Creating Characters

My husband and I weren't sure what to expect when we watched the movie And So It Goes. The fact I was dabbing at tears at the end says it all.

Any romance writer who wants to know how to take an unlikable hero through a character arc and make him likable, should watch this movie. Oren, played by Michael Douglas, is obnoxious, but we know he must have some redeemable qualities because he has a friend who understands him.

Next, we discover why he lost his compassion and can accept how this happened. Early in the film, he is thrown into a situation where he must rediscover his finer qualities with the help of a new love interest. Each step of his journey is believable. At the end, he has to prove he is a better version of himself by giving up the one goal he has worked so hard to obtain.

It is a simple formula, but it works.

Until next week,
happy reading and writing.

Tina Swayzee McCright

Writing Advice From Janet Evanovich

Writers should continue to study their craft. You can join writing organizations and listen to speeches, or you can simply pick up a book and read the advice given by experts. I enjoy reading novels by Janet Evanovich (pictured above) so I picked up a copy of How I Write - Secrets of a Bestselling Author by Janet Evanovich with Ina Yalof.

In the section on characterization, Janet gives three tips.

1. The main character must want something.

2. Someone or something (nature, money, distance) must stand in the way of his getting what he wants.

3. The choices that a character makes in his efforts to overcome obstacles and ultimately get what he wants define the character.

For more advice, you can pick up this title in ebook, paperback, or audiobook.

Until next week,

happy reading and writing.

Tina Swayzee McCright

Writing Strong Characters

Lions for Lambs
with Meryl Streep, Robert Redford, and Tom Cruise


I find it useful to analyze movies to discover which writing
techniques add to the quality of a story.

I found myself drawn to every main character in
this film and soon discovered it was due to the passion
with which they held to their beliefs.

First, we have The Senator:
He is committed to winning the war in Afghanistan.
He tries to convince the news reporter that his new
initiative will put the U.S. back on top in the war.
As the story develops, we also wonder if this
passion is more about his desire to become president
one day. Regardless, no one can argue with his
dedication to winning the war, no matter what is motivation.

Next, we have The Reporter:
She has been reporting the news for forty years.
Her station had sold out and become more business
oriented, but we see her conviction to do the right
thing with this story. She doesn't want to be
used by another politician. She is once again passionate
about reporting the real story.

I cried over The Two Soldiers:
They were college students who wanted to fight
for their country and then come back to make
a difference. They are good friends
and likable. They gave up graduate school to do what they
believed to be the right thing. Their passion put their
lives on the line.

The Professor tried to talk the two soldiers
out of enlisting. This man's passion has him trying
to mold the minds of young people he believes can make
a difference. His newest challenge is...


The College Student: He is intelligent and passionate
about his beliefs, but he becomes disillusioned
when he decides all politicians sold out.
This student's apathy, at the moment, is what provides
the contrast we need to see just how passionate the
rest of the cast is in their belief systems.

Whether we agree with each character or not,
we know they want to make a difference in the world.
We may even begin to wonder if we make a
difference in our own lives.
Are we making a difference with our stories?
When you can get your readers to ask the deep
questions, then you have done your job as
a writer.

Writer U June On-Line Classes

June 1-25, 2010
"Character-Driven Plotting"
by CJ Lyons
$30 at www.WriterUniv.com


Whether you're a plotter or a pantzer, you still need to tell a story. And to tell a compelling story, you need characters driven to take action. In this highly interactive workshop, national bestseller CJ Lyons shows how to let your character do the driving as you move your plot forward. Using simple methods that you'll not only remember but can also apply daily to your writing life, CJ will give you the tools you need to empower your creativity, amp up your plotting, and energize your writing!

* A look at Plotting 101: What is story?
* The ancient secrets of story telling
* How to build three-dimensional characters
* How to brainstorm like DaVinci
* World building and block busting
* Theme: it's not a four letter word
* Tools for a Writer's Survival Kit

As a pediatric ER doctor, CJ Lyons has lived the life she writes about. In addition to being an award-winning medical suspense author, she is a nationally known presenter and keynote speaker. Publishers Weekly called her first novel, LIFELINES, a breathtakingly fast-paced medical thriller." Her second, WARNING SIGNS, was published by Berkley in January, 2009, followed by URGENT CARE in November. To learn more about CJ and her work, go to www.cjlyons.net.

~ ~ ~ ~ ~


June 1-25, 2010
"Building The Fiction Pitch, Step By Step"
by Janet Wellington
$30 at www.WriterUniv.com


You've completed the manuscript of a story you love, and now all it needs is a home. Time for the next step: marketing your story to an agent and/or editor at a writing conference you've just decided to attend. The thing is, you might be the most talented writer on the planet -- but if you can't describe your story in an exciting but succinct way during a pitching opportunity or appointment, you could be in real trouble.

By taking this course you’ll learn:

* What to do when preparing to pitch
* Anatomy of a pitch; different lengths you'll need and why
* Techniques to help you analyze your story
* The biggest mistake writers make in pitching their stories
* How to craft the opening for your pitch
* The top benefit of an editor/agent appointment at conferences
* How to design a pitch for individual and group appointments
* What to say -- and not say -- if they want more


Janet Wellington is an award-winning author, writing teacher, and line-editor for both published and not-yet-published writers. She started learning the art of pitching stories in 1995 when she attended her first Romance Writers of America national conference, and hasn't stopped since! She has presented workshops on the art of pitching both regionally and nationally, and now teaches online. Read more about her at www.janetwellington.com.

Coincidence Happens

Rebecca Sinclair

The only difference between fiction and the truth is that fiction has to make sense. Allison Brennan

Can you use coincidence in fiction? Of course. Coincidence happens in real life the same way it happens in fiction. However, be careful! Unless you have given your characters sufficient reason to be in a certain situation or at a certain place, it simply will not work.

Why not? Is it true that life is stranger than fiction? Sometimes. However, thereís a fine line between the two; as a fiction writer, you need to know where that line is drawn.

The good news is, coincidence varies by story. No two books are the same, even if they've been given the same premise. Every story is unique. Where one author can get away with posing a coincidence in his or her story, another can write the same situation and have it read as contrived.

How do you tell the difference? Read your story aloud. Sometimes, just listening to the words as they fall off your tongue will tell you if the condition of your characters is contrived. Alternately, get someone (preferably someone gentle, especially if you're writing rough draft mode) to read the words to you. How do they sound? Are they forced? Is your rigid character trying to bend in a direction they normally wouldn't?
Hear the words. See the actions. Feel the emotions.

Are any of these strained? Are you having a difficult time getting one character into a certain position because you, the author, need the character there? It's very likely your character is trying to tell you something. Listen!

You've sweated blood to breathe life into your characters, into your story. If, suddenly, a character protests being in a certain location, at a certain time, doing a certain thing, maybe you need to listen to them. Is your character is trying to tell you the situation you want them in is not something they would normally find themselves in? Are they straining to say your words, not their own?

Again, listen to your characters, have faith in your story. Do your characters easily glide into a situation? Do they throw on circumstances with an attitude that they were born to wear them, of course they would be at certain place, at a certain time, doing a certain thing, it goes without saying. Then go ahead, take the chance, let a coincidence happen. If it makes sense, it makes sense. Period.

On the other hand, if it doesn't make sense, stop. Take a breather. It's okay to snuggle away and read someone else's hard work. All the while your mind will be working to reassess your own story. Let it wander; your subconscious will pick away at the knot of the problem and find a way to weave your situation into something that will work. (Usually in a way you didn't expect, when you least expect it.)

Coincidences happen in life, they can happen in fiction. Just make sure they are well motivated.

BOOTCAMP for Novelists Online August Class

BOOTCAMP for Novelists Online August Class

We want to announce that we'll now offer four courses each month. Because the first four courses of each learning track (Basic and Polish) are so important, we've decided to offer them each term.

The Basic Track will feature the Four Pillars of Story Structure, which includes characterization, plot, scene structure and conflict.

The Polish Track will feature the Techniques of the Pros, which includes the first three chapters, advanced characterization, escalating consequences and subplots and layers.

The regularly scheduled fall courses will still be offered along with the foundational courses..August 2 to August 29

5B SCENE & STRUCTURE (Basic Track) taught by Connie $22

Action rules, introspection is dead. Not entirely true, but every author must learn how to write action and bring events to life on the page. The goal is to generate mental pictures in readers' minds so they can feel the story, live the story. This course deals with how that's doneFor more information, contact Connie at bootcamp4novelists@cox.net

5P INFUSING STORIES WITH EMOTION(Polish Track) taught by Linda Style. $22

Learning how to infuse your story with emotion is one of the most important techniques, yet most writers don't even think about it until they realize something is missing in their stories. As writers we must not only know how to build emotion in our stories and characters, but how to engage the reader emotionally. In this class you'll learn techniques to do both.For more information, contact Linda at bootcamp4novelists2@yahoo.com

1B CHARACTER DEVELOPMENT (Basic Track) taught by Connie $25

This course is the first pillar of story structure and it deals with populating your book with living breathing people who will stay alive throughout the story. You'll also learn why character equals plots and plot equals character.For more information, contact Connie at bootcamp4novelists@cox.net

1P THE FIRST THREE CHAPTERS(Polish Track) Taught by Linda Style $25

Writing powerful first chapters is the first technique of the proses. This course covers how to structure the vital first three chapters to set up your story and instill emotion and suspense. A must do course for anyone hoping to get published.For more information, contact Linda at bootcamp4novelists2@yahoo.com

For more details about BOOTCAMP for Novelists or to enroll in courses go to BootcampforNovelists.com