tried reading the first edition of her book, but it hadn’t clicked. This was back when I tried learning craft by osmosis, rather than by application and practice. After Jim’s mention, I decided to give 45 Master Characters another try and picked up a copy of the revised edition.

This time, it’s resonating deeply with me. Her take on mythic character archetypes, as well as the heroine and hero’s journeys, is brilliant, and I’ve been using the book to get a better handle on my sleuth and the supporting cast.

That got me thinking about today’s TKZ Words of Wisdom, and I dove into the archives to look for posts on character archetypes. So, the first excerpt today is from a post by Jordan Dane describing twelve character archetypes, providing a goal and a fear for each. The second excerpt is from Joe Hartlaub and deals with unmasking a previously hidden villain at the end of a book–the Scooby Doo reveal. The third, by Clare Langley-Hawthorne, discusses the final editing pass of your novel. As always, each excerpt is date linked to the original post. Please jump in with your thoughts on any or all of these.

Let’s take a closer look at character archetypes. In researching this post, I found a more comprehensive list of 99 Archetypes & Stock Characters that Screen Writers Can Mold that screenwriters might utilize in their craft. Archetypes are broader as a foundation to build on. Experienced editors and industry professionals can hear your book pitch and see the archetypes in their mind’s eye. From years of experience, it helps them see how your project might fit in their line or on a book shelf.

But to simplify this post and give it focus, I’ll narrow these character types down to Swiss Psychiatrist Carl Jung‘s 12-Archetypes. Listed below, Jung developed his 12-archetypes, as well as their potential goals and what they might fear. Goals and fears can be expanded, but think of this as a springboard to trigger ideas.

TYPE/GOAL/FEAR

1.) Innocent

  • GOAL – Happiness
  • FEAR – Punishment

2.) Orphan

  • GOAL – Belonging
  • FEAR – Exclusion

3.) Hero

  • GOAL – Change World
  • FEAR – Weakness

4.) Caregiver

  • GOAL – Help Others
  • FEAR – Selfishness

5.) Explorer

  • GOAL – Freedom
  • FEAR – Entrapment

6.) Rebel 

  • GOAL – Revolution
  • FEAR – No Power

7.) Lover

  • GOAL – Connection
  • FEAR – Isolation

8.) Creator

  • GOAL – Realize Vision
  • FEAR – Mediocrity

9.) Jester

  • GOAL – Levity & Fun
  • FEAR – Boredom

10.) Sage

  • GOAL – Knowledge
  • FEAR – Deception

11.) Magician

  • GOAL – Alter Reality
  • FEAR – Unintended Results

12.) Ruler

  • GOAL – Prosperity
  • FEAR – Overthrown

Jordan Dane—April 4, 2019

 

Scooby Doo is firmly ensconced in the American culture. The plot of each cartoon episode is very similar, with a crime occurring, Scooby and his pals investigating, and the villain of the piece being unmasked, literally, at the end. I think that I first heard this type of climax referenced as a “Scooby Doo” ending during the second of the three climaxes to the film Bill & Ted’s Excellent Adventure. It has been a vehicle used in mystery novels long before that. There’s nothing wrong with it at all, except that 1) it sometimes doesn’t work and 2) sometimes it needs a little work. I ran across an example of the former several months ago while reading a thriller that was one of the many nephews to The Da Vinci Code wherein the protagonist’s adversary was running around killing people while wearing a tribal mask and attempting to obtain an instrument of antiquity which would permit him to destroy the universe. The protagonist got the mask off of the evildoer near the end and the book ended. “Rut row!” The book was okay, but the ending was a total disappointment.

That brings us to a book I read this week in which the author uses the Scooby Doo ending to great effect by taking the story a step or two beyond it. The author is the morbidly underappreciated Brian Freeman and the book is Season of Fear, the second and latest of the Cab Bolton novels. (Please note: it’s not quite a spoiler, but there’s a general revelation ahead. Read the book regardless). The premise is fairly straightforward. Ten years ago a Florida gubernatorial candidate was assassinated by a masked gunman, throwing the election into chaos. A suspect was identified, tried, convicted, and jailed. In the present, the candidate’s widow is running for the same seat when she receives a threatening note which purports to be from the same assassin. Indeed, he eventually turns up, and his identity is ultimately revealed in a grand unmasking. But wait. Freeman, after giving the reader enough action to fill two books and expertly presenting a complex but easy to follow plot, gives the reader more to chew on. Things don’t end with the revelation of the identity of the doer; instead, Freeman moves us a couple of more steps forward, revealing a potential unexpected mover and shaker who was a couple of steps ahead of everyone, including Bolton. This has the double-barreled effect of making the climax much more interesting and setting up a potential adversarial setting for Cab Bolton in a future novel. Nice work.

Again, Scooby Doo endings are okay. They’re fine. But if your particular novel in waiting has one, and seems to lack pizazz, don’t just take the doer’s mask off, or reveal their identity, or whatever. Take things a step further just as the curtain is going down, and reveal who is pulling the cord, and perhaps yanking the chain. It may be a character that was present throughout your book, or someone entirely new, or…well, you might even want to create a character and work your way backwards with them. But stay with the mask, and go beyond it.

Joe Hartlaub—March 14, 2015

 

I’m on the final round of revisions to my current manuscript and considering a new editing process. In the past I have always tended to bite off more than I can chew when revising – trying to look for plot inconsistencies, character missteps (blue eyes one chapter, brown the next), typos, repetition, dull dialogue, boring exposition and errors all at once. What I’ve found is that about midway through the process, I get completely mired in the editing process and start dismantling what is essentially the final version of the novel, as I lose confidence in both the story and myself (you know, the usual author angst!). This time, however, while I am waiting for beta reader feedback, I am looking at adopting an alternative approach and would love some advice.

My current system involves editing throughout the writing process – from editing the first draft (which pretty much equals rewriting) to doing a final line edit on the completed manuscript before I turn it in to my agent. It’s what happens in these later stages that I need to refine. What I am considering is parsing the final editing into multiple discrete re-reads looking for:

  1. Plot/timeline issues alone – checking for holes, inconsistencies, and errors.
  2. Character issues alone – checking for inconsistencies, misdescriptions etc.
  3. Stylistic issues – repetition, boring/dull descriptions etc.
  4. Final line-edit – looking for grammatical and spelling errors and typos.

Although I’ve looked at all these areas already (multiple times!) while editing previous drafts, with the final version, it’s time to have one more look as invariably I still find errors. My concern is that trying to re-read the final manuscript multiple times to look for these discrete set of issues will be time-consuming and slow (and may possibly drive me demented!).

What I’d love is feedback/comments on what final editing process has worked for you.

  • Do you try and do everything all at once?
  • Do you reread with specific areas in mind?
  • Do you get others to do a final line-edit?
  • How do you balance the need for one last look at all the critical areas in a manuscript against being driven crazy after the 50th reread?

Clare Langley-Hawthorne–January 12, 2012

***

So, there you have it. Jungian archetypes, Scooby Doo-style reveals, and the final editing pass.

  1. Have you ever created or revised your characters through the frame of archetypes?
  2. Have you ever done a Scooby Doo style reveal of a villain in one of your novels?
  3. How do you handle your final editing pass?

How To Craft a Compelling Character

Last week, Sisters in Crime approached me to do a SINC-UP! video tip for their YouTube channel. Volunteers from the national education committee post video writing tips several times a month to provide inspiration for new writers and promote the value of Sisters in Crime membership. All the videos are only 2-5 minutes long and easily digestible.

I chose characterization. After we taped the video, the volunteer told me she finally understood why beta readers couldn’t connect with her main character. She’s not alone. Many new writers struggle with how to deepen their characters. After all, we can have the best concept, premise, and plot, but if readers can’t connect with our characters then the story won’t work.

How do we craft a compelling character?

It starts with three dimensions. We’re all layered. Who we portray to the world falls under the first dimension of character. That’s not to say we aren’t acting genuine, but when we are in a public setting we act appropriately—or we don’t, but that’s what you’ll have to figure out for your character.

  • Who is your character in public?
  • Do they put their best foot forward?
  • Or are they so uncomfortable in a public setting, they make a total fool of themselves?

Jotting down how your character might react in public places will help you nail down the first dimension.

The second dimension of character is the person we show to family and close friends. At home we let our guard down. We’re more relaxed, more ourselves. We don’t need to try to portray a certain image or level of professionalism because we’re surrounded by close friends and family.

  • How does your character react around close friends and family?
  • Are they goofballs?
  • The practical jokester?
  • More loving, more reserved?

The perfect real-life example of the first two dimensions of character is Richard Simmons. To the world he was a gregarious, loud, sensitive, and passionate workout guru who pranced around in flashy outfits, the more outrageous the better. Everyone loved him. He was so open, so seemingly transparent, even casual viewers of his workout videos felt they knew the real Richard Simmons. He was a shining light of inspiration to many over the years. When he disappeared from public view, the public feared the worst.

  • Did he die?
  • Is someone holding him hostage?
  • Is he being abused?

No one knew. One day he was performing for the camera, and the next day—gone. No explanation, no paparazzi photos, nothing. He vanished.

What very few knew in the decades that followed was that the Richard Simmons he portrayed to the world was who he longed to become. An alter ego, if you will. At home Richard was an extreme introvert, a recluse with only one or two close friends, a quiet, emotionally scarred, deep thinker who preferred the solace of silence—the polar opposite of who he was in public.

Richard Simmons is an extreme example of the first two dimensions of character but keep him in mind while crafting a new character.

The third dimension is our true character. And by that, I mean, if your character is sitting in a crowded theater when a fire breaks out, do they help others find the exit? Or do they trample the crowd to save themselves? One’s true character is tested when they’re put into perilous situations.

  • Who is your character then?
  • Are they the savior or the selfish?
  • Do they think they’re the savior but when trouble ensues, they run in the opposite direction?

Ask your significant other or best friend to describe who you are in public, who you are in private, and how that might differ. Unless you’ve been in a dangerous situation you may not even know your third dimension…until it’s tested. Then you’ll find out quick. 😉

Once you’ve mastered these three dimensions and have gotten to know your characters on a deeper level, then ask them questions like,

  • What’s your greatest passion?
  • What’s your favorite genre of music?
  • Do you travel?
  • What places have you gone?
  • How did each trip affect you?
  • What was your childhood like?
  • Are you an animal lover? (I don’t trust anyone who doesn’t like animals)
  • Did you have a favorite childhood pet?
  • How did you feel when they died?
  • What type of things are on your bucket list?

The more questions you ask, the better you’ll get to know them.

Apply the same three dimensions to all your characters, even your villain. You need to know the villain as well as your main character. After all, the two characters should be equally matched. Thus, even if everything they stand for rubs against who you are as a person, you’ve gotta fight for them, win their arguments, understand why they do the things they do. Most villains don’t know they’re the bad guy. They’re on a mission to fulfill their goals, and you, as the writer, need to champion their efforts, especially if you plan to write from their point-of-view.

Do you concentrate on the three dimensions of character while crafting characters?

For those who struggle with characterization, did this help connect a few dots?

First Page Critique – Samaritan Sins

Photo credit: wikimedia CC-BY-SA-3.0

By Debbie Burke 

@burke_writer

 

Let’s welcome another Brave Author who submitted a first page for review. Enjoy reading it then we’ll discuss.

~~~

 “Waller, they found a body on the Midwest Bike Trail about two hundred feet east of the Northwestern tracks,” stated Police Sergeant David Dodson, our special-operations supervisor. His voice was full of tension. Even when he smiled, his dark brown eyes never quite lost their keenness or their watchfulness.

I sat up straighter at my desk. “Isn’t that the Forest Preserve Police?” I asked into my cell.

“They’ve asked us to handle it because it looks like a homicide. I want you and Garcia on it. I’ll notify the coroner next.”

“A body? Yeah, we’re on it.” I looked at my partner, Detective Carlos Garcia, seated at his desk.  He’s not bad looking. The Fu Manchu mustache looked good with his brown skin. A raised glazed donut perched in his right hand and a paper cup of Dunkin coffee before him on his desk. His white shirt and blue suit hung lean and long off his well-tapered build. I looked down at my solidly built arm, thinking, how can he eat donuts and still look like that? I became aware I had to hook my belt on the last notch when I dressed that Monday morning. I told him, “They’ve got a body for us.”

Garcia’s hand stopped halfway to his mouth. He made the necessary adjustments that would transform his appearance from simply splendid to magnificent. Only after each hair had been lovingly combed into position and his silk tie straightened, the second button of his jacket buttoned, he rose his six-foot frame and said, “Let’s go.”

My career as a detective with the violent Crimes division of  the West Chicago Police Department exposed me to a lifetime of crime and tragedy. We strode out of the station house in a hurry to begin our job. I pride myself on being a no-nonsense individual. I’m thirty-five-year-old Detective Alicia Waller. My black shoes making long, mean strides.

Once in our unmarked Ford Explorer, I turned towards him and asked, “What do you know about the bike path?”

Garcia grew up in this town, probably walked that path hundreds of times as a teenager.

~~~

Okay, let’s dig in.

Photo credit: Public domain

The title Samaritan Sins intrigued me. Samaritan conjures the image of kindness and compassion. Sins brings to mind misdeeds, perhaps even evil. The ironic juxtaposition hints at the story’s conflict. Does a good person commit a terrible act? I want to learn more. Well done!

Unfortunately, this first page doesn’t live up to its promising title.

Brave Author, recently Terry Odell and Jim Bell wrote excellent posts on beginnings. I highly recommend you read them at links here and here.

Jim coined a new term—Wood—and quoted an old saying:

Your story begins when you strike the match, not when you lay out the wood.

The first page of Samaritan Sins is wood laying. It needs work before a match lights it on fire.

Brave Author is getting acquainted with the characters, their backgrounds, and the setting, before starting the story. Yes, preparation is important homework. But the information belongs in an outline, story notebook, character sketch, etc., not on the first page.  

Police procedurals—which this appears to be—generally start with a dead body, in this case on a bike path in West Chicago. However, neither the point-of-view character, Detective Alicia Waller, nor the reader sees the body firsthand.

Instead the story begins with a report by a supervisor, Sergeant Dodson. That distances the reader from the crime. A report by phone, rather than in person, adds even more distance.

Further, it’s confusing. Alicia describes Dodson’s watchful dark brown eyes as if he is standing in front of her. Yet, in the next paragraph, she is talking to him on her cell.

The farther away from the crime, the less a reader cares about it. A crime needs to provoke an emotional response from the reader. A third-hand phone report dilutes the impact.

Details like “two hundred feet east of the Northwestern tracks” also dilute it. Specific details are important to paint a vivid picture. But choose details the reader cares about, not bland measurements.

There is a lot of repetition.

“…they found a body…”

“A body? Yeah, we’re on it.”

“They’ve got a body for us.”

Alicia mostly tells about Carlos Garcia, rather than showing. The description is also repetitive.

He’s not bad looking.

The Fu Manchu mustache looked good with his brown skin.

…transform his appearance from simply splendid to magnificent.

She appears to have a crush on him. Fine, but is that important enough to include on the first page? Not unless it’s significant to the story.

I strongly recommend getting rid of the donut cliché. Look for fresher ways to show Carlos’s looks. But again, consider if these details are significant enough to use up valuable first page real estate. If not, cut them.

Only after each hair had been lovingly combed into position and his silk tie straightened, the second button of his jacket buttoned…

Would this vain-sounding guy fuss with his appearance without first washing donut glaze off his hands?

I mention this because his sticky hands took my mind far away from the dead body. When the reader can be distracted that easily, there’s a major problem.

My career as a detective with the violent Crimes division of  the West Chicago Police Department exposed me to a lifetime of crime and tragedy.

This statement is pure telling without offering insight into Alicia’s personality or how the career has affected her. Is she jaded? Wounded? Fed up? Does she still hold out hope she can help people? “A lifetime of crime and tragedy” is vague and meaningless without specifics.

I pride myself on being a no-nonsense individual. I’m thirty-five-year-old Detective Alicia Waller. My black shoes making long, mean strides.

Again, more telling rather than showing. How important is it for the reader to know this on the first page?

Photo credit: Public domain

A Jack Webb/Dragnet-style introduction could condense the background info and establish a distinctive voice while also moving the story ahead. Here’s one way it might be written:

I’m Detective Alicia Waller, West Chicago Police Department, fifteen years on the job, the last four in Special Operations. I’m thirty-five, wear sensible shoes, battle my weight, and have a secret crush on my partner, Carlos Garcia, a stylishly-dressed six-foot hunk with a Fu Manchu mustache. He’s vain but I forgive that flaw because he’s easy on the eyes.

Together we’ve worked violent crimes ranging from gang murders to a sexual assault on a ten-month-old baby that sent us both to the department shrink.

Today, we stood over a deceased teen-aged male lying face-up on the Midwest Bike Trail. Forest Preserve Police had called us because they suspected homicide.

The above is about 100 words, conveys relevant facts, introduces characters, and plops the reader into the crime scene.

Wordsmithing:

Overall, the writing is competent but verb usage needs work.

Stated is an awkward verb that draws attention to itself. Why not use said?

Perched is another odd verb. A parakeet might perch on his hand but not a donut.

…a paper cup of Dunkin coffee [sat] before him on his desk. Missing verb.

His white shirt and blue suit hung lean and long off his well-tapered build. Hung doesn’t work. Is the suit hanging lean and long? Or do you mean his build is lean and long?

…he rose his six-foot frame. A person generally doesn’t raise his frame unless the frame is for his barn.

My black shoes making long, mean strides. This sentence lacks a verb. It’s also inaccurate and awkward. The shoes aren’t striding; Alicia is. What are “mean strides”? Emphatic, loud, decisive?

In trying to be creative with verbs, BA instead inserts speed bumps and confusion.

~~~

Brave Author, I hope you don’t feel beat up by these comments. As writers, we’ve all been here. It’s part of the learning process as you hone your craft.

I suggest you save this first page in a “story notes” file. Refer to it as you develop the plot and characters. The information is useful background—it just doesn’t belong on page 1. 

For now, move ahead with your story. After drafting a few chapters, you’ll likely find a more compelling place to start. Once you complete the ms., circle back and rewrite the opening.

Just because it says “Page 1” doesn’t mean it has to be written first. Write it last. 

One way to interest readers is to make them curious. Ask questions they want answers to. Here are a few ideas:

What makes one or both members of this detective team unique?

Why should the reader care about a faceless victim in a city where murders occur frequently? (Hint: give the victim a distinctive characteristic. Is she missing an arm? Is he a local celebrity?)

Are there special circumstances or unusual clues that set this crime apart from run-of-the-mill calls?

Thank you for submitting, Brave Author. It takes courage to expose your work to strangers. Please take suggestions in the spirit they’re offered—to help make your story the best it can be.

~~~

TKZers, your turn to offer ideas to the Brave Author.

~~~

Flight to Forever was a finalist for the 2022 Eric Hoffer Book Award. Try a sample at these links:

Amazon

Major online booksellers

Or ask your favorite independent bookstore to order the paperback.