Sometimes, it's What You Don't Know

Source: travel.ca.msn.com

     Silence is golden. 

     As writers we often talk about the deficiencies in telling instead of showing. This idea is far more than one of aesthetics or sophisticated writing. It is fundamental in the telling of a story or the unfolding of plot.

     As a reader, I want the experience of knowing the questions as the clues are presented by the writer. That way I may not know the details, but I feel them. I become emotionally engaged, pulled in by the tension that subtext creates. 

     "Meaning is only compellingly elusive when the reader must struggle to reconcile the tension that arises from plot, " writes Catherine Brady.

   So when I say, silence is golden, I mean exactly that. The gold I am after as a writer is that magic that cumulative clues create in the telling of the story.  

For a more in depth look at this concept check out "Story Logic and the Craft of Fiction" by Catherine Brady. 
  
Did you prospect any gold today?   For me, it often requires sifting through the dirt, if you know what I mean.

WIP Thursday: I know, I know, It's Friday...

     I just sat down to write this and *hic* got the hiccups. *hic* And no I haven't been drinking. *hic* Ok, this is getting an*hic*noying.  While I haven't been drinking, I have been a bit frustrated.  I took Elana's advice (check out Marieke's Musings and Operation Awesome) about writing your query letter while you are in the middle of writing your novel. What did I find out? That my last 20,000 words are mostly back story and the real story is what happens next.

The exciting part is that the "edge" I was looking for presented itself and the murky waters of my muse have cleared. Did the last few months of work mean nothing? How do I let go of something I have put so much blood and sweat into? 

First question: No, this wasn't a waste but a necessary process for me. I can accept that. It did get me to the real story, and besides, now I totally get why my MC wants what she wants. That's good, right?

Second question: Letting go is hard to do *tacky music plays* This is probably one of the most difficult things a writer does, slaying your babies for the sake of the story. The bottom line is, you can have the greatest turn of phrase, the most awesome character development, a really twisty plot but if no one is interested to turn the page and read on, what's the point.

So, I will keep my 20,000 words on the computer for reference. Then I will build a fire out back and burn those pages as a sacrifice for the better story.  I won't lie, it hurts.  It also means I am not as close to a finished novel as I thought. I have always told my children it is more about the process than the results, so I guess I will take my own advice and see that experience for what it was, a honing of my talent as a writer.

Excuse me, I think I need to go have a good cry...and no Honey, you can't fix this.
       Maybe I will have that drink, now.
Have you slayed any babies, lately?

Weaving Compelling Characters

"He does not write- he breathes life off the page"  -Edna O'Brien on Chekhov

      Characters are what make a story. You can have the most exciting plot with twists and turns but if the characters in your world don't feel authentic, the story will fall flat. The goal in every story is to "suspend disbelief". The best way to do this is to make sure your characters are fully developed.

There are some common threads that I have found woven into every memorable character.

1) Warp- Great characters have back stories that make them who they are. The warp of any weaving is the structure that holds the tapestry together. Our characters don't just pop out of  nowhere. They had full lives before entering the story we are telling. Spending time with your characters and creating a history that leads to who they are today will hold your character together as they face your unfolding plot.

2) Texture- Believable characters have real emotion. The most interesting tapestries have different textures to add depth. Telling your readers that your character is sad is flat and uninteresting. However, if your character is staring at the same stain on the wall, arms wrapped around her shoulders rocking back forth we see and feel that sadness. Look for new and interesting ways to convey emotion.

3) Color- Exceptional characters want something. The use of color creates the unique design of each tapestry. Our characters, from the protagonist to the ancillary characters all have wants and desires that color all their actions. These are what drive the decisions that each character makes. Spend time understanding these motivators.

4) Pattern- Memorable characters have patterns of behavior. Most patterns in a tapestry repeat themselves over and over again. Human beings have a tendency to develop routines, ways for doing things based on who they are. These can be good or bad habits. They can even change as the character grows but these are small things that make each character unique. Flipping his hair to the right, moving her hands whenever she gets excited, are all things that anchor the character in reality and keep your character interesting.

5) Tension- Larger then life characters act when their wants come in conflict with events. In a weaving if the tension is too tight the strings can break, too loose the design becomes distorted, uninteresting. Knowing when and how much tension to introduce to a character and their world is important. It is often referred to as raising the stakes. Push you're characters to the limit then stand back. If you find that your not sure what they will do next then perhaps you need to revisit their wants until it becomes clear.

These are important parts of weaving a character. It is sometimes tempting to skip or skimp on one or more or the parts and just get on with the story. However, you will find that creating full and compelling characters requires close attention to all of these details. (Tapestry above by Sylvia Heyden)

What processes do you use to get at these important parts of a compelling character?