Quick Writing Link: Word Choice

Don't you hate it when you're reading and a character you're trying to connect with uses words she wouldn't say or think? Jennifer Hubbard has a great post on word choice up today. She suggests that along with keeping in mind the character's personality and goals, you need to think about your goals as a writer - an interesting angle.

Creating Compelling Characters

One of my critique partners, Christina Farley, posted some great links that got me thinking about how I create my characters. I don't plan too much about them in advance. I jot down a few key characteristics, their family and friends, a name. I think about what they want, of course, since that's often the heart of the novel. But mostly, the rest of what makes my characters emerges as the story develops.

That's okay, for a first draft, which for me is all about getting a storyline that works. Now I'm thinking that the second draft really should be all about the characters.  I need to make sure to:

1. Bring out their unique or quirky qualities to make them memorable.
2. Make sure everything they say and do is consistent with their personalities (they are not necessarily the same as mine, which means I might need to consciously think about this instead of just letting it happen).
3. Include their emotional reactions.
4. Take a few risks, reaching beyond my own comfort zone.

If I don't connect with the main character when I'm reading, a book just doesn't capture my attention. Paying more attention to character is a different way for me to think about revising, but definitely important.

Quick Writing Link: The Ideal Middle Grade Reader

I loved this description of a middle grade reader from guest poster Suzanne Selfours over at Cynsations. It reminded me of why I love writing MG fiction. Like MG readers, I like to believe that everything (including mermaids, invisible creatures, books that talk) is possible in the world of stories. Occasionally, I do wonder if there is a monster lurking in the hallway late at night. And I'm wondering what my superpower is, since I'm sure I have one too.

Found Only In Fiction: Exhale

Breathing is an involuntary function. We're not usually aware of it. But sometimes, when we're lying in bed, trying to fall asleep, doing yoga, or recovering after a strenuous activity, it becomes the focus of attention. Do you ever think: "Wow, I'm exhaling pretty hard?" I'm betting you don't.

When I'm reading, the word "exhale" always strikes me as medical, drawing attention to itself. Sometimes the phrase "breathed out" is used instead. Or characters "let out a long breath". In some stories, characters talk or think to themselves, "breathe" or "deep breath" in stressful situations. Any of these alternatives work better for me (though my panel of kid readers mentioned that the last one especially bugs them). My best solution is to try not to refer to breathing at all, unless absolutely necessary.

Point of View: Handling a Temporary Change

My latest work-in-progress is written in a third person, subjective point of view. That is, I refer to my main character in the third person, e.g. “she”, “her”, but the story is told from her perspective, with her thoughts and feelings. However, as I write my latest chapter, I’m thinking about including a scene that doesn’t directly involve my main character. I’ve never done this before. I usually stick to one main character POV or alternating POVs of two main characters. But in this instance, I think the scene is needed:

a) to increase tension in the story

b) to add a complication to the circumstances my character is in

c) because my MC’s location is limited by her circumstances and she wouldn’t likely overhear or know about the conversation

The challenge is how to do this effectively. First, if it’s not my main character’s POV, then what POV do I use? An omniscient POV? Or do I choose a character that could come into the story again later (since I’m only at Chapter 7 of my first draft, this could happen, though it’s not my plan). Second, how do I transition to this scene to make it flow naturally?

I’m going to look for examples to see how authors have done this in MG novels. Maybe try it out a couple of different ways to see what works.

Thinking About the Reader

Ok, in my last post I said I don't think much about the reader while I'm writing, but it's not true. I'm actually learning to think more about the reader with each novel I write. Many of the decisions I make while I'm writing are influenced by:

• whether I think the reader will be confused by what I've just written
• what information I think the reader needs to know in a scene
• leaving space for the reader to react and think about an event, without slamming them over the head with what the main character is thinking
• questions the reader might have about what is happening and when to answer them

I don't always consciously think about the reader, but whether I'm aware of it or not, the reader's reaction does come into play.

I've read somewhere (many places!) that it's a good idea to have an ideal reader in mind when writing your book. I do have one or two of those, including myself--I have to write the kind of book I'd like to read.

Quick Writing Link: Plot, Structure and Creating an Experience for Your Readers

Today I came across three great posts at Laini Taylor's blog on plot, character motivation and conflict, and structuring a novel.

What I found especially helpful was a sidebar that included questions to ask yourself to help in creating an experience for your readers. I don't often think much about the reader when I'm writing, but perhaps I should.