On Flaws and Wounds

A quick way to add depth to your story is to give your character a "flaw."

A more compelling way to define this, I think, is a "wound."

Because it's not really enough for a character to have this negative trait--there needs to be a reason for it. A good reason creates empathy, which is why we sometimes find ourselves relating to and understanding the villain of a story. 

So if your character's "flaw" is that he has trust issues and closes himself off from relationships, the reason why is the wound from which this trait stems.

Maybe his girlfriend cheated on him. Or his fiancee left him at the altar. Or his wife packed her bags and walked out one day in search of a new life. 

That event wounded him in some serious way, he hasn't dealt with it properly, and now a big part of his personality hinges on the idea that he's not going to open himself up to anyone for any reason whatsoever. 

He's going to do whatever it takes to protect himself from being hurt again. 

Enter a cute, spunky heroine and now we have a problem. 

As your two characters circle one another, that flaw/wound is going to rear its ugly head at the most inopportune times. 

But this is also going to open a pathway for growth and change. If, by the end of your story, the hero can move past his wound and open up his heart to love, he not only gets the girl, but your reader gets a satisfying resolution to his character arc. 

This kind of internal arc is the foundation of all great romance novels, but even if you don't write in the genre, give your character a flaw that stems from a serious past wound, have them deal with it while they're dealing with whatever other obstacles you're throwing their way, and you have a nice recipe for a page-turning read.

Be Brilliant!

~Katie~

Conflict and Character Traits

The easiest way to create conflict between characters is to pit their different traits against one another.

If your character is more of a "homebody," for instance, put them with someone adventurous. If they are highly educated, pair them with someone who's street smart. If they are superficial, put them with someone who is kind and humble and caring. Are they tidy? Force them to room with a slob. Shy? Pair them with someone who is outgoing.

Think in terms of opposites.

Someone who is affable and sensible is going to act and react differently from someone who is disagreeable and disruptive. An optimist and pessimist see the world in two completely disparate ways.

Photo by Elizaveta Dushechkina from Pexels

Pair the opposites together, and the conflict creates itself. 

The tension builds naturally.

And this isn't just about pitting a "negative" trait against a "positive" trait. Some situations will call for street smarts over book learning. Some situations require disruption--for someone to act out to bring some new information to light. And not everyone responds to affability. Enter the character who is caustic and ruthless. They'll get the job done. 

In terms of arcs, think about these traits as the characters work against each other. It's easy to see that where one leaves off, the other can pick up--in some cases, they may even become complementary. 

Create a series of situations and watch these opposing characters naturally begin to influence one another, making room for their growth. 

Maybe your main character *is* a bit of a homebody. Maybe he needs the influence of that outgoing, adventurous girl so that he can have some escapades of his own to remember fondly. Maybe the one chasing adventure needs to learn to settle somewhere--to stop running--to put down some roots. Maybe the slob needs the neat freak to show them what a nice space could look like.

And remember to show, not tell. 

If a character is shy, how might that reflect in their behavior? Maybe they don't want to mention to the server that they were given the wrong order.

How "tidy" are we talking? Maybe their closet is organized by color and their towels are folded into thirds.

And don't feel boxed in with these traits. At some point that typically shy person is going to get sick of being offered the cheeseburger when she has repeatedly asked for the chicken sandwich. This is her chance to act out. And if the slob comes home to find his roommate's space dismantled, it's a clear cause for concern.

Fix your character's traits then subvert them, surprising us.

In sum, as you consider your character's traits, brainstorm how those traits can manifest or show themselves in your story, especially when they are forced to work with those who are not like them. Think about the ways in which they can act out of character. Think about who they are at the beginning of the story, and who they will be by the end.  

In other words, make them as real and as complicated as you and I.

Make them human.

Be Brilliant!

~Katie~

Plot Problems

According to Frank O'Connor, a story requires three things.

The first is exposition--who the story is about. The second is development--the inciting incident and what's at stake. The third is drama--what the main character is working toward. 

If any of these three key ideas can't be reduced to a single, clarifying sentence, then you may have a plotting problem.

If there is no clearly defined main character, then the exposition needs work. If there is no inciting incident or disruption of routine, then the development needs more attention. If the drama seems bland or vague, then there's an issue with conflict and motivation. 

If you can summarize these three key ideas in a compelling way, then your story is, in fact, moving in the right direction.

An Example

Exposition: Trent is a troubled young man from a well-to-do family.

Development: He is forced into community service with a girl from the wrong side of the tracks who may have killed her best friend.

Drama: If he can find out the truth about what happened that night, he might be able to prove her innocent.

Plug in the details of your WIP to see if it passes Frank O'Connor's plot test. 

And always: Be Brilliant!

~Katie~

The Chance Encounter

If all stories begin with a disruption of routine, then the "chance encounter" is considered one of those potential disruptions. 

A chance encounter occurs when someone from your protagonist's past waltzes back into their world. He has not seen her for years, but, suddenly, there she is.

The chance encounter sets up a fairly deep story, automatically pulling problems from the past into the present. Not only will the reader need to know what happened before (i.e. how they met, some of their experiences together, what drove them apart, etc.), but also how they have changed in the weeks, months, and years it's been since they last saw each other. 

This feeds directly into the plot of the narrative, of course, or how the two of them will address and work through their shared history, and the baggage that may come along with this, in order to move forward. 

Be Brilliant!

~Katie~

Story is Best

"Story is best when a character acts in a probable way,

but the world reacts in a way he doesn't see coming."

--Robert McKee

What a character wants to happen vs. how the world responds sets up a nice "expectations vs. reality" scenario.

Characters shouldn't always get what they want. 

Sometimes they should.

And sometimes they should get what they want, realizing soon after it wasn't what they really wanted (or needed), after all.

Expectations vs. Reality

Deepen your plots and characters by creating contradictions at every turn. Look for those opposites and play against your character's (and ultimately your reader's) expectations.

Be Brilliant!

~Katie~

How to Make a Scene Move

To make your scenes move:

*Think about everything that has happened to the character up until the moment the scene takes place.

*Imagine what is going to happen to them in future scenes. 

*Determine what the character wants at that moment.

*Identify what's at stake (overall) for the character.

*Figure out what's keeping them from getting what they want.

*Consider the actions they've taken and will take: what are they doing to get what they want?

*How are the other characters reacting to these behaviors?

*Infuse the information into your narrative. 

Keep in mind that not everything in your brainstorm will make it into your story, but it's still important to know what's going on between the lines. 

Think of storytelling as an iceberg: what peeks above the water (that the reader sees) is only a small percentage of what's actually there, and the author should *always* know what's happening beneath the surface.

Be Brilliant!

~Katie~

The Said and the Unsaid

What's "said" on the page includes dialogue, gestures, and observable behaviors.

What's "unsaid" includes what's beneath the spoken and observable--the thoughts and expressions that the character is holding back, or choosing not to say and do.

In a well-developed character, what's said will contradict or conflict with what he's holding back (for whatever reason), and if a scene isn't working, it may be because what's going on beneath the "said" isn't compelling enough.

Be Brilliant!

~Katie~

The Character's Inner World

In a story, the outer world is everything translated to the page that happens in a character's physical world. The people he meets, the words that she says, the actions he takes--these are all manifested outside the character.

But there is an entire inner world that should also be addressed, and this is what's referred to as the subtext. 

A character can't express everything in the outer world, after all; there are thoughts and feelings that are important she keep to herself for one reason or another. 

Of course, the outer world matters because the conflicts here keep the reader's pages turning, but this doesn't mean they aren't also interested in what's going on beneath the surface or inside the character's head. 

We don't always mean what we say or say what we are really thinking, and our characters shouldn't, either.

This makes the subtext--what's happening beneath the surface--an important part of our story and a great way to express conflict and add depth to our characters. 

Be Brilliant!

~Katie~

On Opposing Values

An easy way to complicate a character is to give her conflicting values.

How do we accomplish this?

Think in terms of opposites.

If your character prides herself on her honesty, put her in a situation where she is forced to lie for the greater good (or even self-preservation).

If she's something of a slacker, give her an interest or hobby that she is passionate about. For instance, maybe she couldn't care less that she's failing biology, but she's desperate to get the hem just right on the homecoming dress she designed.

Or perhaps she's clever--she always has the answers. Put her in a situation where her intelligence or quick-wittedness won't help her at all (and may even hinder her).

Your Assignment

1. Brainstorm a list of key values or traits your character possesses, and then, beside each, write its opposite. For example:

Fear ---> Bravery

Candor --> Speechlessness

Uncaring --> Compassionate

Humility --> Arrogance

Tolerance --> Narrow-mindedness

2. Think of a way you can weave the opposing value into your story. (Bonus points if you can pinpoint which characters bring out the best and worst in her.) 

In Cross My Heart, Jaden, for instance, would be classified as tolerant and compassionate, but Parker seems to bring out the worst in her, leaving her narrow-minded and arrogant during their first encounters. 

So . . . if your characters seem flat and uninteresting, highlighting places where they act in opposition to their core values will quickly add some depth to your story.

Be Brilliant!

~Katie~

Is This Scene Working? Four Questions from Robert McKee

From Robert McKee--

Four questions to ask about every scene in your story:

What does my character want at this moment?

Who is driving the scene and making things happen?

What is stopping the character from getting what she wants?

In every scene, readers are looking for something that builds to the final turning point (the climax). The more important the scene, the longer/more detailed it should be. 

In this scene, did I create change in the character's life?

If the answers to these four questions are clearly defined: Congrats! Your scene works. 

If there's some hesitation or confusion, nail down the responses to these questions and then work your way back through the scene, strengthening it where necessary. 

And finally, if you can't answer these questions at all, it's time for a scene overhaul.

Be Brilliant!

~Katie~

Five Reasons Your Scene Isn't Working

You've read the scene over and over, you know it's not working, but you can't quite figure out why.

What's going on?

Well, it could be that 1) nothing is happening. There's no action or any kind of exchange taking place. The content just drags the reader along without offering any kind of real story value.

It could be that things are happening but 2) there's no change. The characters aren't working toward a turning point or make any concessions, and the state of the world is the same at the end of the scene as it was in the beginning. In other words, the scene is "flat." 

Maybe the problem is that 3) the scene is an info dump of a character's thoughts/feelings or includes too much backstory (which naturally pulls readers away from the action).

Perhaps the content is okay, but 4) the rhythm is off. There are beats and turning points, but these don't appear in the best places--the scene is poorly structured.

Or maybe 5) the content is too predictable. The conversation and actions are full of cliches and there's nothing in the story to surprise the reader.

Every good scene will have a purpose as it relates to the overall plot. It will also contain its own mini-arc. Characters will actively do things and respond to things being done to them. Charges will change from positive to negative and back again, and *something* will be different by the end, whether it's the character's thoughts or feelings about something or a new decision that has been made that will lead us in some other direction.     

Scene problems require us to think critically about what's happening in a small section of text and how it fits into the overall story. It requires careful consideration about character interaction and who's driving the narrative as well as the ways in which the story world changes from moment to moment. 

If a scene isn't working, it's worth breaking the content down to its barest bones, determining its overall purpose, and pinpointing the problem so that it can be made better.

Be Brilliant!

~Katie~

Start the Fight, Cause the Problem (for your Characters)

What makes for a boring read?

A character who does everything right: who says the best things in the best moments, who considers every alternative then makes the correct choice, who puts out all the little fires with his insight and intellect and wit. . . .

What makes for an exciting read?

A character who says things we'd never dream of saying, who makes irrational (or just plain bad) choices, who goes around causing problems instead of fixing them. . . .

It's okay for a character to be insightful and intelligent and witty, but sometimes they need to say and do the wrong thing. And if your character is the kind of thoughtful person who does everything right the first time, he needs to 1) be paired with someone who forces him out of that comfort zone and into drama OR 2) live in a world that does not react kindly to his efforts. 

As writers, our job is not to keep our characters safe. It's to toss them challenge after challenge: start the fight, cause the problem, then make things just a *little* harder for them. 

As humans, our natures demand we lean toward safety, but "safety" does not make for a compelling reader experience.

Be Brilliant!

~Katie~

 

On Frustration

Things rarely go as expected, leaving us feeling frustrated much of the time. This is a fact of life.

This should also be true for the characters in your story world. 

Frustration (though it will appear in many forms) is what drives your plot--how a character reacts when he or she doesn't get what they want is what will keep the story moving forward, and how they deal with their frustrations will tell us a lot about them as people. 

So it's safe to say that frustration is one of the key building blocks of storytelling.

No frustration? No story.

What does my character want that she's not getting?
How does she react to this? 

Be Brilliant!

~Katie~ 

On Fighting

When, where, and how your characters fight speaks volumes.

Who are they most willing (and most likely) to fight with? With whom do they refuse to fight under any circumstances? Do they fight fairly or are they more vindictive--calling names, using threats or sarcasm, swearing or telling lies? What issues do they fight about? Are these problems serious or mundane--inconsequential, even?

Maybe your character doesn't fight at all.

Maybe she makes an exception in this one instance. 

What could have possibly gone wrong?

Part of developing a well-rounded character requires knowing and understanding how characters will act when faced with a potential argument. Their reactions and behaviors are what add variety and depth to a story, so it's worth considering these traits (among others) before the first page is written.

Be Brilliant!

~Katie~

On Unpredictability

At the end of your novel, all of the various conflicts (inner and outer) and plot points will come to a head and (hopefully) resolve themselves in a satisfying way. 

This is our job as writers, after all, and what the reader expects when he or she takes on one of our stories.

It's important, however, that the plot stays unpredictable up until the final pages. Success doesn't come easily in the real world, and as much as we'd like to keep our characters safe, it shouldn't come easily in our fictional worlds, either. 

Keep the reader guessing until the very last moment; the longer it appears your main character will fail, the more invested the reader will be. 

Be Brilliant!

~Katie~

On Creating Problems

Problems that are easy to solve are also easy to forget.

The problems we present in our stories should grow. They should twist and turn. The layers should run deep--really deep.  

Why? The deeper the problem, the more satisfying the ending once the situation is resolved. 

And remember: a "problem" that can be cleared up with a single conversation isn't really a problem. 

I love a good Hallmark movie more than anyone, but I do get kind of miffed when a love interest sees something he or she misinterprets then just leaves town without having a real conversation with the person they're walking away from. I can forgive them because I know we're working toward a happy ending, but I like my conflicts a bit more complex than that.

Yes, Parker was lying to Jaden in Cross My Heart. Could he have cleared everything up with a single conversation? Sure. But he had a reason to lie that was bigger than anyone expected, and when he and Jaden finally had that conversation, she wasn't easy to forgive him--too much had gone wrong.

There was more than a simple misunderstanding at play, and that's why Cross My Heart is (still) my bestselling book. 

The point? 

Create big problems for your characters. Make those problems as thorny as you can. Don't be afraid to push the limits. 

Figure out the worst thing that could possibly happen, then make it worse.

Be Brilliant!

~Katie~ 

Boring!

In fiction, neutrality is B-O-R-I-N-G.

Readers want to feel something, and if there's no emotional weight involved in what's taking place on the page, the reader (sadly) won't be affected.


Man: "I made plans with my mother on Saturday. Do you and the kids want to tag along?"

Woman: "Whatever you want."

or

Man: "I made plans with my mother on Saturday. Do you and the kids want to tag along?"

Woman: "Absolutely not. I told you last time that I was never stepping foot in that house again."


In truth, reality is often "Whatever you want," but exciting fiction is not neutral; it's a determined "yes" and a firm "no." A "whatever you want" or the appearance of a neutral position would only work if something is happening behind the scenes to make this character pretend to be agreeable; even then, the reader will understand that "whatever you want" is still a firm "no."

So give your characters opinions and desires. Put them at odds with the supporting cast. Start those fights. Raise those stakes.

Above all: Be Brilliant!

~Katie~

Five Ways to Ruin Your Story

I spend a lot of time on this blog talking about what we can do right in our writing (or how to make what's not working work again).

But what about the flipside?

Whether you're writing page one or three hundred and one, here are five easy ways to ruin your story: 

1. There's no clear protagonist.

On page one we have Bob and Betty and Mildred and Flo. Bob is pissed at Mildred and she and Flo are icing out Betty, and then Ricky comes along and decks Bob for no reason at all, and Oh My God I have no idea who I'm supposed to pay attention to or even root for in this situation.

It's okay to start your story in the middle of the action; it's not okay to throw tons of information at your reader at once. If people are yelling and tossing punches on page one, it needs to be made absolutely clear that Ricky is the hero of this tale.   

2. The protagonist doesn't have a goal.

We know we should be paying attention to Ricky, but we have no clue what it is that he wants (except to punch Bob in the face). Maybe he doesn't even know . . . though wanting to know is, in fact, a goal. . . . but I digress. It should be very clear within the first few pages not only who your protagonist is, but what he's working toward. This, of course, can change as the narrative progresses, but readers subconsciously pick up a book with the resolution in mind. How will we know the story has ended if we don't know when Ricky has accomplished what he set out to do or even what, exactly, he wants to accomplish?    

3. There's no inner conflict.

Sure, Ricky is great at throwing punches, and he clearly hates Bob, but if he's the same person on page three hundred as he was on page one, then the reader is likely to feel cheated. Along with an outer conflict, there should be an inner conflict. After a litany of fight scenes, a story where Ricky hangs up his boxing gloves and turns to meditation to control his anger might be a journey worth following.  

4. The plot doesn't align with the goal.

We know about Ricky and his beef with Bob. We know he's intent on bringing Bob down. We know he has anger management issues he's trying to deal with. Now the plot (or the scenes that follow) needs to show a realistic progression from where Ricky is at present to who he's going to become. If you lose sight of the story question, the reader will be left scratching his or her head, wondering what shopping for leeks at the grocery store has to do with anything. (The answer? Nothing. Leave it out.)  

5. The character isn't believably attached to the goal.

Ricky says he wants to stop fighting with Bob, but he's made zero progress and we're moving into the final chapter of the story. Are we sure that's what he wanted? You know I love a good plot twist, but even these need to feel inevitable.

No protagonist, no goal, no conflict, irrelevant commentary, no attachment to the ultimate outcome. . . . These are five of the best ways to ruin your story for the reader. . . . 

Unless, of course, you write esoteric literary fiction. 

In that case, #$%! the rules.

Be Brilliant!

~Katie~ 

Flat Characters vs. Round Characters

What's the difference between flat and round characters?

A flat character will have a fixed set of (usually predictable) traits. None of these are likely to drive or create any real conflicts within the story. 

Round characters are more complex and have traits that often conflict with one another. 

An old man can be both a miser with his time and affection, but generous financially to the charities he supports. 
The mother can be frivolous with her money, but responsible when it comes to her career or children. 
The teenager may not speak to his parents, but will willingly offer his friends advice/help whenever they ask. 

The best characters are rife with contradictions.

There's nothing inherently wrong with incorporating a flat character into your story, but they don't deserve center stage or even a strong supporting role. 

Keep them strictly to the background. 

Be Brilliant!

~Katie~       

On Setbacks

Suspense is built through setbacks.

When things are going well for a character, the reader is likely to set the book down. 

(And why wouldn't she? There are a million other things vying for her attention at any given moment. If nothing is happening that will keep her glued to the page, why stick around?)  

As humans, we're wired toward homeostasis (balance or equilibrium; in other words, things working as well as they possibly can). Our brains aren't fans of conflict. We don't like it. In fact, most of us avoid it at all costs.

As writers, it's hard for us to put characters in situations that would make us run for the closet and curl up in the fetal position, but we have to if we want to write a book that will keep readers turning pages late into the night.

So . . . when building your scenes, think in terms of setbacks.

Tell your character "no" as often as you can for as long as you can. 

It will make that final "yes" much more satisfying in the end. 

Be Brilliant!

~Katie~