Beautiful Strangers: On Writing Diversity (Pt. 3)

Part 3: So What The Heck Do I Actually Write?

"Allow the diversity to exist. There is nothing wrong with it."

-Jessica Lange

Hey there! I'm glad you're back for the final installment of my little series (read: ramble-fest) on writing diversity.

By happy coincidence, NaNoWriMo has partnered up with the grassroots organization We Need Diverse Books for the entire month of October. A huge shout-out to the NaNoWriMo blog, where you'll be able to find even more awesome posts on literary diversity! Seriously, guys, this is worth checking out.

Now, one last time, let's recap:

In my first post, I talked about the lack of diversity in mass-market fiction, and put a call-to-action out to the people who have the capacity to change things: us! Writers of the world, diversify!

In my second post, I went back-to-basics, and looked at what the terms "stereotype" and "caricature" actually mean. Hopefully, now we know what to avoid.

So where does that leave us? Rather, what does that leave us? We want to populate our worlds with diverse characters, but how do we do that? What should we be aiming for in our writing? 

The answer may come from a surprising place.

ECRP (Early Childhood Research & Practice), is a peer-reviewed, multilingual journal on early childhood development. Back in 2001, it published a fantastic article titled "Examining Multicultural Picture Books for the Early Childhood Classroom: Possibilities and Pitfalls."

The entire article is worth reading, but of particular value to writers is the section "Using Theories of Race to Examine Children's Literature." It talks about the importance of "reading against the grain," also known as "resistant reading." This concept promotes reading with an eye towards recognizing stereotypes or biases on the part of the author. ECRP called it "interrogating" the literature.

The article offers several questions to guide readers in these "interrogations." Tweaked slightly, some of them are also excellent questions for writers to ask themselves about their own work.

Here are some of the most relevant questions (in my opinion). Any italicized commentary is my own:

- Question #1:
Are characters "outside the mainstream culture" depicted as individuals or as caricatures?

This may be the most important question out of all of them, and it's deceptive in its simplicity. We start falling into stereotypes when we recycle old tropes or generalize about a given group. This is also known as lazy writing. 

Our characters should be believable as people, first and foremost. Everything else is just window dressing.

- Question #2:
Does their representation include significant specific cultural information? Or does it follow stereotypes?

One of the reasons stereotypes are so common is because they're so easy. Again, don't get lazy. Put in the time, do your research, and both your characters and your writing will be all that much richer.

- Question #3:
Who has the power in this story? What is the nature of their power, and how do they use it?

To these questions, I'll add one of my own: are the people with the power the people you would expect to have the power? If so, that's not necessarily bad. Like I said in my first post of this series, not every character needs to be a Beautiful Stranger (again, quoting Nisi Shawl). 

However, if there is room to do so, consider playing around a bit. If nothing else, you might end up with some characters/ situations you didn't expect... and that can be fun.

- Question #4:
What are the consequences of certain behaviors? What behaviors or traits are rewarded, and how? What behaviors are punished, and how?

In other words, are certain cultures/ lifestyles portrayed as "acceptable", whereas others aren't?

- Question #5:
How is language used to create images of people of a particular group?

Language is tricky. Used well, it can add flavor to a particular character or scene. Used carelessly, it can come across as patronizing and ridiculous. My advice is, a little dab'll do ya. Most readers tend to get lost in hyper-slang anyway.

- Question #6:
Who has written this story? Are they inside or outside the groups they are presenting? What are they in a position to know? What do they claim to know?

Writers, this means us! What are we in a position to know? I would argue we can position ourselves to know more, but it takes some effort. And by effort, I mean research. 

Firsthand knowledge is always best, so however you can obtain that, do it! Read from firsthand sources (books, magazines). Go to a cultural festival. Check out the taqueria down the street where everyone speaks Spanish, and order something you wouldn't normally get (I suggest horchata). 

Make yourself a cultural ambassador. Your writing will be better for it. 

- Question #7:
Whose voices are heard? Whose are missing?

Are there places where you could add these missing voices in? At first, this will probably feel stilted. The more you do it, however, the more natural it will feel. And once you start seeing the added layers in your writing, I think you'll be hooked. I know I am.

- Question #8:
What do(es) this narrative... say about race? Class? Culture? Gender? Age? Resistance to the status quo?

In my opinion, there is no "right" or "wrong" answer to this question. Whatever your narrative is saying, just make sure it was your intention to say it. 

Not to suggest our books don't or shouldn't take on a life of their own -to the contrary, I find it incredibly exciting when that happens! I'm merely counseling vigilance and awareness.

I'll leave you with a final quote from Nisi Shawl, whom I also referenced in my initial post on this subject. In her fantabulous article "Transracial Writing For The Sincere," she says:

"Remember that difference is in the eye of the beholder. Black people don’t spend their whole lives thinking of themselves as black. We’re Ghanaians and editors and diabetics, and lots of other -ians and -ors and -ics. Use these self-categorizations to add points of audience identification to your characters."

I can't think of much to add to that.

I hope you've enjoyed this series! Thanks again for reading. If you're interested in more of my writing, I hope you'll stick around and check out the rest of the blog.

Otherwise, happy wordmaking!

Beautiful Strangers: On Writing Diversity (Pt. 2)

What Are Stereotypes, Really? 
(AKA, Know Thy Enemy)

“If you know the enemy and know yourself, you need not fear the result of a hundred battles. If you know yourself but not the enemy, for every victory gained you will also suffer a defeat. If you know neither the enemy nor yourself, you will succumb in every battle.” 

- Sun Tzu, The Art of War

If you're here, it means my previous post didn't scare you off. Hooray! Before we dive in again, let's re-cap.

We've agreed the lack of diversity in mainstream fiction is problematic.

We've acknowledged we, as writers, have the power and the obligation to change this.

We've decided we want more diverse characters (main, minor, and everything in between) in our own writing.

So what now?

I've done a lot of thinking about this. If you're like me, you've spent so long walking on eggshells, it's hard to know where to start. How do you distinguish between the things you should handle delicately and the things that are, in fact, acceptable to print?

Here are just a few of the issues I've come up against in my quest to diversify my characters:

* When writing about racial minorities, do you describe skin color? If so, when, how, and how much?
* If your character is a lesbian, can she have a butch haircut and wear button-down shirts? 
* If your character is gay, how masculine/femme can or should he be?
* Can your villain be a minority (racial, sexual, or religious)?

I realize these may sound silly, but they are all things I've genuinely questioned and struggled with. The last thing I want is to propagate what Ray Bradbury so eloquently called "the terrible tyranny of the majority." I want diversity in my books, but it's not enough for me to simply shoehorn in a lineup of tired caricatures and call it a day.

I want to get it right. How do we get it right?

First and foremost, I think it helps to have an idea how to avoid getting it wrong. How do you know if what you're writing qualifies as a stereotype? Sometimes it's glaringly obvious, but not all stereotypes necessarily sound like stereotypes. At least, not right away. What to do?

Let's start small.

The following is copied directly out of the Merriam-Webster online dictionary:

STE·REO·TYPE 
transitive verb \ˈster-ē-ə-ˌtīp, ˈstir-\
: to believe unfairly that all people or things with a particular characteristic are the same
1
:  to make a stereotype from
2
a :  to repeat without variation :  make hackneyed
b :  to develop a mental stereotype about

This might also be helpful:

CAR·I·CA·TURE 
noun \ˈker-i-kə-ˌchu̇r, -ˌchər, -ˌtyu̇r, -ˌtu̇r, -ˈka-ri-\
: a drawing that makes someone look funny or foolish because some part of the person's appearance is exaggerated
: someone or something that is very exaggerated in a funny or foolish way
1
:  exaggeration by means of often ludicrous distortion of parts or characteristics
2
:  a representation especially in literature or art that has the qualities of caricature
3
:  a distortion so gross as to seem like caricature

Lest you think I'm deliberately patronizing you, let me explain.

In my last post, I said overly-P.C. language has muddied the issue and confused people. I believe that's a bigger problem than most of us realize or acknowledge. We're so terrified of producing "stereotypes" and "caricatures" that we've lost sight of what those words actually mean.

It's time for some clarity. What is a stereotype, really?

According to the above definition, "to stereotype" something means "to repeat without variation." In other words, if you're writing about a character who is, say, Muslim, and all your descriptions are recycled from media talk shows and the news, chances are your character is going to read like a stereotype. We've all heard this information. You are not providing anything new.

According to another part of the definition, the belief that "all people or things with a certain characteristic are the same" is also stereotyping. We've all seen those pics of the angry Muslim toting a submachine gun and stomping on an American flag*. I hope you don't need me to tell you such pictures are blatant stereotypes, and don't represent the majority of those out there who practice Islam.

*If this resembles a character you have or were planning to write, please visit a local mosque, talk to a few actual Muslims, and call me in the morning.

Now, for caricatures.

I have a love/hate relationship with caricatures. On the one hand, I have a drag queen in my noir romance series who is the most glitter-fied human being you will ever meet. Almost his entire character is caricature, from his bouffant beehive up-do to his pink silk pumps.

Note how I said "almost".

I think you really start running into problems when the caricature becomes the entire basis of your character. True, much of Cookie Mambo is caricature, but there's a lot more to him than just false eyelashes and fuchsia lipstick, and I'm having a lot of fun exploring that.

I'd also argue that there are appropriate and inappropriate usages of caricature. Look at some of the words in the definition: "funny", "foolish", "ludicrous". That suggests humor.

Not all characters are meant to be comic relief. Cookie Mambo is, and as a drag queen, caricature is literally his job. If that's not true for your character, I would avoid caricatures when describing them.

Phew! Still with me? This is a lot to digest, so I'm going to leave it at that for now. But never fear, I won't leave you hanging! There's still a lot more we haven't covered.

Stay tuned for...

Part 3: So What The Heck Do I Actually Write?

Beautiful Strangers: On Writing Diversity (Pt. 1)

Originally, the plan was to make this one post. As I sit down to write, however, it occurs to me a single post would barely scratch the surface of this vast, under-discussed topic.

Hence the "Part 1" in the title.  Here, we'll get the ball rolling and identify what I see as a major problem in literature today: the marked lack of diversity. The next post (or two) will offer some suggestions and pointers on what we, as writers, can do about it. 

Thanks for reading! I'm looking forward to the discussion...

"He who is different from me does not impoverish me - he enriches me... For no man seeks to hear his own echo, or to find his reflection in the glass."

-Antoine de Saint-Exupéry

Diversity, race, orientation, prejudice: all these are sensitive subjects for writers and non-writers alike. With that in mind, I feel I should start off with a few disclaimers:

Disclaimer #1:

I am not, nor do I claim to be, an expert on the subject of diversity in literature (or in general, for that matter). Way smarter people than I can and have tackled the philosophical, literary, and political aspects of diversity. 

Rather, the purpose of this series is to examine what diversity means for me as a writer, to encourage other writers to venture outside their comfort zones, and to offer some solid suggestions on how and where to start.

Disclaimer #2:

I will not attempt to comment on diversity in countries other than my own. I love you, citizens of the world, but let's face it, I neither know nor understand your particular cultural climate, at least not well enough to offer an opinion on it. 

For that reason, any anecdotes I use or observations I make will be drawn purely from my own experiences in the continental United States. Hopefully you will still find them useful, no matter where you live.

Disclaimer #3:

Some of what I say here may come across as politically incorrect. It's not my intention to offend anyone, and I sincerely hope I don't. 

That said, I believe overly-P.C. language has muddied the topic and left everyone confused. This subject is too important to sabotage with feel-good platitudes. I'm going for the jugular here. If that's a problem for you, I humbly suggest you utilize the nearest exit.

Still with me? Awesome! Now let's get real.

Confessions first: writing diversity has always scared the shit out of me. The reason for this (ready to get non-P.C.?) is that I'm white.

*crickets chirping*

As a conscientious modern white woman, I have trouble saying stuff like that. Hell, I even have trouble referring to myself as "white". It connotes painful images of race riots and people running around in bed sheets, things no one wants to be associated with.

Before you get the wrong idea, I'm not going to start whining about "reverse-racism", or anything like that (for an excellent article that sums up my views on that particular subject, click here). That's not my point, and it's not the point of this post.

My point is, I don't think I'm the only writer who has struggled with this, and rather than risk offending people, many of us have simply opted out of writing diversity altogether.

A quick scan of Amazon Kindle's categories for Fiction tells a depressing story. Of the major genres (Mystery/Thriller/Suspense, Science Fiction/Fantasy, and Romance), only Romance has sub-categories for non-white, non-hetero titles. On one hand, this isn't particularly surprising; the Romance genre has more sub-categories and sub-sub-categories than an IRS tax form.

Where it gets depressing is when you start looking at the numbers. I'll stick to Romance, both because it's the genre I write in, and because it's the only genre with any actual data. Here are a few numbers to consider (current as of Oct. 17, 2014). Please note, in the interest of simplicity, they have been rounded off: 

# of titles in the Romance Genre: 212,000

# of titles in the African-American sub-genre: 5,000

# of titles in the Multicultural/Interracial sub-genre: 4,300

The LGBTQ categories don't do much better, though the popularity of M/M romance has skyrocketed over the last few years: 

# of titles in M/M and Gay sub-genres*: 12,000

# of titles in the Lesbian sub-genre: 3,000

* On Amazon, M/M Romance and Gay Romance are categorized under the blanket heading "Gay Romance", despite the fact that there are significant differences between the two. For more information, check out Yaoi Research's article, On Defining M/M Romance.

If these numbers have gotten you thinking, I'm glad. They got me thinking, too. But even these don't tell the whole story. 

What about books not intended as African-American/ Multicultural/ Interracial fiction? Not all heroes/heroines will be --or need to be-- Beautiful Strangers (term coined -as far as I know- by SF author Nisi Shawl).

To me, the biggest problem isn't necessarily the dearth of culturally diverse sub-genre books. Rather, it is the insidious absence of any non-white, non-hetero main, minor, secondary, tertiary, or quaternary characters at all, period.

Which brings me back to my initial confession. 

We're all afraid. We're afraid of rubbing someone the wrong way. We're afraid of "getting it wrong". We're afraid that for all our research, care, and best intentions, we're still going to end up with this guy:

I get it. Believe me.

The problem isn't being afraid. The problem is being controlled by our fear. In our desperation not to offend, we've inadvertently created a literary landscape that is glaringly one-dimensional. It's time to own that. And it's time to change it.

If that scares you, awesome. It means you're seriously considering leaving your comfort zone. That's the first step, and you should give yourself a pat on the back for taking it.

I'm going to end this segment with a bit of good news: 

WE'RE WRITERS, PEOPLE! 

If anyone has the ability, the brains, and the compassion to take this issue on, it's us. We see more, hear more, feel more, and intuit more than your average shmuck-on-the-street. It's what makes us so good at what we do. 

It's why we do what we do in the first place.

So who's with me?

###

Part 2: What Are Stereotypes, Really? 

(AKA, Know Thy Enemy)

Plotting? It's Easy! Sort Of...

http://www.pinterest.com/pin/312507661613893784/

“Writing is easy: All you do is sit staring at a blank sheet of paper until drops of blood form on your forehead.” -Gene Fowler

You have an idea.

Maybe it's a good idea. Maybe it's even a great idea. Your characters have started talking. You're ready to start writing.

Hold that pen, Slick.

How many times have you been down this path before? How many books have you started? Perhaps more importantly, how many have you finished? If the answer to that question is less than one, allow me to make a humble suggestion.

Plot first.

I've been down this road myself. I had already been writing for years before I finished my first book. That I never finished any of these earlier projects wasn't a huge deal to me. It was still just a hobby, after all.

When my son was born and I decided to get serious with my writing, I realized I needed to do things differently. In short, I needed to learn how to plot.

I proceeded to read a shit-ton of books on plotting and story-boarding/mapping/voodoo/whatever.  The lightbulb came on for me when I realized I wasn't going to find all the answers all in one place. I still believe that early research was important, but more for recon purposes.

Since then, I've cobbled together my own approach from several of the books I read, including The Romance Writer's Handbook (Rebecca Vinyard) and Writing A Romance Novel For Dummies (Leslie Wainger). I found both useful in different ways, and cherry-picked different things from each.

Are you at a loss where to start? Looking for a simple, flexible way to plot your book? If so, stick close.

 My (Unpatented, Super-Anal, Probably Thoroughly Unprofessional) Plotting Process:

*Note: I write romance novels. This is reflected in how I plot. If you write in other genres, you may still find this helpful, but you'll probably need to tinker a little more*

1) Create the characters. I have some basic character sketch templates I fill out before I start plotting. It helps me get to know who I'm dealing with.

2) Plot the relationship trajectory. I've read this referred to as the "Major Plot Points". They include any interaction between the hero and heroine that furthers their relationship (first meeting, first kiss, first sex scene, etc.).

3) Flesh out the rest of the plot. Think of it as "connect the dots", the "dots" being your Major Plot Points. What needs to happen to get from one dot to the next? This usually is where you insert your sub-plot, or the part of your book that doesn't have to do with the love story.

Then after all that's done...

- Go back and insert where the scenes/chapters start or end.

- Go through, chapter by chapter, and outline everything (EVERYTHING) that is going to happen in that chapter, right down to when someone sneezes. Make note of any excerpts that pop into your head, any great pieces of dialogue, any description that needs to be woven in, that sort of thing. Keep all of this where you can refer to it easily (I have a notebook), and devote maybe one or two pages to each chapter.

- At the top of each page, define what your objective is for that chapter- increase sexual tension, flesh out characters, major turning points, etc. It helps you focus when you're actually writing. It's so easy to get carried away in the creative flow, it helps to have a visual reminder of what you're actually trying to accomplish.

- Finally, give yourself permission to completely change everything if you need to. I've noticed, especially after the first sex scene, the hero and heroine often go in a totally different direction than I had anticipated. It's a very organic thing, so make sure to leave room for the story and the characters to breathe.

Does it work? I've published three-going-on-four books since I started a little over a year ago, so I'll let you be the judge.

Starting out is always tough, but sometimes it helps to know it was (and is!) tough for other people too. I had a tough time starting. I think it was because I hadn't figured out who I was as a writer, and didn't realize I'm the type who needs to plot my stories out first.

If you're still reading, I assume you're ready to get serious. I hope this post provides some clarity. Kudos to you for knuckling down, asking questions, and figuring stuff out! A lot of people don't take that step.

Those are the people who end up writing journals, but not books.

Adventures In Head-Hopping: What To Do, What Not To Do, And Should You Attempt It At All

Fellow writers, it's time we had The Talk.

You know the one I mean. It's the talk every writer has had at some point or another, either with an editor, critique partner, beta reader, or friend. It's the "time-to-take-yourself-seriously-as-a-writer" talk.

It's the Head-Hopping Talk.

Before we get too far, allow me to define this increasingly obscure literary phenomena for any who don't know what it is. Simply put, head-hopping is when the writer uses more than one character's point of view within one scene.

Now, then.

There are a lot of excellent articles out there about why you should never, ever head-hop in your writing. I agree with many of them. Head-hopping-gone-wrong is an epidemic in the literary community, especially with the explosive growth of indie publishing. Done badly, it's the mark of an amateur. Done well, it's still not for everyone.

But is head-hopping the evil stepmother we've all been told it is? I don't believe so. And while I realize this is not a popular stance to take, I'm going to attempt to defend it anyway.

I'll use my own journey as an example. That's right. I've used head-hopping in my own writing. I hardly consider myself an expert on the subject, but I have learned a few things about what doesn't work and what does. Because yes, it can work.

Many people are already familiar with head-hopping's pitfalls. Here are a few of the most common complaints:

- It's confusing.
This is often true. Some (usually novice) writers will use two, three, four different viewpoints within a single scene, sometimes within a single paragraph. I'll be the first to acknowledge this is maddening to read. It can also get real confusing, real fast.

- It's awkward.
Keeping track of multiple POVs within a scene is no easy thing, especially if the writer doesn't make it clear whose POV you're in at any given point. I can't think of anything more jarring than humming through a scene from the heroine's point of view, then moving to the next paragraph and finding the hero thinking about his cock. Or something.

- It prevents readers from bonding with the characters.
This is one of those truisms that gets trucked out so often, it's almost become a cliche. That doesn't however, make it in-valid. If you're continually bouncing between characters' POVs, it can be hard to get to know either or any of them well enough to care what happens to them.

- It's amateurish.
I saved this one for last because it's one I have mixed feelings about. Yes, head-hopping can sound amateurish. But so can every other form of writing if it's written by, well, an amateur. I find it difficult to accept a writer can improve at every literary device except head-hopping. Sorry. I just don't buy it.

This is usually where posts about head-hopping stop. Head-hopping is terrible, it has no literary value, it's impossible to do well. By now you probably realize I disagree with all those assessments. I promised I would defend my thesis. So here goes.

Most writers never learn to head-hop properly.

Did head-hopping fall out of vogue because writers don't know how to do it right, or do writers not know how to do it because it fell out of vogue? An interesting chicken-and-egg sort of question, but the point remains: many writers who head-hop are doing it wrong.

This post is about letting it all hang out. To that end, let me present an example from my first book, All That Glitters. I head-hopped with both intent and abandon in this book. The intent was not the problem (if you're going to head-hop, it should be a conscious, deliberate decision).

The problem was the abandon. See for yourself (POV shifts in red):

Case Study #1: All That Glitters (my first book)

She leaned in and pressed her lips to the letters.  He tasted like salt.  She looked up.  He was at rapt attention.  She raised herself to her tip-toes.

Ethan crushed his lips down over hers.  He needed this.  Needed her.  He hadn’t realized how badly until he’d watched the Bering Sea swallow her whole.  All the adrenaline that had built up in his system surged out.  He took everything she offered, and pushed her to offer more.

Ava ran greedy hands across his chest, over his powerful shoulders, up the back of his neck, and buried them in his hair.  Desperation clouded her senses.  

Yeah, I know. Risky move, calling out the faults in my own work. In my defense, the entire book didn't read that way. But a lot of it did. And it was because I hadn't learned some of the most basic rules of head-hopping.

So after an example like that, is it possible for "promiscuous viewpoint" to find redemption?

I believe the answer is yes.

I mentioned the Basic Rules Of Head-Hopping. Here they are, listed in what I consider to be order of importance:

Rule #1: Don't use more than two (2) points of view within a scene.
In romance novels, these are usually the POVs of your hero and your heroine. That doesn't mean you can't write from the POVs of your other characters, but you should NOT try to cram them all into one scene.

Rule #2: Make it obvious whose head you're in when you change points of view.
There should always be a cue when you leave one character's thoughts and enter another's. I'm relieved to say I always had a sense of this, which you can see in the example from my first book.

Rule #3: Don't change point-of-view more than once within a scene.
This could actually be an addendum to Rule #1. Too many POV changes within a scene is both confusing, awkward, and amateurish. Start with one character, change POVs once, and finish out the scene with the second. It flows much smoother and leaves less room for the reader to get lost.

Rule #4: Don't change point-of-view in an awkward place.
There are good places to change POVs, and there are bad places to change POVs. Where those places are is largely subjective, and depends on your story. But you're a writer. Odds are that means you have an ear for language. Use that ability to divine where a POV shift will enhance your story. Failing that, there's always voodoo.

Fortunately, I learned these rules before I put out a second book with the same mistakes as the first. Which brings me to:

Case Study #2: What The Body Needs (my second book)

Something close to panic started to build in her chest.  It barely dimmed when she unlocked her truck.  His eyebrows raised.  She stopped.  "What?"

"That's a lot of truck."

Jak stared at him.  "What's that supposed to mean?"

He shrugged.  "Means that's a lot of truck."

Jak climbed in.  "Nothing is going to happen to me at the city planner's office."  She looked down at him.  "Why don't you just take the rest of the day off?"  Give me some space to figure all this out.

Marcus gritted his teeth.  Damn it, she wasn't making this easy.  Not that he entirely blamed her.  His system still hadn't recovered from the shock of seeing her again.  "Can't do that."

He walked around the front of her truck to the passenger's side, mildly surprised she didn't try to run him over.  He tried the door.  Locked.  He rapped on the window, saw her smug look through the glass.  She started the engine.

This was the only POV shift that took place in that scene. It occurred at a pivotal moment between the two characters, and allowed me to explore their reactions after their unorthodox meeting. To break that interaction into two scenes would have felt clunky and contrived, and to only represent one side of it wouldn't have felt right, either.

That is what head-hopping can do for you. It doesn't have to be confusing. It doesn't have to be awkward, or amateurish. And rather than distance you from your characters, it has the potential to bring you closer to them while they develop at the same pace.

I realize this post isn't going to change everyone's opinion about head-hopping, and that's just fine. But if I've done anything, I hope I've inspired you to give this oft-misused  literary device another look. Maybe it deserves the bad rap it's gotten.

Then again, maybe it doesn't.

Name, Age and Height, Please!: A Guest Post By Karen M. Hanks

I first met Karen on Twitter- yet another social media success story!  Supportive, funny, and engaging, I was excited and thrilled when she offered to "blog-swap" as part of my blog tour week.  You can find my post on self-editing on her blog here.  I know you'll be as enamored of her as I am...

***
  
Whether I see it written by fellow writers online, hear it from the mouths of bestselling authors during seminars I’ve attended, or read about it in my studies, I keep hearing the same thing again and again: let your characters determine your plot, not the other way around.

If you establish well rounded and detailed characters from the get go, you should find that the pieces of your story will fall together beautifully, all because you will be well tuned with how your character would behave in every way, in every scenario.

So how do you take your characters from basic to dynamic? Here are some easy exercises that will help with their development:

Create a character profile
Think of a character profile like a patient form that you fill out at the doctor’s office; it’s a quick and easy way to write out many of the key and important details. Many writers will keep files on their characters and find these profiles a quick and easy reference throughout their writing. 

Some helpful details to determine could be:

·        Name

·        Detailed physical description

·        Ethnicity

·        Educational background

·        Family history

·        Personality traits

·        Flaws

·        Speech habits

Put your character in hot water
Has your character just been caught cheating on a test? Perhaps they’re receiving a parking ticket as they come out of a shop. Put your character in a situation of high stress and write out how they would react with those around them. This well help you see and hear them, allowing you to better understand and relate to them.

Conduct an interview with your character
Once you’ve gotten a feel for how your character interacts with others, sit down and conduct a full on interview with them.  I know, I know, you’re probably thinking “But,uh, how can I conduct an interview with a fictional character?” It’s actually quite a bit of fun to do. Create a scene where, if you were in your book, you would meet with your character for a chat; it could be a coffee shop, a bar, or wherever you see fit. Make note of the tone of their voice, the way they move their body, and how they show their emotions; anything that can lend to a better overall view of them as a character. 

Try asking questions such as:

·        What do you do for a living?

·        What is your greatest fear?

·        What would you change about yourself if you could?

·        What do you want out of life?

·        What is your favorite food? Why?

Remember to have fun with these and hopefully you will find yourself with characters that are not only dynamic, but that will help guide you along through your story.

Happy writing!

***

Karen M. Hanks is currently writing her first romantic suspense novel while working towards a certificate in Creative Writing at her local university. When she's not writing into the wee hours of the night, you can usually find Karen daydreaming about Paris, playing the piano for the small audience of her husband and dog, or curling up with a good book and a glass of wine. You can connect with Karen via Twitter at @KarenMHanks or read more of her ramblings over at www.karenmhanks.com

Day 7: Resources For Writers And Other Patients

Source: lourania.tumblr.com via Helene on Pinterest

"The greatest achievement of the human spirit is to live up to one's opportunities and make the most of one's resources." -Luc de Clapiers

Everyone needs resources.

I've had lots of help during this journey, in all different forms.  Books, people, websites.  There are a lot of resources available out there if you know where to look.  Of course, not everyone knows where to look.  

When I got started on my writing journey, I felt like I was adrift.  I knew there were resources out there, but I didn't know where, and I didn't know who to ask or how to find them.  I felt like I existed in a black hole, alone. 

So on the last day of my Launch Week series, I've compiled this list.  I've done a lot of legwork and found a lot of helpful resources.  Here are some of my favorites, for everything from writing to editing to building a business to staying motivated.  I hope they're as helpful to you guys as they have been to me.  

No trade secrets among friends, right?

Writing Resources
Sin and Syntax, by Constance Hale- grammar for the rest of us.  Funny and brilliantly helpful.
U.S. Dept. of Labor Occupational Outlook Handbook (online)- unless your main character is an heiress, she's going to need a job.  Check out this site.  Seriously, like, now.
The Emotion Thesaurus, by Becca Puglisi and Angela Ackerman
Please Understand Me II, by David Keirsey- an in-depth guide to the Meyers-Briggs personality types, and how your type influences your reactions to people, situations, etc.  If you find you have difficulty creating breathing, realistic, well-rounded characters, this will really help you.
King, Warrior, Magician, Lover, by Robert Moore, Douglas Gillette- an invaluable tool for me when creating the hero of my book.  A Jungian view of the various parts and archetypes of the male psyche.
Women's Anatomy of Arousal, by Sheri Winston CNM. RN. BSN. LMT- especially if you're planning on writing romances, it's helpful to know just what it is that gets women aroused, and what that arousal looks like. Men are pretty straightforward- women are slightly less so.  This book does an excellent job of de-mystifying women's erotic responses.
How To Write Hot Sex, edited by Shoshanna Evers- an anthology of different topics related to writing sex in erotica or romance, plus a helpful little article on self-publishing in the back.
Be A Sex-Writing Strumpet, by Stacia Kane- originally a blog series, combined into a book.  An incredibly detailed tutorial to writing sex scenes (which can be difficult, to say the least) 

Editing Resources
Self-Editing For Fiction Writers, Second Edition, by Renni Browne and Dave King- if you don't buy any other books on editing your novel, buy this one.
Revision and Self-Editing, by James Scott Bell

Self-Publishing Resources
Smashwords
Successful Self-Publishing, edited by Shoshanna Evers- I love Shoshanna Evers (as I'm sure you can tell).  She's incredibly nice, always helpful, and is brilliant at knowing what information new writers need to succeed.  This anthology compiles some of the best self-pub advice out there. Definitely worth seeking out! 
Becoming An Indie Author, by Zoe Winters- a funny, intimate, well-written guide for writers just stepping into the self-pub pool.  Recommended by Shoshanna Evers in How To Write Hot Sex, which is good enough for me.  The first book on self-publishing I bought, and still a favorite.

Networking Resources
Twitter- if you're a writer, especially if you're planning to self-publish, you should be on Twitter.  If you aren't, stop reading this, go over, and sign up. Now.  Then say "hi" to me- I'm @writermama 
World Literary Cafe- great resource for authors, readers, and bloggers.  Lots of networking opportunities.  Helps you find a support system and get in touch with the right people. 

Business Resources
How To Build An Author House, by Matthew Turner (a.k.a. Turndog Millionaire)- easily the best, most complete resource on author branding/marketing I've found yet.  Oh, yeah, and it's free!
What To Do Before Your Book Launch, by Randy Susan Meyers and M.J. Rose- originally meant for traditionally published authors, this book is a goldmine for the traditionally-published and the self-published alike.
Publicize Your Book, by Jacqueline Deval- referred to as the "marketing bible" in What To Do Before Your Book Launch.  How do you ignore a plug like that?

Personal/Motivational Resources   
Making A Literary Life, by Carolyn See- this book made me start to believe I could actually make a life and a living as a writer.
Women Who Run With The Wolves, by Clarissa Pinkola-Estes- food for the soul; obviously geared towards women, but a good read for anyone interested in Jungian psychology and getting in touch with their inner curandera/curandero.

Miss A Day Or Two?
Day 1: Lessons From The Cave
Day 2: Set Your Compass
Day 3: Don't Schedule, Manage
Day 4: You Gotta Hustle
Day 5: Feed The Current
Day 6: The Zen Of Balance 

Excerpt from All That Glitters:

 

Ava felt oddly jumpy as she headed back to the yurt, guitar in hand.  Ethan would be looking for her.  She hadn’t been prepared for the crushing desire that had taken over her thoughts.  Her body.  She didn’t know what to do about it.

Give in.

She stepped into a small side alley, heart pounding.  This was ridiculous.  She needed to get a grip.  She sagged against the side of a building and massaged her forehead.  What had she been thinking?

“You realize I know all the good hiding places in this town, right?”

Ava jolted.  Ethan stood at the front of the alley, a teasing grin on his face.  She glared at him.  “I wasn’t hiding.”

“Well, that’s a relief.”  He sauntered closer, hands in his pockets.  “Because the way I remember it, we have a gentleman’s agreement to settle.”

Ava stepped back.  She needed to keep some distance between them.  It was the only way she could think clearly.  “I’m not a gentleman.”

Ethan shrugged, still moving closer.  “I’m not, either.”

###

Available for purchase on Smashwords and Amazon  

Day 6: The Zen Of Balance

"We come into this world head first and go out feet first; in between, it is all a matter of balance." -Paul Boese 

I am the worst person to write about balance.

When I'm in the heat of writing, things disappear.  Things like meals.  Things like clean clothes.  Things like downtime.  My life begins to revolve around my work.  

To an extent, this is par for the course when you're trying to start your own business.  Every waking moment is spent, if not working, than thinking about working.  Especially when you don't see an immediate payoff, there's that incessant voice in your head, telling you you could be- should be- doing more.

But balance is important.  I don't want to turn into one of those brilliant, bitter authors who takes their morning coffee and evening nightcap alone, and spends all the time in between wrestling literary demons.  Okay, so maybe part of me does, but that's just not my life.  I have a family.  I have friends.  I have things I need to do.

So how does a writer manage to have a life?

I've narrowed it down to two things.  This ain't rocket science, folks.

1) Be present.  Whatever you're doing, do it completely.  When you're writing, write.  When you're socializing online, socialize.  When you're cooking, notice the nuances of smell and flavor.  When you're spending time with your family and friends, be there.  Don't be anywhere else.  Don't be that person who wakes up one day and realizes everything they've missed out on.

2) Be grateful.  You're alive.  You're doing something you love.  That's a lot to be grateful for right there.  What else do you have?  Good weather?  Food on the table?  People who love you?  A book deal?  Big or small, cherish and appreciate all of it.  Don't get jaded, and don't get entitled.  It's bad for your creativity.

Miss A Day Or Two?
Day 1: Lessons From The Cave
Day 2: Set Your Compass
Day 3: Don't Schedule, Manage
Day 4: You Gotta Hustle
Day 5: Feed The Current

Excerpt from All That Glitters:

Ava stared off to the side for a moment.  When she looked back at him, her gaze washard.  “And just when were you planningon telling me all this?”

Ethan balked.  “What?”

“You heard me.  You’veobviously known this- or at least had your suspicions- for a while.  Why the hell didn’t you tell me?”

“Damn it, that’s not the point!”  Ethan started to pace, something he’d neverdone.  “Don’t you get it?  I’m…” He blew out a breath.  He waswhat?  Worried?  More like terrified.  He met her eyes again.  “Just say you’ll stay with me,” he said.  “Please. I can keep you safe.”

Ava stared at him. “You can keep me safe?”

Instantly, he realized what a mistake that had been.  “Sweetheart…”

Ava jabbed a finger into his chest.  “Don’t ‘sweetheart’ me, cowboy.  ‘Keep me safe’, my ass.  I’ve been keeping myself safe my entire life.  If you really wanted to ‘keep me safe’, you’dhave told me to watch my back!”

Ethan twisted.  So shehad a point.  That didn’t change a damnthing.  His mind raced.  He had to convince her somehow.  Badgering her wouldn’t work.  She was too stubborn for that.

He kissed her.

Ava’s hand flew up reflexively to brace against hischest.  Her shocked protest vanishedunder his lips.  She should pullaway.  She needed to pull away.

His hand trailed up her neck to cradle the base of her skull,and he angled her head to sink deeper. She groaned.  God, she wantedhim.  Needed him.  Damn him. Damn her.  Damn everything. 

###

 Available for purchase on Smashwords and Amazon

 

Day 5: Feed The Current- A Thursday's Children Special

“Write about what you know and care deeply about. When one puts one’s self on paper- that is what is called good writing.” -Joel Chandler Harris

It happens to the best of us.

Things are going so well.  You can't type fast enough for the words tumbling from your brain.  You barely remember to eat, bathe, or use the bathroom- after all, there are more important things to worry about right now.  Who knows, if things keep on like this, you could be finished- finished!- in a matter of days!

And then your muse packs her bags.  The flow dries up.  The word count stagnates.  You try to push through it anyway, but deep in your gut is the horrifying thought: what if this is it?  What if I never get it back? 

Creativity is a lot like a water table: deep, rich, capable of sustaining us through many a long, dry summer.  But at some point, if the winter rains don't come, it will run low.  You recognize it when it happens.  That yearning for something you can't quite name, that hollow tug at your chest.

Don't panic.

There are plenty of things you can do to replenish the well.  Take a walk.  Go for a long drive through the back country.  Treat yourself to a fabulous meal.  Take in some street music.

But occasionally the problem runs deeper than all that.  Sometimes it's not a crisis of creativity, it's a crisis of purpose.  In which case you have to ask yourself: are your dreams big enough for you?

We need to travel scared sometimes.  A pinch in the soft places is good for creativity.  If you're just humming along through the doldrums, then rest assured, your writing will start to read that way.  First it will sound flat, then uninspired, then eventually, it may stop all together.

If, on the other hand, your goals scare the bejeezus out of you, everything you touch gets charged with that electricity.  Including your writing.  Your words hurtle off the page, your passion, your enthusiasm, captured in every one. 

So what do you want?  What do you want even more than that?  It doesn't matter if it sounds ridiculous or impossible.  

In fact, if it doesn't, you're probably not reaching high enough.    

Miss A Day Or Two?
Day 1: Lessons From The Cave
Day 2: Set Your Compass
Day 3: Don't Schedule, Manage
Day 4: You Gotta Hustle

Excerpt from All That Glitters:

“You’re not really going to climb up there, are you?  That’s thirty feet!”

“Thirty-five.  And unfortunately, I don’t have much choice.” He hesitated, then laid a hand over hers.  “Just wait. It’ll be done and over with before you know it.”

Ava squeezed it. “Just… be careful.”  She could tell by the look in his eyes that he wanted to say something, but with the rest of his crew there, he kept his mouth shut.

Roo handed him the replacement cord.  His dark eyes were troubled.  “Safety harness wasn’t where it usually is,boss.  Fact, I couldn’t find it anywhere.”

Ethan’s jaw tightened. “I’ll just have to do without.” He looped the end of the spare cord over his shoulder, and started up the gantry.  The climb was hand-over-hand, the narrow ladder wet with ocean spray.

He made it to the top, straddled the cross-beam, and scooted out to the damaged cord.  Carefully, he threaded the spare through the pulley. He blew out a breath.  “Okay, I’m coming back down!”

Just then, a ferocious gust of wind blew past him.  His hand slipped on the slick surface of the gantry.  He felt himself slide sideways.

Ava’s hands flew to her mouth to stifle a scream.  Raw terror pounded through her veins.  If he fell…

She pushed the thought from her mind.  He wouldn’t fall.  He couldn’t fall.

###

Available for purchase on Smashwords and Amazon