What Do Tom Turkey and Writing Have in Common?

by Sue Coletta

Photo by Andrea Reiman on Unsplash

Clare’s recent post got me thinking about craft and how, as we write, the story inflates like a Tom turkey. If you think about it long enough and throw in a looming deadline, Tom Turkey and story structure have a lot in common.

Stay with me. I promise it’ll make sense, but I will ask you to take one small leap of faith — I need you to picture Tom Turkey as the sum of his parts, constructed by craft. And yes, this particular light bulb blazed on over the Thanksgiving holiday. We are now having spiral ham for Christmas dinner. 🙂

But I digress.

Story beats build Tom’s spine (hook, inciting incident, first plot point, first pinch point, midpoint, second pinch point, all is lost, second plot point, climax). The ribs that extend from Tom’s spine liken to the equal parts that expand our beats and tell us how our characters should react before, during, and after the quest.

Broken into four equal parts, 25% percent each, we call this the dramatic arc and it defines the pace of our story.

  •             Setup: Introduce protagonist, hook the reader, and setup First Plot Point (foreshadowing, establishing stakes); establish empathy (not necessarily likability) for the MC.
  •             Response: The MC’s reaction to the new goal/stakes/obstacles revealed by the First Plot Point; the MC doesn’t need to be heroic yet (retreats/regroups/doomed attempts/reminders of antagonistic forces at work).
  •             Attack: Midpoint information/awareness causes the MC to change course in how to approach the obstacles; the hero is now empowered with information on how to proceed, not merely reacting anymore.
  •             Resolution: MC summons the courage and growth to come up with solution, overcome inner obstacles, and conquer the antagonistic force; all new information must have been referenced, foreshadowed, or already in play by 2nd plot point or we’re guilty of deus ex machina.

Tom Turkey is beginning to take shape.

Characterization adds meat to his bones and interesting, conflict-driven sub-plots supply tendons and ligaments. When we layer in dramatic tension in the form of a need, goal, quest, or challenge, Tom grows skin. Obstacle after obstacle, conflict after conflict, he sprouts feathers. Utilizing MRUs — Motivation-Reaction-Units; for every action there’s a reaction — sets our story rhythm. They also aid us in heightening and maintaining suspense.

When we use MRUs, Tom Turkey fluffs those feathers. Look what happened. He grew a beak.

Providing a vicarious experience, our emotions splashed across the page, makes Tom fan his tail-feathers. The stakes add to Tom’s glee, and he prances for a potential mate. He thinks he’s got the goods to score with the ladies. He may actually get lucky this year.

Then again, we know better. Poor Tom, he’s still missing a few crucial elements in order to close the deal.

By structuring our scenes, Tom grew an impressive snood. See it dangling from his beak? The wattle under his chin needs help though. Hens are shallow. Quick, we need to imbue the story with voice.

Ah, now Tom looks sharp. What an impressive bird. Watch him prance, all full and fluffy, head held high, tail feathers fanned in perfect formation. Stud muffin.

Uh-oh. Joe Hunter leveled his shotgun at Tom. We can’t let him die before he finds a mate. We need to ensure he stays alive. But how? We’ve given him all the tools he needs, right?

Well, not quite.

Did we choose the right point of view to tell our story? If we didn’t, Tom could end up on a holiday table surrounded by drooling humans in bibs. In other words, we’ll lose our reader before we even get a chance to dazzle them with Tom’s perfect structure.

We also need narrative structure. Without it, Joe Hunter will murder poor Tom. We can’t let that happen!

Narrative structure, by the way, is almost impossible for me to define (maybe one of our craft teachers will weigh in here). I call it the “oomph” and I know it when I write it. I also know when it’s missing. Have you ever started writing a story but it didn’t have that certain something? The story was just … meh. There’s nothing inherently wrong with it, but it didn’t sizzle like it should for some reason.

Yeah, so have I. Those novels are now trunked. Without the oomph, the story doesn’t work. We need the oomph — aka narrative structure.

Tom needs narrative structure, too, if he hopes to escape Joe Hunter’s bullet. He also requires wings, in the form of context. Did we veer too far outside of our readers’ expectations for the genre we’re writing in? Did we give Tom a heart and soul by subtly infusing our theme? Can we boil down the plot to its core story, Tom’s innards? What about dialogue? Does Tom gobble or quack?

Have we shown the three dimensions of character in order to add oxygen to Tom’s lungs? You wouldn’t want to be responsible for suffocating Tom to death, would you?

  •             1st Dimension of Character: The best version of who they are; the face the character shows to the world;
  •             2nd Dimension of Character:  The person our character shows to friends and family;
  •             3rd Dimension of Character:  Our character’s true character. If a fire broke out in a crowded theater, would she help others or elbow her way to the door to save herself?

Lastly, Tom needs a way to wow the ladies. We better make sure our prose sings. If we don’t, Tom could die of loneliness. Do we really want that on our conscience? No! To be safe, let’s review our word choices, sentence variations, paragraphing, grammar, and the way we string words together to ensure Tom lives a full and fruitful life. Don’t forget to rewrite and edit. If readers love Tom, he and his new bride could bring chicks (sequels or prequels) into the world, and we, as Tom’s creator, have the honor of helping them flourish into full-fledged turkeys.

Aww … it looks like Tom’s story will have a happy ending after all.

Over to you, TKZers. Is Tom Turkey missing anything? What would you name his mate?Can anyone define narrative structure in a more craft-appropriate way?

Want to meet more feathered friends? The antagonist in BLESSED MAYHEM has three pet crows, Poe, Allan, and Edgar. The Kindle version is on sale for a limited time.

Blessed Mayhem by Sue Coletta

 

 

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Saving the Sagging Middle

I thought today I would build upon an issue that came up with my last blog post on subplots. Someone asked in a comment whether a subplot could help with the infamous ‘sagging middle’ and my response was (basically) that an author needs to resolve why the middle is sagging before throwing in a subplot to try and ‘fix’ the issue. So today I thought I’d discuss the whole ‘middle’ of the novel issue, and see what processes or cures we might come up with that could help avoid the angst that comes with a middle that seems flat, meandering or just plain soggy…

Once again, I like to refer people to Jim Bell’s great book on Plot & Structure. His approach to the infamous middle focuses (and Jim I hope I’m not misquoting you here!) on two main areas: (1) stretching the tension; and (2) raising the stakes. I am particularly drawn to (2) as I like using the middle of a novel to up the ante for my protagonist. For me, the middle is where you really get to complicate and stir things up for your characters. As an outliner, I focus quite a lot on the middle and often find myself graphing out the tension levels in the novel I’m drafting. If I see a flat line in the middle then I know I’m in trouble. But, whether your an outliner or not – what do you do if, after the first draft is complete, you realize that the middle section just isn’t working? Here are some of my ideas:

(1) Reassess the premise of the novel and explore ways in which you can add complexity, drama and tension to this in the middle.

This could involve adding an additional obstacle for the protagonist, introducing a subplot to add more emotional resonance or tension, or it could be introducing an event that raises the stakes for your characters. Sometimes, the reason the middle of a novel is flat is because the author may not have sufficient depth (in either the premise of the book or its execution) and so the middle feels like ‘treading water’ until the resolution/final conflict occurs. Taking a step back and re-examining the premise might help you identify this and come up with some solutions.

(2) Map out the plot and brainstorm ways to raise the stake or add tension.

As an extremely visual person and a strong believer in outlining, I like to try and display the plot in a visual way that helps me identify places where I might need to add scenes that raise the stakes or add tension. I find once I can see the chapters that meander or sag, I can brainstorm ways in which I can alter the plot to add dramatic tension. This could be the place where an unexpected death occurs, a new character walks in to shake things up, or another obstacle is thrown in the protagonist’s way. Whatever you decide, it should all be aimed at keeping the reader turning the pages…

(3) Eliminate the boring bits!

Sometimes the middle gets bogged down with clues or details of an investigation, the mechanics of the plot or the protagonist going through the motions/actions necessary to progress the novel towards its denouement. One thing I like to bear in mind is that readers get bored…so when re-reading a draft I like to identify areas that even I am starting to glaze over. If, as the author, I’m not riveted, then it’s time to ditch those boring bits and think through how to maintain the tension rather than deflate it.

(4) Use your beta readers!

Another set of eyes and an honest opinion can really help when it comes to working out why the middle of your novel may be meandering or sagging. I like to give my beta readers specific questions to bear in mind while they are reading and one of these is often ‘let me know where you start to lose interest’. Sometimes beta readers help you realize what isn’t working (and often this can come at surprising moments in the book) and can identify the moment they started to find their interest waning. The key, of course, is finding beta readers critical and honest enough to tell you this (rather than what they think you want to hear!).

These are just four options for trying to wrestle with the issue of the dreaded ‘middle’ –  TKZers do you have anything to add or feedback on your own experiences with the dealing with middle-of-the novel ‘sag’?

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Cast of Characters

Nancy J. Cohen

Do you include a Cast of Characters in your mystery novel? Is this a helpful item to readers? In my experience, some readers like to have this directory. It serves as a refresher or helps to explain the relationships among the story people. Others may view a long list of characters with trepidation. In a mystery, they feel the tale might have too many suspects to remember. So who do we please?

The other thing to consider is placement. If you list your characters in the front of a book, potential new readers who click on “Look Inside” at Amazon will lose a page of text that you could have there instead. Same goes for a Table of Contents. While it may be good to put these in the front of a print book, for a digital copy the opposite might be true. Should we consider putting them in the back where they won’t interfere with that critical first look?

Some authors include entire family trees along with their sagas. This can be helpful if you are writing a series with multiple generations. But what about a single title? Is listing the cast a desirable item?

In my online files, I differentiate between Continuing/Recurrent Characters and the current Cast. The latter includes my main characters and the suspects for this story only. It does not include recurrent secondary characters that only make brief appearances. Those people go on my private list of Continuing Characters. I suppose if your series gets very lengthy, you could insert a guide to all the characters in this particular universe, whether they have blood ties or not. This type of guide should definitely be part of the back bonus materials.

The Cast List that I include for each story is as brief as possible. You can include a teasing question about each suspect or just describe their straightforward role. Be careful not to include spoilers that give away a character’s secrets. There is a short CoC in Peril by Ponytail. Click on the Look Inside feature.

What do readers think?

One reviewer recently said about Peril by Ponytail: “I really liked that at the beginning of the book there was a ‘List of Characters’ outlining everyone within the context of the series.”

Then I asked these questions on my Facebook Page: Do you like a Cast of Characters in a mystery novel? Is it helpful or intimidating? Does it matter if the list is up front or in the back material?

Negative Responses:

“I don’t usually look if it’s included. I like to discover the characters as I read the book.”

“No. It makes it seem too theatrical, like I’m being told right from the start that this isn’t real.”

“I won’t look at it unless I’m having a hard time keeping characters straight or am having long lag times between reading and need a refresher.”

Positive Responses:

“Up front! It’s especially helpful if you haven’t read the previous books in the series.”

“I like it because it gives me a sense of place, especially with a new series. Also, if I get confused, I can go back to the list to figure out who’s who.”

“I like it, and I usually refer back to it as I read and come across each character. I like to know how they relate to each other.”

“If the book is a part of a series, the cast of characters can be very helpful if you didn’t start at the first of the series.”

“I like it if there are a lot of characters, of if you have a character who only appears a few times, several chapters apart. And put it in the front.”

“Up front! I recently read two mystery books that involved several guests at parties and a quick cast of characters guide would have helped.”

“I think it can be helpful if there are a lot of characters or if they have similar/unusual names. Also, no spoilers in the list.”

“I like it in the front. Sometimes new characters are hard to keep straight.”

“I like it at the front. That way I know it’s there if I need to refer back to it. I also love maps!”

“Up front. I always read it and I go back to refresh my memory on who a character is.”

“I like a CoC and a floor plan of the main character’s home.”

And More! This question garnered over 960 people reached. View it here: https://www.facebook.com/NancyJCohenAuthor

As you see, it’s a mixed bag of responses, but the majority appears to be overwhelming in favor of including a list of characters in the front of a book. What is YOUR opinion?

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Bookus Interruptus

Nancy J. Cohen

You’ve all heard of another type of interruption in the middle of a certain act which I’d rather not mention here, yes? Consider this one similar, except we’re talking about interrupting your writing process when you’re in the frenzy of storytelling. How disconcerting when you’re working on book number 14 in your series, and you get an email announcing that edits for number 13 have arrived. You have to disrupt your train of thought and put aside the current WIP to go back to the previous book. Two weeks are gone to the winds while you answer your editor’s notes, polish each scene, and perfect each sentence for the umpteenth time. This book takes over, and you think of nothing else until the job is done. With a sense of relief, you send this version back across cyberspace, aware that you still have rereads of the copy edits and page proofs further down the line.

writing

Nudging at the edges of your mind is the reminder that you have blogs to write and interviews to do for your upcoming new release of book number 12. Have you ordered swag yet to promote this title? Designed your contests, newsletter, Facebook launch party, and other activities as the release date nears?

Book number 14 calls to you. It’s sitting front and center on your desk, and you yearn to get back to the story. But your mind tells you to get these other tasks done, and only then will you be free to resume the joy of storytelling. When you’re finally able to return to writing, you face the blank page with a blank look on your face. You’ve lost your train of thought and your place in the story. So how do you get your head back in the game?

Hopefully, you’ve made detailed notes on where you left off in your WIP and what comes next. Review these plot points when it’s time to resume the story. Line edit what you’ve already written. This will save you time later and reacquaint you with what’s come before in the story. Then set a date when you must begin your writing schedule again.

It’s hard when you have interruptions, whether for edits of other works or for conferences and events that you have to attend. Prepare for your departure as best you can by noting the next scene and any surprises you have planned along the way. It helps to have a synopsis. Then you can see where you left off and continue from that point onward. What technique do you use to get your mind back in the story?

Contest Alert!
Name a Character in my next Bad Hair Day Mystery! Or win one of two runner-up prizes: a signed paperback of Hanging by a Hair and a deck of Marco Island Playing Cards, or a signed paperback of Shear Murder and a deck of Tropical Drink Playing Cards. http://bit.ly/15SmIi0

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Sculpting That Manuscript

Terry Odell

When we first moved to Colorado, we rented a tiny studio apartment while looking for a permanent home. One evening, our landlords invited us up for a glass of wine and some conversation. She is a sculptor who works primarily in stone. She mentioned it was interesting we were both artists.

Frankly, I’d never considered myself an artist, but we discussed our creative processes. There’s an old saying that in order to carve a block of stone into an elephant, you simply chip away everything that doesn’t look like an elephant. In writing, you keep adding until you get the elephant.

If writing were like sculpting, it would mean being able to change what comes next, but not what came before. Scary. Really scary. When the sculptor asked how I created a book, what my preparation process was, did I outline the plot, or develop the characters, I answered that I knew very little when I first started writing.

She said she worked the same way. She might have a very simple sketch—no more than a line drawing, when she started, and a vague idea of the finished product—but the actual sculpture was dictated by the stone. She starts working and lets the stone show her the way.

That sounds very much like my own writing style. I joked about how my characters were always surprising me, and that the discovery was as much fun as the final product. On that, we were in total agreement.

But imagine if you started writing your book and couldn’t go back to fix things. Once you chip away that piece of marble, it’s gone and you can’t reattach it to the sculpture. I don’t think there is such a thing as a ‘first draft’ for her. Some artists might make models first, using a different, “less valuable” kind of medium, but she likes to get right to it.

I remember going to a RWA chapter meeting, and as we shared where we were with our writing since the last meeting, one woman said, “I’m on Chapter 30 and have only 5 chapters left to go.” I was flabbergasted. How did she know what was going to go into each chapter, and that much in advance? How did she know her book was going to be 35 chapters long? A recent book ended up going on for about 4 chapters more after I thought I was writing the final chapter. And my editor asked me to expand even more. Glad I wasn’t a sculptor!

But when you do finally reach the end, if you’re like me, your book is full of “extra stuff”. It’s time to play sculptor and chisel away the words, paragraphs, scenes that aren’t helping your book look like the elephant it’s supposed to be. My first attempt at writing a novel came in at 143,000 words. The agents and editors I spoke with said 100,000 was the absolute top limit they’d even look at for a debut author.

Time to cut. You start with the jack hammer, removing any scenes that aren’t moving the story forward (even though they’re probably your favorites). “Does it advance the plot?” becomes your mantra. This is where you’re probably letting everyone know how much research you did. What constellations are visible in the night sky at 10 PM in Salem, Oregon? What’s the story behind Orion? What are the landmarks visible from the passenger seat while driving north on I-25 between Denver and Cripple Creek? What kind of cattle are grazing in the pastureland? How many coal trains chug by each day, carrying how much coal? Ask yourself two questions. 1: Does the reader need to know this. 2: Does the reader need to know this now? That 143,000 word book, Finding Sarah, was published at about 85K.

Finding Sarah

Another question to ask is “Does it come back?” In my book, Deadly Secrets, I had a scene where my heroine comes into her diner and tells the cop hero that she thinks someone’s in her upstairs apartment. The cop tells her to get down behind the counter. There’s mention of a pistol kept near the register. However, we never actually see the gun, other than a few thoughts about who it belongs to, and that almost everyone in the small Colorado town probably has one. Since the gun was never needed and never showed up again … SNIP. “Get behind the counter” is all that’s needed. Readers, especially mystery readers, don’t like a parade of red flags that have no place in the story.

Deadly Secrets

After you’ve tossed those big chunks of stone, you can get out the chisel and look at your narrative. Have you told what you’ve already shown? Trust your readers—they’ll get it. Are you repeating yourself even when you’re showing?

Once you’ve got the story essentials, you can get out the little grinders and brushes to get rid of those sneaky crutch words—the ones that creep into your manuscript when you close your file. (A handy writer’s tool for this is Smart Edit, which will find overused words you never saw coming.) Check for ‘filler’ words. Just, really, well, very, some (and all its variations). When we speak, we use ‘filler words’ to give our brain time to think. Most of the time, they’re not needed on the page and merely slow the read.

Once you’ve got your elephant cleaned and polished, it’s time to get it out there on exhibit, whether to an agent, editor, or beta reader.

What’s your writing style? I’m an ‘edit as I go’ writer, but even then, I have to go back and get rid of everything that doesn’t look like an elephant.

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Thanks so much to Nancy for inviting me to be a guest at The Kill Zone. I’m thrilled to be here.
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TerryOdellFrom childhood, Terry Odell wanted to “fix” stories so the characters would behave properly. Once she began writing, she found this wasn’t always possible, as evidenced when the mystery she intended to write turned into a romance, despite the fact that she’d never read one. Odell prefers to think of her books as “Mysteries With Relationships.” She writes the Blackthorne, Inc. series, the Pine Hills Police series, and the Mapleton Mystery series. You can find her high (that’s altitude, of course—she lives at 9100 feet!) in the Colorado Rockies—or at her website.

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Evolution of a Bad Guy

Maggie Toussaint

When I began plotting my second paranormal mystery, Bubba Done It, I knew one thing for sure. All the suspects had the nickname of Bubba. Other than that, I didn’t have a clue.

Bubba Done It

Before I could cast men in the suspect roles, I considered my setting and the types of characters I needed. I’m familiar with the setting as I use a fictional locale that’s similar to where I live in coastal Georgia. We have townies and imports. We have people with plenty and people with nothing. We have blacks, whites, Hispanics, Asians, even Native Americans. We have a stalled economy and our share of foreclosures.

All of the top suspects needed a motive to kill the banker. Some motives I considered were previous criminal record, financial trouble, and love.

The sheriff immediately adds four Bubbas to his suspect list. Since seafood is the main industry around here, it would be good to have a fisherman Bubba. I also wanted someone who’d moved to the county as a retiree, someone who didn’t quite get locals or their customs. That worked. Two Bubbas down, two to go.

Drugs are a universal problem in today’s world. I decided upon a Bubba with a bad track record as a crackhead, but who had allegedly reformed into an evangelist.

Lastly, I wanted to ensure my sleuth Baxley Powell had a definite call to action. She’d taken the heat in Book 1 as the top suspect, so for Book 2, I found a patsy in her brother-in-law. Why would he want to kill the banker? Baxley knew her Bubba was a dreamer who often needed money for get-rich-quick ventures. Baxley and her husband had bailed Bubba Powell out of financial scrapes for years.

With her husband dead, the task of saving Bubba fell to Baxley. She’s certain he couldn’t have done it.

Or at least she feels that way at first. With each layer of story revealed, she discovers more reasons for the Bubbas to have killed the banker. Her challenge is to sort through the evidence, in this world and the next, to finger the killer.

To summarize:
Populate your suspect list with characters fitting to your setting and situation.
Give the suspects motives to kill your victim.
Layer the suspects’ relationship with the victim to create complex characters.
Make sure the sleuth has a clear call to action.

Buy links for Bubba Done It:
Kindle
Amazon hardcover
B&N hardcover

Connect with Maggie on the web:
Website | Facebook | Twitter | Blog | Goodreads | LinkedIn | Pinterest | Booklover’s Bench |
Amazon Author Central

MaggieToussaint_LargeSouthern author Maggie Toussaint is published in mystery, romantic suspense, and science fiction (writing as Rigel Carson). The third book in her Cleopatra Jones mystery series recently won the Silver Falchion Award, while her romances have won the National Readers’ Choice Award and the EPIC eBook Award for Romantic Suspense. Her latest mystery is a book two of her paranormal cozy series about a psychic sleuth, Bubba Done It.

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Brain Science Offers Solutions for Writer’s Block

shutterstock_179627549

 

Have you ever sat in front of your word processor, waiting in vain for words to flow? How can a writer reclaim her creative muse when her “boys in the basement” go radio silent?

This topic–breaking through writer’s block–is of particular interest to me. I’m one of those people who alternates between periods of intense, almost compulsive creative activity, and long stretches of floundering in a creative trough. So it was very heartening to read that  science offers strategies that can help people like me produce more consistently.

Rewiring the brain

In an article published in WD in 2012, Mike Bechtle argued that mere willpower is not the most effective solution for breaking through writer’s block. He suggests that we rewire our brains to get back into the “flow”.

Here were my major takeaways from Bechtle’s article:

  • Write first thing in the morning, when alertness and energy levels are typically at their highest. (My note: If you can’t write first thing in the morning, try to write at the same time of day every day. Your brain will “learn” to kick into gear at its regular writing time)
  • Fuel your brain with a nourishing breakfast (Think eggs and fruit, not an apple fritter)
  • Limit distractions (Don’t check email or messages before writing, and don’t read a newspaper, turn on the TV, or listen to radio, either)
  • Keep writing sessions short (The brain can focus intensely for only short periods of time, according to Bechtle)
  • Apply glue to butt (Stay seated while writing, that is!)
  • Don’t set your expectations too high

Other strategies

In my first foray as a fiction writer back in the 90’s, I was a contract writer for the Nancy Drew series. The schedule for those books gave me little leeway for writer’s block. As soon as the chapter outline was approved, writers were given six weeks to complete the novel. Six weeks! I had to write those stories so fast, I felt as if I was hurling words at the word processor. Every project was a race to the finish line. “Writer’s block” was a foreign concept.

Then my editor left, and the publishing landscape changed. I stopped writing NDs and began to vaguely contemplate writing something on my own. Inertia quickly set in. Months became years, and I hadn’t written anything new.shutterstock_156007538

15 minutes a day, that’s all we ask

I happened to read an article by Kate White, who is an author and former editor of Cosmopolitan Magazine. Her advice to getting started? Write 15 minutes per day, first thing in the morning. No. Matter. What.

To act on Kate’s suggestion, I had to set my alarm for five a.m. instead of six. That extra hour gave me enough time to down a cup of coffee and generate 15 minutes of quality writing time, before I headed off to my day job.

White’s advice worked for me. Fifteen minutes of writing daily eventually became an hour. Soon I was producing a minimum quota of a page a day.  (Yes, I know: a single page a day isn’t impressive as a quota. See the last bullet point of the previous list about lowering expectations.) A few months later, I had completed the first draft of my new novel.

Your strategies for breaking a creative logjam?

How have you broken through a creative dry spell in the past? Any tips you can share with the rest of us?

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Religion in Mysteries

While at Malice, I was on a panel about Religion in Mysteries. It’s a topic I really hadn’t thought about before. So how do mystery writers handle this subject? Fellow panelists were authors whose protagonists included a hospital chaplain (Mindy Quigley), a minister (Stephanie Jaye Evans), a rabbi (Ilene Schneider), and a Scotland Yard Detective (Anne Cleeland).

clergy  priest  rabbi

What made my series different was that my sleuth Marla is a hairdresser. As I told the crowd, women see their stylists a lot more often than their clergymen. They willingly confide in their hairdressers and overhear juicy conversations in the salon, whereas people confess to priests or to chaplains on their deathbeds. So while people approach the ministry to be absolved for their sins, Marla has to worm their secrets out of them. Thank goodness she’s a skilled conversationalist.

The moderator posed some interesting questions. If those other protags were not clergy, would it matter to the series? And if my heroine was more religious, how would that change things? Ask yourself this question about your main character. In Marla’s case, it would make a big difference. She’s not particularly religious but she has a basic belief in Judaism and follows the traditional holidays. As the series progresses, so does her romantic relationship with Detective Dalton Vail who isn’t Jewish. This probably wouldn’t happen if she were more devout. They enter into an interfaith marriage where they respect each other’s traditions and beliefs.

Here’s another question to pose to your characters: How does their view of religion color their view of the world? Marla’s outlook is more expansive. She encompasses other viewpoints with tolerance and understanding. A priest or rabbi’s attitude will be focused on their own kind, while a hospital chaplain has to minister to patients of all faiths.

What role does religion play in your books? Is it a central or peripheral part of your plot? Does religion influence your protagonists’ search for justice?

How important are your protagonists’ careers to the stories? Would the slant be different if they were police professionals or hairdressers or members of the clergy?

Do holidays play a role in your stories? I’ve had Passover, Thanksgiving, Hanukkah, and New Year’s in my series, if you count the book I just turned in. Holidays in my books are where friends and families gather and where their ties are strengthened. But you could easily have a contentious family gathering where tensions escalate instead.

seder table    seder wine

Perhaps this thematic content is something you haven’t considered before. But as a writer, your views of religion and sense of right from wrong color your perceptions. Do they influence your protagonist’s view as well?

Read my report on Malice 2015 here: Malice 2015

Contest Alert!
Enter May 7– 21 to win a signed copy of bestselling author Joanna Campbell Slan’s historical mystery, Death of a Dowager, and a $15 FANDANGO gift card to enjoy a movie this summer. Two runners-up will each win an ebook copy of Hair Raiser (Bad Hair Day Mystery #2). http://nancyjcohen.com/fun-stuff/contest/

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Five Inspired Gifts for Writers

If you’ve ever struggled to find a perfect gift for a writer friend, Buzzfeed has come up with a list of 32 suggestions. I surfed the web and turned up five more interesting gift ideas for the writer in your life:

1. Aqua Notes

1aquanote

Every writer knows that some of the best ideas occur to us while we’re in the shower. Aqua Notes notepads contain waterproof sheets of paper– now you can scribble down those great ideas before they go down the drain.

 

 

 

 

2. Antique Book Leather Case for a Smart Phone

1iphonecaseThese distressed leather cases for smart phones make it look like you’re toting around a vintage book. You can even customize some of these cases with your own text.

 

 

 

 

3. Bamboo Bathtub Caddy

1bathrub A spa caddy lets you read in the tub while you’re drinking a glass of wine. What could be better?

4. Shakespeare Insult Generator

1shakespeare

My favorite. The Shakespeare Insult Generator suggests creative ways for telling off any “obscene rump-fed horn beast” who cuts you off in traffic. I had to buy one for myself.

 

 

 

 

 

5. Night Writer LED Pen

How many times have you wished you had one of these? These LED pens let you write in the dark without disturbing others.

Let us know if you have any more gift ideas to add to our list!

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Character Development from the Heart

Welcome to guest author Joanna Campbell Slan. Joanna is the creator of three mystery series and winner of the Daphne du Maurier Award for Literary Excellence. She has been a television talk show host, an adjunct professor of public relations, a sought-after motivational speaker, and a corporate speechwriter.

Tell Me Who You Love: Character Development from the Heart
Joanna Campbell Slan

Here’s the Test

There’s an old adage: “Tell me who you love and I’ll tell you who you are.” It’s a great test to apply to our characters. Ask yourself, “Who or what does my character love?”

What Characters Are Driven to Do

Love is not only powerful; it also makes fools out of most of us. As authors we can use this primal drive to explain situations that would otherwise seem absurd.

Think back to Gone with the Wind. In the book, it’s Scarlett’s love for Tara that compels her to marry one unsuitable man after another. It’s her love of family that sends this fragile flower out into the fields to work like a common laborer. And her love of Ashley Wilkes forces her to remain beside his wife, Melanie, even as the Yankees approach.

Love Causes Conflicts of All Sizes

We all know the story of Romeo and Juliet, but love for life’s small pleasures can also cause our characters problems. Kiki Lowenstein loves food. Especially desserts. In many of my Kiki books, this amateur sleuth’s attention gets side-tracked when someone waves a particularly luscious treat under her nose. In one book, a nasty crafter ruins Kiki’s artwork while Kiki is too busy eating a gingerbread cupcake to keep an eye on her materials.

Telling Versus Showing

Of course, it’s not enough to tell our readers that our character loves someone or something. We have to show this emotion in practice. One way is by forcing our characters to make tough choices. When Cara Mia Delgatto adopts a Chihuahua with a broken leg, she doesn’t need one more complication in her life. However, she’s willing to adjust her world to accommodate the ailing pup because he’s a rescue dog, and Cara is all about second chances.

How our characters spend their time is another way we show what they value. If a character doesn’t spend time with his children, readers might assume they aren’t an important part of that character’s life. However, if a tattered family photo falls out of the character’s wallet as he pulls out a dollar bill, we have to believe his children matter, but something keeps him away from them.

Characters can demonstrate their love by their reactions. Perhaps your character’s voice changes when he’s talking to his wife. Or maybe your protagonist gets teary-eyed when coming across a man’s jacket in her closet. These responses show the reader a powerful emotion at work.

The next time you create a character, ask yourself who or what this particular player loves. Make a list. Using what you learn will help you build a more realistic, well-rounded character that readers will relate to.

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JoannaSlanJoanna Campbell Slan is the national bestselling and award-winning award of twenty-books, both fiction and non-fiction. She has taught writing at Illinois State University, to executives at large corporations, and through Internet courses. She currently writes two mystery series.

Contact her at http://www.JoannaSlan.com or http://www.fb.com/JoannaCampbellSlan

 

 

TearDownandDieThe first book in her newest series is Tear Down and Die (Book #1 in the Cara Mia Delgatto Mystery Series/4.8 out of 5 stars). http://www.amazon.com/Tear-Down-Delgatto-Mystery-Series-ebook/dp/B00H5R8LK2/ref=pd_sim_b_5?ie=UTF8&refRID=1PBTAGS96KEWBVZ3TNB7 or http://tinyurl.com/TearDD

 

 

Contest Alert! Enter May 7– 21 to win a signed copy of bestselling author Joanna Campbell Slan’s historical mystery, Death of a Dowager, and a $15 FANDANGO gift card to enjoy a movie this summer. http://nancyjcohen.com/fun-stuff/contest/

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