Christmas Forest

 

We only get a glimpse of some red leaves during the Autumn, but how about a whole FOREST of fire-engine/burgundy leaves with some green grass? I thought the scheme would make for a cozy Christmas setting.

Characters: Your Hero

Let’s talk about characters! Most importantly, the hero/protagonist who’s going to carry your story.

The hero may be the cornerstone of inspiration for your novel, trilogy, series or whatever your endeavor is with writing. Sometimes that foundation may be built off of a plot device or a worldbuilding device, but if the hero does not shine in your reader’s hearts or memories as they are reading the book, prepare for the book to miss its target when it hits shelves and reviews.

Readers generally want a hero who is: smart, imperfect, and 3-dimensional. 

Let’s address each point. I’m going to start with imperfect first.

• Imperfect. Readers want imperfection in a character so much that there’s a derogatory term applied to those who don’t follow this rule: Mary Sues. (Or Gary Stus). While success is often exciting from a real-world perspective, no one wants to read about a character who has it all in talent, intelligence, wealth, strength, approval/respect and integrity. Even combining two of these qualities can make for a risky move. No one wants to read about a rich valedictorian award-winning ballet dancer who was bullied in high school despite her good looks and heart of gold. Now, most people online talk about Mary Sues like the solution is to “add a flaw”. Okay. Would you really approve of the rich valedictorian cute ballet dancer, if she was insecure? Bad at sports? Unwise about decision-making? Naive about love? My guess is no, not really. The best way to write an imperfect character is not make a flaw on an otherwise perfect character, but just don’t make the character the cream-of-the-crop overachiever to begin with. Make them good at a couple things but not record-breakingly so. Give them strengths, but make it sound like they’re still “figuring-it-out” on a day-to-day basis especially if they’re 20s or younger. Make them an average that balances out, where the reader analyzes what their strengths and weaknesses are rather than saying it outright. If they have to overachieve (and in multiple fields), make their flaw deadly or crippling. Maybe they have a disease/mental illness, or are an alcoholic, or are secretly losing hope in themselves, or are a wild partier/spender that forfeits responsibility, or just really needs someone else’s help.

• Smart. Readers want a smart character, and I don’t necessarily mean book-smart. By that I mean, unless the character is to be regarded as stupid (like Patrick Star), then they want the character to be able to make common-sense decisions. They don’t want your character falling for the obvious horror-movie cliches when there was an easy way to call for help or get out of a situation. This is where you do the legwork as an author to stage your circumstances that eliminates the common-sense decision and forces your character to go into it head-on. It's safe to say that readers enjoy a clever character who can devise their way in and out of conflicts more than an intelligent character who knows his academics.

• 3-Dimensional. People like learning as much about your characters as they can. They don’t want to know a stereotype or archetype. You don’t want your character to be described with just a couple of adjectives. Readers want to know how deep their opinions & train of thoughts go, how flexible their skills or weaknesses are, how complicated their motivations are and how wide/narrow their capacities are for emotion or self-control. And rather than make a checklist of all the subjects your character can have an opinion on, I find that after you establish their identity and interests, one of the best forms of character development is just how they can react to diverse situations and interactions with the environment or other characters. Arguments, encouragements, acts of kindness, heart-to-hearts, problem-solving will say volumes about the character while advancing the plot. And using nuances to address these in slightly variable ways can break cliches and add bottomless depth to your character.

What kind of qualities or traits would you like to see in a leading character? Comment below!

Book Review: Machinehood

 

As I continue to write and post about writing, I will also be sharing thoughts on the works that I read--which is largely science-fiction, young-adult, and action/adventure books.

I finished reading Machinehood! Though I'm a little late to the party, if you want to read a cerebral AI techno-thriller with a strong military slant, this book is for you. Below is my full review, at Goodreads!

https://www.goodreads.com/review

 

Scenic Route

 

 

Sometimes I just feel like I need a breath of fresh air. But I wanted to express that in a picture. So how about some dandelions and wind turbines backed by a waterfall?

Originality

 Continuing on the themes of starting out with an idea, I think it’s going to nourish your inspiration and exercise your brain if we have a little talk about Originality. I’ve gotten into numerous debates with creators about the definition and application about this word, so first I’m going to encourage you.

BE ORIGINAL. Make sure that at the end of the day you can cast your proud signature on your masterpiece with the complete knowledge that it is utterly yours, something researched, developed, manufactured and strategized in your brain. 

Now I’m going to shed some light on the subject.

Let’s define originality first, shall we?

The top Google definition result for originality defines it as: “the ability to think independently and creatively” OR, “the quality of being novel or unusual.” Dictionary.com, Cambridge, Vocabulary.com, and Merriam Webster all express this definition in a similar way: A quality, a power, or a trait. But…uh oh. Macmillan takes it farther by saying “the quality of being new, interesting, and different from anything that anyone has created before”. 

So herein lies the debate. We have a divide between a relative and absolute interpretation of the word.

Macmillan Dictionary, as well as a large population of artists, writers and the general public, argue that originality is only applied in the absolute context. It is only a yes or no. All or nothing. This means that if one iota of your manuscript is derived from something else, even if it’s lavished with groundbreaking territory, it is not original.

But consider this, almost none of the adjectives we use in the English language convey an absolute purity or coherence to its word. You can call a movie “good” even if it has some improvable spots. You can call a sundae “sweet” even if it has some chopped walnuts. You can call your day “hectic” if the first 30 minutes was mellow, and You can call a shirt “red” even if the hue isn’t R: 255 G: 0 B:0. See? In the same way, content doesn’t need to be perfectly original to be original.

Consider I want to paint an “original” concept. I’ll paint a horse. Been done a million times before. Let’s make it a blaring red-orange Pegasus whose coat was made of fire. On top of that, let me paint some tortured and wounded farmers who were attacked by said Pegasus for their unethical treatment of animals.

 See what I did there? Have you heard of an equestrian incarnation of a Phoenix who served as a vigilante to exact justice on abused farm animals everywhere?

Though if you broke up the parts of the concept: Horse, Phoenix, Vigilante, some may say it isn’t “original” because I didn’t invent any of those concepts. But the combination certainly has not been conceived or illustrated by the vast vast majority of the population.

THIS, here is originality. And with continuing your train of thought and letting your imagination run wild, you can take a very very simplistic concept and transform it into something marvelously original over time. So keep writing and keep scheming!

The Thrillseekers - Song for Sendai

 

This for me is one of the quintessential and personal favorites of techno trance songs.  Its classic club production is soon contrasted by a more meditative melody which underscores the tragedy that inspired it. Energetic synths meet an emotionally haunting piano both of which demand your attention. And the result is a piece that feels profound and hopeful.

Pulse Temple

 

This is Pulse Temple. Where the indigenous people emphasize the strength of the heartbeat, and the power of music. Here, we are all humans, no matter what country or race, or social class, or background or family, but we're all connected by a pulse.

Where to Begin: Part II

Last week, the post on Beginning a Book began with a brief discussion bout Hooks.

Let's say your plot cannot begin with that exciting climactic material that would be the textbook-definition of a 'hooky' opening. What do you do to make a solid beginning? 

 Take a Snapshot

Let's say your book features some of the most mundane characters ever, living a (seemingly) ordinary life. The most cliche thing you can do is open your book with an introduction of themselves, waking up to an alarm clock, or looking in a mirror. Why? Because it draws attention to itself. What do these things have in common? These scenes are beginnings of themselves. Nothing screams "I'm beginning a book" than with beginning with someone's first day at a new school.

So take a snapshot. Since these characters had lived years of life up until this plotline, act like they had a life before and are not simply coming into existence when you first started writing them. Starting the book by jumping right in the middle of their commute to work, a conversation at dinner, dance recital, etc. Pay close attention to the little things, like the specific way the character likes to order Chinese food, or the dislike they have for holiday decorations. Point out the fine details and contemplation that only your character would point out. Make it sound like the reader interrupted your character's life at a random, inopportune and personal time--and not at a self-aware beginning. Still has the effect of a fast-pace with Lights, Camera, and Action on your first words.  

Paint a Picture

No book can happen without a setting, everything has to happen somewhere. So sometimes your setting should get a glimpse of the spotlight. Think about a cozy mystery that paints the picture of that old-fashioned roadside diner whose neon lights glimmer against the rain-splashed roadway just past midnight, where inside the detective orders a reliable cup of coffee brewed just the way he likes it. Let the reader glide into the scenery of your world with some establishing shots.

Meditate

The opening of the book is where you can devote some space to ruminate about the underlying messages and themes about your book without being intrusive to the plot. Open with a couple of truths and/or a couple of questions to set the tone about what challenges or boundaries your character may have to overcome (but do this gingerly and subtly). Maybe in the process you redefine what is constituted as normal in your universe. But only give them a taste. You want to lure them in a way that provokes curiosity, you don't want to show them your full deck of cards. This approach can be much like having a narration at the beginning (cue Morgan Freeman voice).

So here are three different angles you can use to attack "boring" beginnings with, using 3 different foci: your character, your setting, or your message. You may even be able to marry all three of these into a whole chapter. 

 And for additional inspiration, you're probably watching shows & movies on your favorite streaming device, you're also watching beginnings on a regular basis. So remember: Write it Like You'll Watch It!
 

 

Where to Begin?

 I got a lot to say....Where to Begin...in a story?

 Well, if you are writing about a villain who has a dastardly plot to release a series of bombs in world-renowned tourist destinations, and an MI6 operative who has a special set of skills to thwart said plot...chances are...you're not going to have any difficulty starting this book off with a bang. (Well you might have some, but you'll have plenty of opportunity to plausibly devise an explosive entrance).

There's a lot of pressure to start a book that hooks you right in. But what if you're writing Drama, or Romance, a Slow Burn, or what if your character isn't launched into the excitement right away? Does the beginning of your book still need a hook? One with excitement, mystery, wrenching emotion or spectacle?

Yes, in some circumstances.  

Be aware that if you want to be a traditionally-published author, many submissions calls will ask for just the first chapter, first 500 words, first page, etc. So having a strong immediate beginning will be important. It's not uncommon for prospective readers to sample your book by picking up and giving it a quick read from the beginning to catch your vibe.

 But also, no... In some circumstances.When I think about it, I've almost never picked up a book based off of how it opened...what would hook me was the blurb on the back of the cover. I needed to be promised that what I was going to journey into was worth it, I didn't need to arrive on page one. When it comes to book reviews, I see little to nearly-nonexistent praise for how books open, but how well it holds their attention. When readers decide to buy your book, chances are they will be willing to invest a few chapters in it unless in your beginning there are some very large red flags that makes them drop it and run.

With that said, your pacing, writing style and characterization needs to be smooth. An active beginning will bridge the gap to your conflict, but if your plot does not allow for starting off with a bang, I would like to share some ways you can get that first chapter started regardless. Stay tuned!

Thoughts? Opinions? Rebuttals and Disagreements? Share your thoughts below!

 

Atmosphere - The Best Day

 

This is a song that's very easy to recommend. It is just so practical. Marvelous storytelling (especially in the 3rd verse). Almost any adult from across the country can sympathize with these struggles from work, school and every day life, and yet learn that not every day can be amazing...we got to take our middle-of-the-rut days with stride.

Pinball

 

Pinball - 2010.
Anybody else want to revisit the glory of playing of pinball machine?

Personal Work - The Launchpad

 

One thing’s for certain,

Is you could never be too certain

Gotta weigh the risk, is it worth it?

Gonna spark a question it’s burning

Before you pull that Iron Curtain.

Gotta tear the wall like it’s Berlin

That’s a second world like it’s Kyrgyz

From your comfort zone in your courage.

Wanna leave a trail like it’s Bourbon,

Of all my art and recordings, 

If it goes south like New Orleans,

I still try, don’t forfeit.

I swing my sword like the Motherland

Statue in Volgograd.

I went to school, I go grad.

Switched a major like a nomad

I was so mad, but I made it.

With early-bird and night-owl moves.

With more walls than Kowloon

Don’t doubt you before Round 2.

This is the Launchpad.

 

My first rap and first personal work shared to this blog, I present: The Launchpad