Weekly Workout: Out of One’s Era

I like technology. I’m no techno whiz, but I can get a pretty good geek on. Sometimes, though, the pace of technological advancement astonishes me. It’s overwhelming. I keep joking that one of these days I’m just going to put my foot down and say, That’s it, no more, I’m staying here. Others have. I know people who refuse to text. I know people who won’t shop online. I know people who will never, ever, ever get rid of their stereos or watch TV online.

I’m not saying this is a bad thing. I mean, I plan on being the writer on the panel at some future convention who goes, “[insert new technology]? No, I don’t do that kind of thing.”

Who cares if I write speculative fiction? I’ve met plenty of science fiction authors who don’t use modern technology. Why would they need to? They live elsewhere, and I do most of the time, too.

I’m sure many people get impatient with the man holding up the line because he doesn’t have a cell phone to show his electronic ticket and what the heck is an electronic ticket anyway? But this could be a great character.

(UPDATED NOTE: I’m not speaking of a character who doesn’t have access to technology and would like to embrace it, but rather someone who has stopped in time while the world moves ahead without them.)

by Stefan Zsaitsits

The exercise I came up with for today is just for the fun of it. You don’t need to be working on anything whatsoever right now, just jump on in.

In my writing group yesterday, one of our writers said, Just give me a line, I want to write something. Out of that line, she came up with a household of characters in five minutes. This inspired me to create an exercise where at least one new character was manifested.

And, btw, if you ever do use any of these exercises and want to share the results, feel free to add a link to it in the comment section.

YOUR WEEKLY WORKOUT

The image I have is of a character out of his or her era. You know, they haven’t changed styles in 30 years. They get upset because they can’t get this item or that service they used to get 10 years ago (what do you mean I can’t buy film for my camera?). They might express anger when what they really are is afraid. Maybe they are afraid of becoming obsolete, afraid of falling behind, of becoming a victim, of losing themselves in the past, of being forgotten…

This could run from the realistic to the ridiculous – like someone stuck in the 1980’s or the 1800’s or someone in a futuristic society hundreds of years from now.  And it doesn’t have to be about technology, just the idea of staying put and being afraid.

1) SET YOUR TIMER for 7-10 minutes.

Start with the line: S/he just stood there, staring at it like …

Write without stopping, crossing out, rereading, or editing.

2) SET YOUR TIMER for 10-12 minutes.

Start with the line: Deep down s/he was afraid of …

Write without stopping, crossing out, rereading, or editing.

3) SET YOUR TIMER for 15-20 minutes.

Write a SCENE (action/dialogue – no description) in which your Out of Era character CONFRONTS his/her daughter, son, neighbour, store clerk, etc (someone younger than s/he is) and this fear emerges.

DO NOT LABEL THIS FEAR, HAVE YOUR CHARACTER ACT FROM THAT SPACE. (i.e. He does not say, “But I’m so afraid you’ll forget about me). Question, misdirect, accuse, or something else, just don’t come out and say it on the nose.

Start with the line: Character X throws the [object] down like a child and …

Write without stopping, crossing out, rereading, or editing

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If you are a blogger who would like to post your own weekly workout exercise with me every Monday, please write to info (at) danikadinsmore.com

Weekend Workout: Facing Fear (Character – Action Part 5 of 6)

Querying can inspire (or despire, haha) feelings of anxiety and depression, even in the most Polyanna-ish writers. I have been through a few agents over the years (all amicable separations) and the approach is an emotional challenge every time.

When feelings of “what-if-no-one-likes-my-story” hit, I like to step back and view the process as a game. I think of the situation as one of those story problems my math teacher gave me. Okay, that’s probably a bad example for many of you because everyone I know hated those problems. I didn’t. Those were my favourite kind of math problems. They were little riddles to be solved and they involved storytelling (yeah, okay, I’m a geek).

Or today I emailed one of my query buddies and said “the pool ball just has to land in the right pocket.”

(Art by Alison Woodward, click for source)

In any case, if something in front of you is causing anxiety, instead of looking at it as this THING looming in your way, see it as an exciting opportunity to do something new and learn something new. How am I going to get to the other side of this? What will it take? How can I do it better? What have I learned so far that I can apply?

If it’s challenging, it’s probably because you haven’t done it before (or figured out how to do it without anxiety).

So, what does this have to do with your Weekend Workout?

I started thinking about these THINGS that we come up against in life and how it’s important to bring that kind of anxiety to our characters. I know you love them, but you can’t make things easy for them if they are going to grow in a satisfying way. How will they learn?

Try putting something directly in front of your character that addresses a fear and then requires them to behave the opposite of how they normally would.

This works for comedy or drama and creates tension in your story. What could you put in front of someone that would make an honest person lie or steel? What could you put in front of an extremely shy person that would put her in the spotlight? (I just pictured this really shy woman going up on stage in front of hundreds of people to distract the audience so someone she cares about can escape.)

What’s even better is if their actions lead them into deeper trouble. You can always get into deeper trouble. Keep digging as far as you can go.

YOUR WORKOUT:

Set your timer for 5 minutes.
Start at the top of the page with the following startline:

1) The one thing my protagonist swears she would never do is . . .

Write, don’t stop, don’t edit, don’t cross out.

When the timer stops, Set your timer for 7 more minutes.
Start with the following line: 

2) My protagonist agonizes when she must . . .

Write, don’t stop, don’t edit, don’t cross out.

When the timer stops, Set your timer for 10 more minutes.
Start with the following line: 

3) Things get even worse when . . .

Write, don’t stop, don’t edit, don’t cross out.

Read your exercises, make notes, highlight what makes sense.

Happy Weekend!

Weekend Workout: The Antagonist (Character – Action part 4 of 6)

Most of my weekend writing workouts have been around the Protagonist. That’s mainly because if your reader doesn’t sympathize with your protagonist, you’ve pretty much lost a reader. But as Jack Remick reminded us in his fabulous guest post a few weeks ago:  Make every character strong enough to be the protagonist of your next novel.

To tell you the truth, I’ve come across a few fictional antagonists that I’ve appreciated more than the protagonists of the stories. And I’ve heard some writers say that sometimes they’ve got antagonists they prefer to write about, which I think is saying something.

When we were in high school, we were often told that the “antagonist” is equivalent to the “villain.” This is not always the case. In fact, in contemporary literature, I think it’s the exception. The villain is a bad guy. The monster. The evil one. He’s out to harm the protagonist, possibly kill him.

The ANTAGONIST is the one whose opposition helps test/shape/change the protagonist. Sometimes the antagonist even does this because she thinks she’s doing right by the protagonist (even if the protagonist doesn’t see it).

I just finished Melina Marchetta’s Finnikin of the Rock (which I highly recommend for people who enjoy more traditional fantasy). My favourite character is not actually Finnikin; it’s his antagonist Evanjalin. She is complex, manipulative, secretive, fearless, and sometimes it’s difficult for Finnikin to figure out whose side she’s on ~ even while falling in love with her. But she is not the villain. If there is one, he only appears in name as the King who wants to invade Finnikin’s homeland.

Evanjalin has her own wants, desires, and needs and if these did not come clear to the reader, the story would have failed.

Every once in a while, I’ll find a main character who is actually the antagonist of the story. This character doesn’t change, but rather changes everyone around him or her. Get Shorty and Cold Comfort Farm fall into this category. Chili Palmer and Flora Poste are the same people throughout the story, and the stories are definitely about them. But their influences are what make others take action, and truly become better, stronger, and more free.

Who is your antagonist? Who is it whose opposition tests and helps change your protagonist? How and why does the antagonist oppose (or try to change) the protagonist? And how does this call your protagonist to action?

YOUR WORKOUT:

Set your timer for 5 minutes.
Start at the top of the page with the following startline:

1) My Antagonist enters the story when …

Write, don’t stop, don’t edit, don’t cross out.

When the timer stops, Set your timer for 7 more minutes.
Start with the following line: 

2) My Antagonist’s exterior goal is . . .

Write, don’t stop, don’t edit, don’t cross out.

When the timer stops, Set your timer for 10 more minutes.
Start with the following line: 

3) My antagonist’s agenda conflicts with my protagonist’s exterior goal when …

Write, don’t stop, don’t edit, don’t cross out.

Read your exercises, make notes, highlight what makes sense.

 

Happy Weekend!

Weekend Workout: Guest Post by Jack Remick (Character – Action Part 3 of 6)

It is my absolute pleasure to introduce your Weekend Workout guest Jack Remick, author and writing mentor / teacher extraordinaire. He was a great influence and inspiration when I took a dramatic writing class from him and co-teacher Robert Ray many years ago. His exercises have stuck with me to this day. If you’re in the Vancouver area, he often teaches at the Surrey Writer’s Festival.

If you enjoy this post, check out Jack and Bob’s Writing Blog for more valuable writing advice and guidance.

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Character and Action—The Deep Relationship

Vulnerability is the key to the sympathetic character. The wound, coupled with a secret coupled with character flaw, gives you a human character. The more obvious the wound, the more deeply buried the secret the more likely the reader is to identify with the character.

Your characters also have a history of pain, shame, guilt, betrayal, and doubt. Getting to know the character’s shame and guilt leads you to the essential element of dramatic conflict that all novels must have in order to engage the reader in the story.

If you write about your character in the past and then in the present and then the future, you deepen character as well as introduce aspects of plotting.  What will become of her? Will she find happiness? Defeat? Plotting a future for your character gives you a handle on the narrative present.

Here are some hints for creating strong characters:

Action comes from character needs.

Make every character strong enough to be the protagonist of your next novel–

Betrayal: How many times has your character been betrayed?

Shame: What is she ashamed of?

Guilt: What is she guilty of?

Doubt: Why does she doubt herself?

Three words for strong characters that get you to action:

Want

Need

Can’t

Want. What does your character want?

Need. What does she need?

Can’t. What can’t she have.

Thwarting Desire and Plot:

Human beings react to being thwarted. Desire always leads to action. In fiction, action is what characters do to achieve their wants, to satisfy their needs.

Plot can be defined as the chain of events your characters undertake to get what they want. How does your character react when she finds out she can’t have what she wants?

Denial

When the character is denied what she wants, what action does she take to over come that denial? Denial leads to action. Action leads to pain. Who gets hurt?

Need merging into Obsession.

What does your character need? A hundred thousand bucks a year?

New wardrobe every six months? A new house? How strong is that need? Is it strong enough to become an obsession? When need becomes an obsession, needs meld into drive. Need is the deep, inner aspect of character that cannot be ignored. Don’t ignore it.

The Driven Character:

How driven is your character? What will she do to get what she wants?  Murder? Steal? Cheat? Betray her husband? lover? children? mother?  What will she do when her drive is deflected or even betrayed?

Joining Need to Want and Can’t

When your characters have needs and wants but can’t gratify or satisfy them, you  have an equation that spits out Action. Action is what your character does to meet her needs, to get what she wants.

Does your character want to be wanted? Are there layers of want? Why does your character need to be wanted? Deepen need and want and can’t with shame, guilt and betrayal and you have character traits that will engage your reader?

Doubt, the Forgotten Element.

What does your character doubt? Her abilities? Her sexuality? Her intelligence? Doubt always leads to hesitation—that moment before she pulls the trigger, slashes off her hair, slices her wrist. Doubt is the powerful inhibitor of action. Because the character doubts her physical prowess, she fails to engage the villain in combat. Failing combat, she loses the battle. Losing the battle leads her to the brink of death. Doubt is serious business in fiction.

Childhood and Buried Need:

How deeply buried in the character’s childhood is your character’s need? Can we see the buried need erupting in her present life?  What caused that need? Who buried it? Why was it buried?

Summary:

The coupling of want, need, can’t, guilt, shame, betrayal, and doubt leads you to action, psychology, and plot. How does plot hook to need and want and can’t? When want and need become obsessions, you create the driven character. Character drive is what moves story.

Timed Writing—write for five minutes on each of these start lines:

The protagonist in my story WANTS

The protagonist in my story NEEDS

The protagonist in my story CAN’T have ___________because…

Danika adds: remember to just write, no editing or crossing out.

Have a great weekend!

Weekend Workout: The Wound (Character – Action Part 2 of 6)

Haha, fooled you. I’m not home. But I have scheduled several posts to go live while I’m away. There will be a guest from the Magic Appreciation Tour, a special weekend workout from Jack Remick, and possibly a few more.

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Last Friday I talked about characters being a sum of their actions, and those actions motivated by our complex human emotions. So much influences what we do and say and don’t do and don’t say. Next Friday, Jack will show you how those emotions drive our characters.

by Michael v Malano

Our “uncomfortable” emotions stem from our wounds.
We are all walking wounded.

One of the reasons I love John Green’s stories is because he creates such great wounded characters. Right now I’m reading WILL GRAYSON, WILL GRAYSON and we can see how both of the Wills are wounded, afraid to trust/feel/love, and we want to slap them. We know exactly what they need to do. They need to tell the truth about who they are (to themselves and others).

Most people love their wounds. Seriously. Stewing in their wounds means they get to be right. The world sucks. My life sucks. Many people would rather be right than be happy. So they keep running into things that trigger their wounds and then say, “See! I was right. Nothing but suckage.”

Until they finally lose something too valuable to not do something about it. If we do something about it, we have a happy ending. If not, a tragic self-destruction.

The characters who poke those wounds are the antagonists. The straight Will Grayson’s friend Tiny is everything Will swears he hates, but he’s strangely drawn to him. Every time Tiny opens his mouth, he’s poking poor Will’s wounds.

YOUR WORKOUT

Set your timer for 5 minutes.
Start at the top of the page with the following startline: 

1) The wound that shapes my protagonist’s life formed when . . .

Write, don’t stop, don’t edit, don’t cross out.

When the timer stops, Set your timer for 7 more minutes.
Start with the following line:

2) My Antagonist pokes my protagonist’s wound when he . . .

Write, don’t stop, don’t edit, don’t cross out.

When the timer stops, Set your timer for 10 more minutes.
Start with the following line: 

3) The tragic thing my protagonist loses that motivates him to finally change is  . . .

Write, don’t stop, don’t edit, don’t cross out.

Read your exercises, make notes, highlight what makes sense.

Happy Weekend!