N is for Names

How do you pick your character names? I just throw in something that suits the gender and age when I write the first draft, I've even named one MC. But as I get to really know the character I can decide who they are.  I also like names that relate to the character's activities.

My girl detective in the DOG SHOW DETECTIVE series is called Kitty Walker - I got that from playing with lots of dog-related words.

The Paleontologist in DIGGING UP DEATH became Dusty Fields.

In my yr 7 class last year, one kid kept going on and on about some bloke his family knew called Kev. Kev was apparently a bit of a legend who starts every trend in the neighbourhood. I knew Zane's goofy best friend in MY ZOMBIE DOG had to be a Kev. Kev is now earning his own book.

I love that moment when you find just the right name for your character. How did you find yours?

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Stein on Writing

This week I've sent the first 1,000 words for 'Dog Show Detective' into a literary competition for aspiring writers, with one of the prizes being having your novel considered for publication. I will also send it out to publishers, once I get that dreaded query letter mastered. 

I've also returned to the audiobook Stein on Writing this week. There are a few gems to be found in this  book on advice for would-be writers and writers perfecting their craft. 

Sol Stein knew what it took to be published. As well as being a writer, he edited and published for some masters of fiction and non-fiction.

This book covers all aspects of writing. Stein warns us that description should have more than one purpose; as well as creating a setting or painting a picture, it should reveal something about the story or the narrator's state of mind.

With the trend for fiction to open with the inciting incident, or action, Stein's advice is timeless. Characters come first. An explosive opening might hook the reader in, but can leave you feeling disorientated and unmoved if you haven't gotten to know the characters involved. As Stein says, "We need to see the people in the car before we see it crash."

For me, his best advice is about getting the job of writing done. I know I feel so busy with work and kids and, and, and... that sometimes I feel too tired or stretched to get anything down. I'm pretty sure a lot of writing mums will know what I mean. Or there are the times when you are heading off to visit family, or there's a wedding to go to, or bills to pay and groceries to get. The excuses might change for your situation, but we've all got them. Stein suggests renting the movie 'My Left Foot', then see how well your excuses stand up. It comes down to the Nike slogan: 'Just Do It'.

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How Clear are your Characters?

A Shady Character

How well do you get to know your characters before you start writing? For me, I usually get more of an idea of their situation rather than their personality. I honestly don't know much about my characters until I've finished the first draft. Then I can write them.

Oh, I've been through character workshops, tried exercises and filled out detailed character profiles, including suitable flaws. But once I start writing, all that changes and I end up will a fully formed person, that in almost no way reflects the original idea I had of them.

Secondary and background characters are even more elusive. I went through several edits of Dog Show Detective with a brooding and shy boy in the background, because I didn't know how to write him. Once I realised he was actually funny, then I found out he wasn't shy at all, but rather an extrovert.

I don't mind not knowing everything about my characters before the first draft is finished. Once their voice comes through, the rewrites are easy. I've just got to stop trying to think them so I can see them. How about you, do you need to know your characters well before writing them?

If you do, you can check out some posts I've written on how to create characters:

My Top 8 Posts on Characters

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NaNoWriMo Life Prompts

Cartoon from InkyGirl.com

Day two of NaNoWriMo and all is well. I've passed the 5,000 word mark (10% of the way there!). My story is starting to take shape, I've not plotted it out thoroughly, I only know there is a murder and a reason and the 'who it is' might surprise me. You can buddy me at charmaineclancy.

I was worried I'd struggle with NaNoWriMo this year, because I've been working full-time as a substitute teacher, at the moment I'm an Art Teacher (it's such a beautifully creative environment, I feel inspired to write!). We've had a few issues at my school because the new French teacher was not getting a good response from the kids and has decided that subject is not for her, so, until we get a new French teacher, I will be taking those classes too. Great, except, I don't speak French. I've downloaded an audiobook and I'm cramming in the language so I can teach the kids (I only have to stay one lesson ahead).

What does this have to do with NaNoWriMo? I was listening to my French tape while typing and decided to abruptly change a character's nationality to French. Secondary character Alisha is now Francine. So what do you do if you change your mind about something big in your novel?

Well, you DON'T go back and change it! Just type on as if Alisha were always Francine. I typed one line in capitals:

ALISHA IS NOW FRENCH AND LET'S CALL HER FRANCINE.

I'll find it in the edits and fix the inconsistencies.

So if you get stuck for ideas, just look around and steal the first thing you see! NaNo on!

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Writing Novels - Formulas and Structures

Igor! I've created the formula to bring a dead narrative ALIVE!

Formula can be a dirty word in creative writing circles. Where's the burning passion and imagination? Will we create computer programs that write the story for us? Will all books become generic boring tales?

Every writer wants their work to be different. And it should be, to a degree. Storytelling is a human tradition and it evokes expectations from the audience (reader). Styles change as civilisation progresses. Children's stories were once more didactic with moral warnings like: 'be good or you will die and rot in hell'. Today we can introduce ethical problems into young people's stories, but it must be subtle. Why? Marketing. Kids have their own money and they get to decide what books to buy. 

Sometimes the structure of telling a story comes instinctively, but when we struggle we turn to structures as a guide.

I love writing workshops and I've been coming across many writers' workshops in audiobook form (from iTunes or Amazon). This week I've been studying under Michael Hauge in his workshop:

This audiobook is a recording of an actual workshop that took place over three days, it's about 3hrs and appears to be based on the book:

I don't write screenplays, but once I'd heard Hauge talk in the audiobook Hero's 2 Journey with Christopher Volger, I couldn't wait to hear more. I'm glad I did, everything that Hauge says about screenwriting can be applied to writing novels.

It's tempting with audiobooks to just listen to them while you do other things (driving, dishes, walking the dog...), but then you won't be getting the maximum benefit from the workshop. Have a pen and paper ready (or open a Word document) and record all of the key points that resonate with you and make notes about how this can apply to your novel.

There is too much covered in Michael Hauge's workshop to possibly cover it all here, but just a taste of what he includes is:

Whatever genre you write, your main objective with every narrative is to elicit emotion from the reader.

There are stages to creating a narrative and Hauge goes into more detail about how to address them:

• Story Concept - premise sentence of your novel, 'a ______ who wants to _______' (you fill in the blanks). For more on premise visit my previous post: My Take on Premise. This structure of sentence is because your story needs a visible goal. Where do you get ideas? Headlines, fairytales, myths, your own life, science etc etc etc. Hauge also insists that you need about two dozen story ideas before trying to write one.
• Characters - your story must posses a Hero with a visible physical goal (outer motivation) that has a clear end point (catch a killer, win a race, get a girl). The reader must be able to identify with the hero, you can do this by placing them in jeopardy, make them the victim of an undeserved misfortune or simply make them likeable/funny. There should also be a 2nd Primary Character (the Nemesis) who has an outer motivation that comes to crossroads with the hero's outer motivation. Other characters that help the narrative are the Reflector (sidekick or mentor) and the Romancer (love interest).
• Plot structure - what happens and when. The right things happen at the right time to elicit maximum emotion. The plot structure will have an outer journey that affects the character's inner journey (self-discovery, emotional growth, etc). Hauge goes into minute detail about plot structure, including the exact moment when the story should change and progress. See the image further down to see the six stages of any plot.
• Individual Scenes - Hauge provides practical advice for tackling the writing of scenes. There must be a scene where the Hero must risk everything to overcome the conflict, every story needs courage. Each scene must also show conflict (see my previous post: Get a Little Conflict in Your Scene).

Here is the link to the PDF file that you can print:

http://moviejive.com/wp-content/uploads/2010/02/hauge6stageplot.pdf

Hauge tells you to choose a story idea with commercial potential. One aspect of this is to include familiarity and originality. That is to have some elements that readers have come to expect (structure?), but also find ways to surprise them.

How do you feel about using a structure? Do you think it's the element that give a meandering tale form so the narrative can come to life? Or do you resist formulas? Lets hope they are used for good and not evil :-)

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I've got that Tingling Feeling Again!

I've been writing for pleasure since I could make the shape of letters with a crayon. I grew to create short stories, poetry, experimental pieces, scripts, blogs (obviously) and more. It makes me smile then that every time I approach a new piece, task or genre, I feel like I am approaching writing for the first time - I'm embarking on something untouched and unknown.

I feel that way now. I've created plot outlines, characters and begun writing on my Pirate Girl trilogy and now I'm also beginning a story about a young girl who manages to solve mysteries while attending dog shows. I've been there before, what's the big deal?

This time it feels different. The first module of a writing course How to Think Sideways (go to the ink-fever page for the link and a discount) has arrived in my inbox and I'm just starting to read through it. This is exciting. This is not just a course, this is the course that will take me from scribbling down ideas and plots and stories to working on completing and publishing my novels for children.

I chose dog showing as the setting for my most recent project and a young junior handler as the character because my 11yr old daughter is embarking on this activity. Write about what you know - isn't that what they tell you?

You also have to write to propel the story, as dubious as it may sound my setting will host many mysteries. I also like quilting, but can't imagine that craft propelling any narrative, 'the two men boldly stood, ready for the battle about to take place. One of them would surely die. Sarah pulled out her Irish Chain patchwork quilt and with her size 10 needle threaded with the special waxy thread, she began to stitch. One tiny stitch, then another. It was thick fabric with wool lining so the needle did not slide through easily...' You can see why I don't write about quilting in my fiction, now if I was a sky-diver, well that would be a different matter!

One of the things that impressed me when reading up on the How to Think Sideways course, was the mention of listening to your muse. I've always imagined I would write for adults, and even started a crime novel aimed at that market. When I create my characters, they have different ideas, they start to place themselves. The Pirate Girl evolved from a picture book idea for young children, but Grace became stubborn and stomped her foot and said she wanted to be in a big girl's book. Once the fight scenes commenced and some poor sailors lost their lives, I knew she was right - never argue with red-head (I should have known better).

Now I am finding inspiration everywhere. By attending a Commedia dell'Arte (Italian comedy theatre) yesterday with drama students, I was struck with desire to visit Italy. The costumes and masks were so expressive and colourful. I've now decided my little dog show detective is going to travel the world attending famous dog shows and solving mysteries. I may have to travel to Italy for research - darn it.

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