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Putting yourself into your fiction

07 Feb
Cover of Sharon A. Crawford's mystery short story collection

Cover of Sharon A. Crawford’s mystery short story collection

The most beautiful things are those that madness prompts and reason writes.

–          André Gide

If you write horror stories does that mean you have to run around with a chain saw chopping up people? If you write mysteries with serial killers does that mean you have to be a serial killer? What about romance writers? Children’s authors? How much of who you are factors in with what you write?

I’ve wondered about that lately because many of my short stories and the prequel novel are on the dark side – both in content and the humour sometimes used to tell them. But my stories also go to the other side of the creativity fence – I use emotions such as hope, love, gratitude, joy, generosity, empathy, even happiness (usually at the story’s end). In other words I make my characters human, characters who often have to overcome great odds to get some sort of hold back on their life and the lives of their family and friends.

For example, in my short story “Unfinished Business” from Beyond the Tripping Point (Blue Denim Press, 2012), the main character Lilly, has something traumatic happens when she is 12 years old. The consequences force her to run away from home at 15 and her life becomes one of too many men and never staying in one place for long. During that time she gives birth to a daughter, Trish, and her motherly instincts kick in, especially when Trish turns 12 and wants to see where Mom was born. The journey back holds bad memories for Lilly and when they arrive at her old home and the cause of the trauma shows up, mistaking Trish for Lilly, Lilly changes. She has to save her daughter from the same fate she had, and in doing so, she can get rid of the albatross she’s carried around on her shoulder, and change her life and her attitude. Besides the dark side of what happened to Lilly (and for the record, did not happen to me), the story shows hope and the indomitable spirit living somewhere in most humans. Lilly just needed strong motivation and mother love was it.

So, if you aren’t a serial killer or a sex fiend, how do you write about these areas and others you haven’t lived through yourself?

  1. Read, read, read on the topic. For serial killers, I’m reading Peter Vronsky’s book Serial Killers and I admit I watch Criminal Minds on TV. I do find the latter is more inventive in their serial killers and motives than some of those in real life. I say “some” because as the saying goes “truth is often stranger than fiction.”
  2. Other Research – interview experts. I’m not saying interview a serial killer but perhaps a profiler or a police officer familiar with catching serial killers.
  3. Put yourself (mentally and emotionally, not actually) in the mind of your character. How would they react to such and such? What is their story? Their background?
  4. Go inside yourself and draw out what is there that you can use? For example, did your parents die suddenly from, say a car crash, when you were a child? Did your father desert the family? Were you bullied in school? Did you grow up in poverty or do you live in poverty now?  Do you have a disability that affects your life? Do you have an affinity for certain people or types of people? For me, it’s the underdog – the one who has a lot of bad going on in their life. In other words, someone who has to overcome much and has a hard time doing so. Will he or she do so? That is what you have to figure out in your story.

The bottom line is this: what you write encompasses you, your life, your feelings – but it doesn’t mean you have to be a serial killer or even a mom. For the record, I am a mom, although my son is now in his mid-thirties; I was a single parent but had lots of parenting help from my ex; I was bullied as a child; my dad died after a long bout with cancer when I was 16; I suffered from depression some 30 years ago, and poverty is no stranger to me. But I don’t wield a chain saw – too heavy to hold and I’ve tried – but to trim trees and shrubs.

How much of you is in your fiction?

Cheers.

Sharon A. Crawford

 
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Posted by on February 7, 2013 in Beyond the Tripping Point, Blue Denim Press, Credible Fiction Characters, Fiction Characters, Plot and Characters, Sharon A. Crawford, Short Story Collection, Writing

 

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Keeping your plot and characters consistent

31 Jan
Cover of Sharon A. Crawford's mystery short story collection

Cover of Sharon A. Crawford’s mystery short story collection

Be obscure clearly.

–          E.B. White

Nothing can be more frustrating to a writer (except maybe writer’s block) and a book editor too, than characters and/or plot starting to display inconsistencies. My favourite when doing manuscript evaluations for clients is the lady with short red hair in Chapter 2 who suddenly appears with long brown hair in Chapter 10. Did she suddenly don a wig? If so, say so…if it is consistent with what this character would do.

Or take these scenarios.

Does Tom suddenly appear in a conversation you thought was between Belinda and Sandra? James has a heart attack and is rushed to the hospital in Chapter 2; in Chapter 3 he is jogging down the street. Does Cathy arrive home in her car when in the previous chapter it was stolen? Then there is the “Who he? Who she? Syndrome” where one character makes a splash appearance near the beginning of the novel, does a disappearing act (from the writing, not the story) for the rest of the novel and then turns out near the end to be the murderer.

Oops.

I’m struggling with some inconsistencies in my prequel mystery novel. Part of the problem is the novel is complex. So I run into “How did Bast (one of the fraternal private investigators) find out about Y factor or how would he know? Didn’t I have some videotapes back in an earlier chapter? What happened to them? And one character, a TV reporter, who is not a major character and not the killer, has a history with Bast which creates conflict when they meet up after no connection for a year. After hinting at the conflict from this main character’s point of view and a couple of scenes where the two have an actual confrontation in the first half of the novel, “conflict character” all but disappears from the story. I call this inconsistency by deletion.

Readers will pick up on inconsistencies.

What should a writer do?

I’ve touched on this a few blogs ago, but it is important to have a follow-up list of any inconsistencies you notice as you write or pick up later in the first rewrite. Then, you can go back and fix the inconsistencies and mark “done” on the list.

It might also be a good idea to do an ongoing list of your characters and include their conflicts with each other and/or a brief ongoing chapter outline. When you are creating, your organizational skills take a backseat in your brain. This is not the time to multi-task or tell yourself  “oh, I’ll remember to bring Tom home in a later chapter,” or  “This scenario isn’t going to work with what has  happened before.” You also don’t want to stop the creative flow to fix an inconsistency.

How do you keep track of your characters’ interactions, conflicts and location so your final manuscript isn’t full of inconsistencies? Let’s compare notes. We might all learn something new.

Cheers.

Sharon A. Crawford

 
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Posted by on January 31, 2013 in Beyond the Tripping Point, Fiction Characters, Plot and Characters, Sharon A. Crawford, Short Story Collection, Writing

 

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Dialogue or narrative – that is the dilemma

24 Jan
Cover of Sharon A. Crawford's mystery short story collection

Cover of Sharon A. Crawford’s mystery short story collection

We care what happens to people only in proportion as we know what people are.

–           Henry James

My publisher wants me to make my prequel mystery novel a bit shorter. Part of the problem is my two main characters, fraternal twins Dana and Bast, get too chatty in some places, especially when they are bringing each other up to speed on their separate investigations.

When do you use dialogue and when do you use short narrative to summarize what characters tell each other so that your novel or short story flows and doesn’t bore your reader? You want to make your reader care about your characters, not have your characters put your reader to sleep. Here are a few (but not only or all) guidelines to consider:

  1. Do you need to show anything with their actual dialogue and any accompanying actions? For example, if one character is giving the other some bad news and their reaction includes what they say and how they say it, you might want to go the dialogue route.
  2. Don’t drag out the dialogue exchange between characters. It can turn into the equivalent of repeatedly driving your point home to your reader. For example, I have Bast and Dana often repeating the same setup ad nauseum when they are comparing notes – each are reacting the same way and sometimes their dialogue covers what is told elsewhere in the novel. Summarizing that Dana brought Bast up to speed on whatever situation would suffice.
  3. A caveat to the above two points: there is a fine line from using dialogue to bring out the character’s reactions to something when necessary and when the dialogue shows as repetition. Ask yourself: is the dialogue best to show foreshadowing and move the plot along? You might be better to use dialogue then. Also dialogue and/or action might work better if the character is changing – perhaps trying to be stronger than wimpy or holding in his or her anger.
  4. With mystery fiction where the police detective or private investigator is interviewing a number of “persons of interest,” summarize in narrative the ones who have little or no information to contribute and use dialogue where something of importance to your plot shows up in the interrogation.
  5. Be careful you don’t overdo the narrative just to contain your dialogue. You don’t want to overdo the telling and bore your reader this way. However, with narrative you can include the character’s inner thoughts and actions.
  6. Sometimes you can combine narrative with summary. Here’s how I did it in the short story Digging Up the Dirt, with the fraternal twins. Instead of Dana repeating to Bast her “interrogation” by the constable and what led up to it, I wrote:

“And you actually let that constable order you around,” my fraternal twin, Bast, said later.

“Well, I had to listen to Fielding’s interrogation, especially of Aunt Doris.” I smiled.

(copyright 2012 Sharon A. Crawford. Excerpted from Beyond the Tripping Point, published by Blue Denim Press, 2012)

If you want to show how characters relate to each other under various circumstances and bring out their distinctive traits, dialogue with action might work best. If it gets too long, you can intersperse it with narrative. I do this in another story in Beyond the Tripping Point. Below is the link of my reading the opening scene in “Body in the Trunk,” clipped from my interview with Hugh Reilly on Liquid Lunch from thatchannel. The reading and the short preview before is three minutes long.

Sharon A. Crawford  Reading from Beyond the Tripping Point on Liquid Lunch http://www.youtube.com/watch?v=pgOKYgBfAwY&feature=youtu.be

Now I need to get back to my own novel and follow my advice.

Cheers.

Sharon A. Crawford

 
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Posted by on January 24, 2013 in Beyond the Tripping Point, Blue Denim Press, Dialogue in Fiction, Fiction Characters, Plot and Characters, Sharon A. Crawford, Short Story Collection, Writing

 

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What motivates your characters?

17 Jan
Click on the book cover to go to amazon.com

Click on the book cover to go to amazon.com

A novelist is a person who lives in other people’s skins.

–           EL Doctorow

Why do your fiction characters do what they do? Are they acting/reacting in character or way out of character? How do you “make” your characters behave?

First of all, you only have some control over your characters. As you are writing, often a character will “take over” and “decide” just what they are going to do. Fine, but you still need to make sure they aren’t acting outside of who they are. Or that you, as the author, aren’t manipulating what they are doing, especially having them do something just to move your story along or worse, just to write something.

Let me give an example.

Take Dana, the PI In “Gone Missing” and “Saving Grace,” two of the four linked short stories in my short story collection, Beyond the Tripping Point. Dana is also the mother of a seven-year old boy. So her dual role must factor in what her character thinks and does. Add to that the fact that her son is psychologically mute because of something that happened to him in the prequel novel (more on that shortly) and my work was cut out for me. In a critique of “Gone Missing” a few years back, I was chastised for not making Dana more professional. But with her problems with David, she wouldn’t be operating as a PI only – all professionalism –unless she is a “bad” mother – finds her son an impediment to her life, etc. Dana is not that and is always torn between her two roles, something readers can identify with in real life. So I have her wrestling with David and helping him as well as trying to solve the missing persons’ cases in those two stories. In “Saving Grace” she has a bit of a meltdown at one point chastising herself for being a bad mother. And to add insult to injury, another character Great Aunt Doris, who is a traditionalist where mothers are concerned, calls her a bad mother.

What is a mother/PI to do? Be human. Act in character.

In the prequel novel which I am rewriting for my publisher to look at, the actual occurrence which causes David’s muteness and all its implications has Dana roller-coasting a lot more than in the short stories. She does some stupid things, briefly goes into a catatonic state and sometimes gets more aggressive than usual. But – and it’s a large “but” all this change, all these actions and reactions come from her basic character and who she is. I don’t pull them out of the air. She is acting in character and characters have to deal with hurdles and change. So do people in real life and maybe that is a bottom line.

Make your characters real. What motivates them? Are they acting in character even when they don’t seem to be?

And go to my publisher’s page for a link to my interview with Hugh Reilly on thatchannel.com where I talk about some of these characters and where they and the plots originated. Eventually I’ll get that video up in the main part of this blog.. For now go to http://www.bluedenimpress.com/sharon-crawford.php and click on the link at the bottom of my bio.

Cheers.

Sharon A. Crawford

 
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Posted by on January 17, 2013 in Beyond the Tripping Point, Credible Fiction Characters, Fiction Characters, Sharon A. Crawford, Writing

 

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Keeping track of everything in your story

10 Jan
Amazon.com link to Sharon A.'s short story collection

Amazon.com link to Sharon A.’s short story collection

If you start to revise before you’ve reached the end, you’re likely to begin dawdling with the revisions and putting off the difficult task of writing.

–          Pearl S. Buck

Currently I’m rewriting the prequel novel to four linked short stories in Beyond the Tripping Point. I’m expanding and complicating the plot and telling the story from four points of view. The original novel had only one POV – the first person singular – Dana. Yes it is the fraternal twins again and my own head has been going back and forth from the points of view of Dana, her twin Bast, her son David, and a suspect who isn’t named. I am following the rules of one character’s POV per scene or chapter.

However, all this to-ing and fro-ing makes it more difficult to keep track of timelines, who is doing what and the biggie – consistency in story line, in character’s actions, etc. To lower the muddle factor, I started a new file called “Follow-up List.” Every time something occurs that requires checking/changing for consistency, timeline – even research, it goes on the list. Right now timeline, consistency and keeping all the police constables sorted out are the big factors.

Why am I doing this? Besides the obvious, if you constantly stop writing to do research or sort out characters and timeline, you lose your creative flow. Mind you, I am going back for a few things if they are interfering with moving the plot along from where I am working. But the research can wait – some of it is just re-checking facts I’m not sure I got right. Or some detail such as a name change, can be fixed by using the Find and Replace Word features – preferably at the end of your writing session.

Another action I take (and I’ve mentioned it in an earlier post) is refusing to stall over a word that doesn’t seem quite right or is repetitious. Stopping to look it up in the Thesaurus, even if online, also breaks the creative flow. For example, as I wrote this blog post, I spelled Thesaurus incorrectly but did not correct it immediately. Here Word underlined it in red so I could go back and change it. For repetitious words or words not quite right, you just need to put (word) or (repetition) in brackets after the offending word and return to it later in your rewrite or in my case, another rewrite to fine-tune the rewrite I’m doing now. One final suggestion – format your manuscript before you start writing. Or if your situation is similar to mine – a rewrite of a novel originally written 10 or 11 years ago, where the formatting was different, you can leave it until you are finished. Stopping to fix paragraph formatting stops the creative flow.

And how is my massive rewrite going? Nearly finished the first big rewrite. If all goes well I’m hoping to have it done by the end of the day tomorrow. Afterwards, I want to let it sit for a few days and then go through my follow-up list and well, follow it.

Meantime, I’m doing plenty of PR for my short story collection Beyond the Tripping Point. Tonight I’m doing a sort of performance reading of a short story excerpt as part of the Periodical Writers Association of Canada’s Talent Night. Sometime between 8 p.m. and 11 p.m. I’ll be onstage at the Free Times Cafe in downtown Toronto. If you are in the Toronto area perhaps you can drop in. Check out http://www.freetimescafe.com/ for more information, including location, or go to my website http://www.samcraw.com under Beyond the Tripping Point where I’m posting upcoming readings, etc. as I get them. All my links are either on this book page or at the top of my website home page you will find the usual social media icons.

And if you click on the book icon at the top of this post, when you get to amazon.com, please read my bio and click on the Like Icon. Thanks.

Keep the creative flow going.

Cheers.

Sharon A. Crawford

 
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Posted by on January 10, 2013 in Beyond the Tripping Point, Freefall Writing, Plot and Characters, Point of View in Fiction, Sharon A. Crawford, Short Story Collection, Writing

 

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Setting Writing Goals for 2013

03 Jan
amazon.com link to Sharon A. Crawford's book

amazon.com link to Sharon A. Crawford’s book

The best time for planning a book is while you’re doing the dishes.

–          Agatha Christie

I’m not sure what the characters in my mystery short story collection Beyond the Tripping Point would plan to do in the new year. Some of the stories take place way before 2013 – for example 1965, 1997 and 1998. Be that as it may, that is no excuse why I and any other writer can’t set writing goals. It’s a new year and that brings new chances to write. If you’ve been procrastinating about finishing or even starting that novel or short story, here are a few outside the box (and a few inside the writing box) ideas how to get yourself from wishful thinking to actually writing.

1.    Do something else, like the late Agatha Christie’s suggestion above and I don’t think she meant using a dishwasher unless the dishwasher is you. Also try gardening (outdoors in season or indoor gardening in winter), walking, vacuuming and dusting, even sleeping. The idea is something mechanical and boring (washing dishes) and something that frees your mind to think creativity (walking, gardening) can kick-start an idea in your mind.
2.    Keep a notepad – electronic or hard copy – and write these ideas down as they hit your brain – you don’t want to operate like a gnat. That means keep something to do so near your bed at night.
3.    Take this latter a step further and start writing down your dreams no matter how silly they seem – analyze them or not, but the content alone may inspire a story.
4.    Learn from other writers – aspiring, established or in-between. Read blogs, attend writing workshops and courses (online or in person), join writing organizations and groups (preferably some that you have to go to in person as the personal connection with writers is good for your writing soul).
5.    Read novels and stories like you want to write – in print or e-book, whichever works for you. Reading others’ writing inspires you, not just with ideas, but with the writer’s style and grace.
6.    Blog excerpts of your writing – but make sure you state that it is copyrighted by you and don’t post the whole story because it could be considered a first publication and may interfere with other publication (unless you self-publish; then you can do what you want). On the other hand blog posts can often turn into seeds for books – trade or self-published. For an example, see posts by Alex Leybourne at http://alexlaybourne.com/
7.    Blog about your writing journey. We can learn from each other. For an example, see blog posts at http://bottledworder.wordpress.com/
8.    Try to write every day, even if just for an hour. For inspiration on this check out Julia Cameron’s The Writer’s Way at http://juliacameronlive.com/
9.    And perhaps most important – set writing goals for the year. Check http://bottledworder.wordpress.com/2012/12/31/new-years-resolutions-2013-guide-for-writers/ and Alex Laybourne’s blog post for Jan. 2 at http://alexlaybourne.com/2013/01/01/new-beginnings-a-guide-to-2013/

Happy and prolific writing for 2013.

If you read my book (see book cover at the top), please review it. Thanks.

Cheers.

Sharon A. Crawford

 
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Posted by on January 3, 2013 in Beyond the Tripping Point, Blogging, Plot and Characters, Sharon A. Crawford, Short Story Collection, Uncategorized, Writing

 

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How do fiction characters act in a snowstorm?

27 Dec
Amazon.com link to Sharon A. Crawford's book

Amazon.com link to Sharon A. Crawford’s book

As soon go kindle fire with snow, as seek to quench the fire of love with words.

–          William Shakespeare

Toronto and other parts of Ontario as well as Quebec and the Maritimes got blasted with the first big snowfall of the season overnight. So I thought it might be interesting to dump some of our fiction characters into a snowstorm and see how they could behave.

My obvious choice of characters are the two friends, Millie and Jessica, from my short story “No Breaks” in my short story collection Beyond the Tripping Point. The story is set on a hot and humid August day but what would happen if the duo were driving up Ontario’s Highway 11 to the Muskoka cottage during a snow storm? This area gets lots of snow on the highway and with the brakes in Millie’s car failing, would Millie’s work-around that even be feasible in a snow storm? Perhaps the storm itself stalls traffic. So setting is changed but the reason for their trip up to Jessica’s family cottage wouldn’t be summer and beach related. Perhaps they are headed up there for Christmas. If you take all the other factors in the story (and I’m not telling all; you have to read the book to find out – book available on Amazon.com and Amazon.ca – link to the former on the book above and to the latter on the book at the end of this post), things will change.

Think about it. The two friends will be stuck in the car on a continuous basis. Millie is already fed up with the way her life isn’t going and Jessica, a non-driver, is scared they won’t get out of their situation. Millie is a control freak and Jessica hangs onto her Blackberry like it’s her lifeline – even when there is no reception. In the actual story, the relationship between the two friends changes as Millie learns some hard facts which hurl her over her personal tripping point. This could intensify and Millie’s actions could happen much faster and maybe being stuck in the snow with Jessica might bring out new terrifying traits and changes in the two women.

In your fiction – short story or novel – put your main characters, preferably the antagonist and protagonist, stuck in a snowstorm – if not in a car, maybe at a pub, a hotel, a meeting, a resort. How would they react? Would their conflict get worse or would it give them time to pause and do something about it? And remember, these are two idnividual characters here, so one may want to sort out their differences and the other one might not. One might get nastier; one might have a fear of being trapped and how would that affect his or her character? The possibilities are endless.

Put your characters in a snowstorm – even if only as a writing exercise. It will show you different sides of your characters and perhaps give you some insights into their development that you can use in your story – snowstorm or not, for example, how do your characters deal with unexpected adversity, especially of the severe weather kind?

Now, I better psyche myself out to shovel all that snow. I don’t dream of a White Christmas season. I dream of summer and my garden. Meantime, I have a guest blog post appearing on another Crime Writers of Canada member’s blog, December 28, 2012. Check it out at http://sweatercursed.blogspot.ca/

Cheers.

Sharon A. Crawford

Link to amazon.ca for Sharon A. Crawford's book

Link to amazon.ca for Sharon A. Crawford’s book

 
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Posted by on December 27, 2012 in Beyond the Tripping Point, Credible Fiction Characters, Fiction Characters, Plot and Characters, Sharon A. Crawford, Short Story Collection, Writing

 

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Christmas with your fiction characters

20 Dec
Link to Sharon A.'s book on amazon.com

Link to Sharon A.’s book on amazon.com

I do like Christmas on the whole…. In its clumsy way, it does approach Peace and Goodwill. But it is clumsier every year.

– E.M. Forster

How do the characters in your novel and short stories spend Christmas? Or do they even celebrate Christmas or any of the other cultural traditions for this time of year? (I’m using “Christmas” generically here.) Maybe you don’t actually set your stories at Christmastime, but it doesn’t hurt to imagine how your fictional characters do Christmas – even write it down – because Christmas can bring out the best and the worst of everyone in real life. And so it should in fiction.

None of my short stories in Beyond the Tripping Point are set at Christmas time, so I’m not sure what that says about me. However, if the fraternal twins, Dana Bowman and Bast Overture (“Gone Missing,” “Saving Grace,” “Digging Up the Dirt,” and “Road Raging”) were to celebrate Christmas, they probably would go to Christmas Mass for the first time in years (and you’ll have to buy the book and read the stories to see why). Great Aunt Doris would make one of her crash-unexpected visits and that would put a damper in the celebrations for Dana, Bast but maybe not Dana’s son David. The Great One, as she is called, is at loggerheads with Dana and Bast but gets along with David. I envision her coming with them to Christmas Mass and surprising Dana with her singing voice when singing the hymns, albeit singing in her gravelly voice. She’ll interfere with Bast and his Christmas cooking and the present unwrapping might turn into a free-for-all. It might end up with no one speaking or all learning something from the shared experience. And my forte being mystery fiction, there would be a murder, a robbery (maybe someone stealing the Christmas church collection) or some crime that the twins, with David’s help, and Great Aunt Doris’ meddling, would solve.

So you can see how imagining your fictional characters’ Christmas can help develop your characters. And maybe just create another story or chapter in your novel.

At this time, I want to wish you all a good holiday season (Christmas or whatever you celebrate). Take some time for family and friends, and for yourself and your writing.

Meantime, click on the book graphic above to link to my book (print or Kindle) at amazon.com

Cheers.

Sharon A. Crawford

 
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Posted by on December 20, 2012 in Beyond the Tripping Point, Blue Denim Press, Fiction Characters, Plot and Characters, Sharon A. Crawford, Writing

 

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Blog tours for your writing and your book

13 Dec
book cover Beyond the Tripping Point

Click on book cover to get to amazon.com link to my book

Without promotion something terrible happens…nothing.

–          P.T. Barnum
I’ve been busy writing guest spot blog posts or doing blog tours as they are called. This is a great way to promote your published book. However, it also can work to promote your writing and to do a writing feedback exchange. Blog tours can expand your blog’s readership and create new connections. And we writers working in isolation need to connect.

Connecting with other writers not only gets you out of this aloneness but it can be of mutual benefit to you and your connections. You can read what others are writing and discover different writing styles, learn more in different areas (we writers are supposed to be curious), possibly get some writing feedback going back and forth and perhaps some guest blog posting.

A writer friend, Shane Joseph, has come up with a unique way to promote his published writing on WatPad  http://www.wattpad.com/. And  he will also be a featured writer on WatPad  December 14. Direct link to Shane’s work is http://www.wattpad.com/8704102-lest-they-be-forgotten-foreword

My two guest blog posts coming up this month do help promote my short story collection Beyond the Tripping Point, but they also provide details on how and why I write. One post, set up in Q and A style, covers how my writing career evolved and provides a way to share some of the joys and pitfalls of writing – I also like to read about other authors and how they are evolving. In another guest blog I go into my writing name identity crises. Any writer who uses or considers using pseudonyms can relate to this issue.

I suggest you read other writers’ blogs and comment. Connect.

Check out these links:

Shane Joseph on Watpad http://www.wattpad.com/8704102-lest-they-be-forgotten-foreword

My two upcoming blog tours:

The name post – What’s in a Name? Going live December 15, 2012 at http://typem4murder.blogspot.ca/

Q and A – Going live December 28, 2012 at http://sweatercursed.blogspot.ca/

Happy reading and connecting.

And for Canadians, Beyond the Tripping Point is now available in print and Kindle from amazon.ca – direct link http://www.amazon.ca/Beyond-Tripping-Point-Sharon-Crawford/dp/0986952893/ref=sr_1_1?s=books&ie=UTF8&qid=1355327652&sr=1-1

Cheers.

Sharon A. Crawford

 
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Posted by on December 13, 2012 in Beyond the Tripping Point, Blog Tours and Guest Blogging, Sharon A. Crawford, Short Story Collection, Writing

 

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When your fiction characters take over your mind

06 Dec

Beyond the Tripping Point Cover 72dpiA novelist is a person who lives in other people’s skins.—

–       –    EL Doctorow

I’m rewriting the prequel novel to four linked stories in my short story collection Beyond the Tripping Point (Blue Denim Press, 2012). The main characters are the fraternal twin PIs Dana Bowman and Bast Overture, Detective Sergeant Donald Fielding, Great Aunt Doris, and Dana’s son, David. They appear in some or all of those linked stories and also in the novel I’m rewriting.

Trouble is one of the suspects in the novel has climbed inside my head and demands to be heard – loud and clear. I can see clearly what he looks like and does and I’ve already written him into some chapters, even given him his own Point of View, but he is still not satisfied. It is his story as much as it is the other characters’ story..

So I made some notes to go with the “old novel version chapters” and Friday afternoon I sat down at my computer and started a full-blown character sketch of this fellow. The sketch, when completed, will contain everything from what he eats (or doesn’t eat) for breakfast, to his sordid past, to his feelings and actions for the novel’s time. Not all, but some of this will be incorporated into the novel, bit by bit (without revealing his name until the police and PIs get up to speed about him). He will also get more novel time. After all, I don’t want him coming after me.

So, what do you do if one of your fiction characters seems to be taking over your mind to the point where you do your version of the absent-minded professor? Besides your mind swirling around like it’s going through space, not paying attention to the present/to what is happening can be dangerous. You don’t want to cross the street right in front of an oncoming car or burn dinner to the point where it sets your house on fire.

To give your demanding character his or her due, you need to do the following:

  • Acknowledge the character and his or her right to be in your short story, novella or novel
  • Do an in-depth character sketch – preferably on computer or on paper. You know the old saying about writing it down – doing so not only shows its relevance, but it gets all those swirling thoughts and ideas out of your head and into a more permanent record – at least one easier to access and review. Your head will thank you.
  • What is in a detailed character sketch? You character’s name, background (family, education, current job if he or she has one), physical characteristics, likes, dislikes, traits, What makes him or her angry, sad, happy, etc. What is his driving force in life? In other words all the stuff that he is and what makes him tick?
  • It helps to give this character a tag, i.e., something (or a few somethings) he does when nervous (become irritable, jingle change or keys in pocket, etc.), and something he does or says across the board. For example, he may always use the f-word or have a particular way of handling phone calls (talk to the point and hang up abruptly). Perhaps the character may have multiple allergies and constantly sneezes. The “tag” or “tags” should be something that becomes part of your story.
  • Caveat One: You can get carried away doing character sketches (or the reverse). The former is better because you won’t use it all in your story, and may use very little in your short story. But having full insight into your character and on paper, helps when you sit down in front of your computer to write your story. You feel as if your character is an old friend or old enemy.
  • Caveat Two: As you write your novel or short story, you may be inspired to add more to your character sketch or change something. Do so if it would work better. A character is constantly changing – just like real characters in real life.

Do any of you who are writing fiction have characters taking over your life? How do you deal with these demanding individuals?

Cheers.

Sharon A. Crawford

 
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Posted by on December 6, 2012 in Beyond the Tripping Point, Blue Denim Press, Credible Fiction Characters, Fiction Characters, Plot and Characters, Sharon A. Crawford, Short Story Collection, Writing

 

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