Category Archives: Author’s Perspective

The Extroverted Introvert – Faking It Until It Becomes Real

All stories require at least two participants: the storyteller and the audience. While this is obvious in the performances of bards, campfire storytellers, and stage actors, I would argue that writers are also intrinsically performers. We simply project that experience across space and time. And yet, writers and non-writers alike seem fixated on the idea that authors must be introverts to be successful. This is only true to a point.

Writers must be comfortable spending hours at a time in solitude. We need the time free from distractions to produce and polish our fiction. For that sort of work, having an introverted personality is very helpful. However, we must also be able to interact with fans and fellow professionals at conventions, book signings, and via social media. We must be able to promote ourselves to our target audience, discuss craft in an intelligent and thoughtful manner, and interact as business people. As such, writers must also be extroverted. Or have spent the time stocking our social toolbox with the extrovert’s tricks and tools.

Though the idea of an extroverted introvert seems like a fundamental conflict in dichotomy, I disagree. It really depends on how you look at the whole situation. You see, much of the discussion on introversion/extroversion recently has treated the issue as a matter of extremes. The dialog has taught us to think of them as two separate things. Instead, I believe that the difference between introverts and extroverts is more of a matter of where the individual gets their psychological and social energy, rather than being a fundamental characteristic of personality and social skills.

I am an introvert. I am a writer and an engineer. I spend most working days at my bread job in my office running calculations, researching, and solving problems. I collaborate, sure, but I can always retreat to my office and close the door when I need to focus. On the other hand, parties are work for me. I often enjoy myself, but leave the gathering feeling mentally and emotionally drained. I have to expend effort to be social, and will often feel refreshed after a weekend spent alone working on writing, watching movies, bicycling, and reading.

In contrast, I have a friend who is an extrovert. Let’s call her Jane. Jane recently started a job as an ER nurse, and so she is constantly interacting with patients, doctors, and other people. When we met in college, Jane lived in her sorority’s house, a building which was packed full of her sisters. When I expressed that I couldn’t live that way, she smiled and wistfully told me that she loved the energy of the house. When Jane surrounds herself with people, she’s excited and energetic. By my definition, she’s a classic extrovert.

That’s not to say that I don’t enjoy being around people, because I do. My groups just tend to be smaller than Jane’s. The most important thing to note about Jane and I is that we are both capable of functioning alone and in groups of people. It just takes effort. Jane is much better with people and social interaction than I am because she enjoys doing so and has had more practice. She’s helped me catch up over the years and taught me tricks and behaviors that I can use as an introvert to appear to be extroverted.

Social skills can be learned, practiced and perfected. At first I was faking my extroversion, but over the years, I’ve crept away from one extreme and now rest happily closer to the middle. In fact, people now insist that I must be extroverted. In my time at conventions, I’ve seen writers flub fan interactions. They may try to brush their behavior aside with the excuse “but I’m an introvert,” but they still lost a fan. Bad news for a businessperson. If they had practiced their extroverted skills that wouldn’t have happened.

Okay Nathan, you’ve convinced me that extroversion is important, but where can I start? Good question! Here are my top 10 favorite tips for being an extroverted introvert.

  1. BE GENUINE – Most people are very good at reading subtle body language cues and will know if you are faking interest in them. So, don’t try to fake it. Instead find common ground that you and the other person share as a passion. (Hint: This is what small talk is designed to do!) Then, you can be genuinely interested in the conversation. This also extends to insincere compliments. Just don’t do it.
  2. SMILE – People want to know you enjoy their company. One of the easiest ways to express this is through a simple smile. You don’t have to grin. In fact don’t as that is creepy. Even a small and genuine smile makes a big difference. Again, remember tip number 1. Try an experiment with me. For the next week, each time you approach someone make brief eye contact and smile at them. I promise that it’ll change how people interact with you.
  3. REMEMBER PEOPLE’S NAMES – I suck at remembering people’s names. It’s no excuse. Do whatever memory tool/covert glancing at badges it takes to address people by their first name. This will make them feel important and therefore more favorable towards you. One of the smartest businessmen I’ve ever known once told me that the key to success is remembering people’s names. Considering that he now runs a trucking empire that started with him driving a single pickup truck, I’d tend to believe him.
  4. BEING TIRED IS NO EXCUSE FOR BEING RUDE – For introverts, working a convention is hard. It exhausts us, makes our feet ache and puts us in a fowl mood. These are all personal problems. Our fans are at conventions to interact with us. When you are in any public space whatsoever you must have your game face on 100% of the time. Make sure each and every interaction is a positive one.
  5. NEVER APOLOGIZE FOR EXHAUSTION – As a corollary to tip 4, never call attention to the fact that you are tired by apologizing for it. Chances are, if you are doing your job they didn’t notice. By apologizing, you’ve made the other person feel like they are imposing on you, which isn’t a positive experience. However, if you’ve accidentally been rude or dismissive, be sure to apologize for that and be genuine.
  6. LET THE OTHER PERSON DO THE TALKING – “People have two ears and one mouth for a reason. Use them in their proper proportion.” ~ Jane. A benefit of this approach is that you get to conserve your social energies. All you have to do is listen, reword and repeat what they’ve said at appropriate intervals, and then ask them leading questions. Conventions are about your fans, their experiences and what they want out of you. Let them be selfish and hog the conversation. If they start apologizing for doing so, refuse their apology and insist that you are interested in what they say and ask them to go on. After an appropriate amount of time has passed, find a way to delicately remove yourself from the conversation.
  7. MASTER THE ART OF THE SOFT SELL – Nobody likes feeling pressured to spend money. Everyone you interact with on a convention floor is a person, not a mark. If you make selling to someone a difficult or unpleasant experience, people will start avoiding you. Instead, try to form a real bond with the person you are selling and if the opportunity comes up to talk about you or your work, be casual about it. Put the book in their hand and see if they buy. If it doesn’t come up, wish them a happy con and let them walk away. No social interaction is wasted time. Who knows, they may remember that nice author that took time to talk to them and look you up when they get home.
  8. IF SOMEONE IS RUDE OR HOSTILE TO YOU, KEEP YOUR COOL – You are a professional, and professionals don’t get into shouting matches on the convention floor. Especially if the other person deserves it. Stand up for yourself as necessary, walk away when you can, but always maintain your dignity and composure. The person who loses their cool first is the person who loses. Let them make an ass of themselves.
  9. TAKE RE-ENERGIZING BREAKS – I always have a set of ear buds on me when I’m at a convention. If I get flustered or need a moment, I find an uncrowded restroom, close myself in a stall, and listen to something loud and energetic for five minutes. I love music. It energizes me, helps me find my center, and lets me feel alone even when surrounded by people. It’s amazing how refreshing a small break is when you’ve been on the con floor all day. Experiment and find your re-energizing activity. Indulge for five minutes (set a timer if you have to) and then go back to work.
  10. NEVER EVER CRITICIZE ANYONE OR ANYTHING FOR ANY REASON, ESPECIALLY IF PROMPTED TO DO SO – Remember, fans attend cons for positive experiences. Not only is it tactless to criticize someone who can’t defend themselves, it makes you look bad. Remember the old adage, if you don’t have anything nice to say, be noncommittal or change the subject. Would you rather so-and-so hear that you’ve been singing their praises or criticizing their work? Writers travel in small circles, so we hear about what others are saying about us.

Writers are semi-public figures, and so we must have the skills to appear to be extroverted especially if we are not. We don’t get stalked by paparazzi or stopped on the streets by adoring fans, but we still need to be able to function in large groups. We need to be able to have meaningful interactions with complete strangers in the time it takes to sign a book and hand it back. We need to be able to feel comfortable to conduct business for the entire duration of a weekend convention. Ten years ago, I would have found that daunting. I hadn’t practiced my extroverted skills, and so it took Jane’s advice, and one of her favorite books (Dale Carnegie’s How to Win Friends and Influence People) to teach me the importance of those skills and how to use them for my own benefit. I might not be an extrovert, but I’ve faked it so long that it has become somewhat true. In the end, that’s what matters.

 

About the Author:NathanBarra_Web
Though Nathan Barra is an engineer by profession, training and temperament, he is a storyteller by nature and at heart. Fascinated with the byplay of magic and technology, Nathan is drawn to science fantasy in both his reading and writing. He has been known, however, to wander off into other genres for “funzies.” Visit him at his webpage or Facebook Author Page.

 

No Evil Required

Evil exists in the world. In fact, to some degree it exists in all of us—a dark side that usually only emerges in our most private thoughts but may occasionally peek into the light of day. For the most part, we don’t let this happen. Indeed, for the most part we are good people. In evolutionary terms, goodness propagates itself more successfully; evil is inherently maladaptive.

The worst kind of motivation for a villain is intrinsic, deep-seated evil. They’re evil because they were born that way. Or they crave power obsessively. To me, this almost never rings true. I suppose there are some people like that in the real world, but they must be a rare breed. Most people think of themselves as more or less good—not necessarily saintly, but closer to Mother Teresa than to Adolf Hitler.

Intriguingly, even the people who really are closer to Adolf Hitler probably view themselves as being closer to Mother Teresa, and this is fertile ground for growing conflict in our stories. First of all, a villain is not the same thing as an antagonist. You don’t need a villain to tell a good story, but you probably need an antagonist. What’s the difference? Well, think about it this way. Sometimes you just have two fairly normal people who just happen to want very different things… perhaps even diametrically opposed things… and thus the clash happens. (Exhibit A: Sad Puppies vs. Social Justice Warriors; no evil, moustache-twirling villains here, but a hell of a lot of conflict-enriching antagonism.)

When building a story, try setting up a conflict between two or more sides in which every side could be anchored by a strong, relatable protagonist. The only difference between a protagonist and an antagonist is often the fact that the protagonist gets the primary point of view; if you swap things around, those two characters can easily switch roles without changing the fundamentals of the story.

As a thought experiment, it could even be interesting to try actually writing the story from different points of view. Walk in your antagonist’s shoes; make them the protagonist and see what happens.

Indeed, conflict requires no evil. Just opposition. And effective, relatable, compelling opposition is rarely in short supply.

1Evan Braun is an author and editor who has been writing books for the last two decades. He is the author of The Watchers Chronicle, whose third volume, The Law of Radiance, is forthcoming this spring. He specializes in hard science fiction and lives in the vicinity of Winnipeg, Manitoba.

Turning It Up To 11

What’s the highest setting on your conflict dial?    7?    8?    11?

Spinal Tap may have been a bunch of drugged out wankers but they had a point. There are times when it’s a moral imperative to turn it up to 11. And yet so many writers don’t. They’ll either leave the dial at whatever preset the assembly line monkey chose or they’ll turn it up to 8 thinking they’re being daring.

Perhaps they are. Perhaps they’re a delicate flower and 8 is further than they would normally dare to go. Good for them. Or perhaps 8 is exactly what the scene calls for. Some conflicts don’t need to be turned up to Abercrombie levels of violence. However that doesn’t mean authors can leave the dial alone.

Escalating a conflict doesn’t mean that characters have to pull out grenade launchers and start WWIII.  I’m never disappointed when they do but that’s a personal preference. Escalating the conflict could be as simple as turning up the dial on an argument from heated discussion to shouting match before finally dropping the bomb of “I can’t believe you said that!”. Yet so many new writers don’t. Why is that?

Besides the obvious answers of inexperience and and timidity, I think it’s because we, as a society, are afraid of conflict. In school, business, and society we’re encouraged to hold back that angry comment, don’t punch the rude jerk (even though they deserve it), and above all don’t lose your temper. Altercations should be avoided even if containing our fury gives us a perpetual twitch.

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 It’s so ingrained that we unconsciously hold back. Well, you know what? It’s okay to get angry.

Conflicts in a story are more than a source of action and tension. It gives characters a reason to grow, to act, and to learn. The more intense the situation, the harder they have to work to survive it. So when an author pulls their punches on the page, whether literally or metaphorically, they’re not just cheating the reader. They’re cheating the character.

Unfortunately it’s not a situation where there’s a clear cut solution or a standardized unit of measure. Some dials have to be turned further than others. But the important thing to remember is to ask yourself “Can I take this further and if so, would the story be better if I did?” If you don’t feel you can be an impartial judge then ask your beta readers what they think. Because if it can and does than by all means, turn that dial.

A Life of Passion

Life of PassionWho do you love?

What do you love?

Everyone needs a little passion.

The interesting people in story, and in life, are those who embrace what they love with passion. It might be a spouse, family, work, or hobbies. We love people who are excited about what they do or who they are. We respond to passion. Easy example is when people tell us about a recent book or movie that we haven’t read or seen yet.

If they say, “It was all right.” No matter what our previous anticipation level might have been, it now falls a notch.

What if they say, “It was awesome! I’m going to camp out at the movie theater right now and wait until it opens tomorrow so I can see it again”?  We can’t help but absorb a little of that passion. It’s contagious and exhilarating.

People do need to find balance in their life, but that doesn’t mean they can’t still feel passion for each component that makes up who they are and what they do. They just can’t let that passion lead to excess and stupid decisions.

One of the most tragic things we see in literature and in life are people who won’t follow their passion. They won’t ask the girl on a date, won’t apply for their dream job, won’t take a chance and LIVE their lives. Thankfully, this character flaw is seen most often only at the beginning of a story to highlight a hero’s dramatic character arc.

A great example is Walter Mitty in The Secret Life of Walter Mitty. Here’s a guy who has buried his passionsWalter Mitty so deep, he has to escape life in lengthy ‘zoned out’ moments where he dreams of doing great things. He has shackled himself to a boring job and refused to live, even though he dreams of it. The story is beautifully told, includes breathtaking scenery, and excellent music as Walter begins to break out of the repressed life he’s lived for so long and embarks on an amazing adventure that changes everything. If you haven’t seen it, I highly recommend it.

In real life, it can be hard sometimes to chase our dreams, to live passionately. Are we Walter Middy before or after the moment where he decides to live?

How many times do we hear someone say, “I’d love to do that!” Only to then banish the thought and turn away. If it’s not illegal or immoral or likely to prove fatal, maybe they should reconsider.

Are you holding back, suppressing your passion?

Fear of failure is often the cause. Sure, we might fail, but at least fail while trying. Failure is a way to learn so much, but society has made failure taboo. The problem is, life is full of failures. Why not fail while doing something we’re passionate about instead of failing at life because we lack the courage to try?  Here’s what a few famous people had to say about failure:

“I can accept failure, everyone fails at something. But I can’t accept not trying.”  (Michael Jordan)

“It’s fine to celebrate success but it is more important to heed the lessons of failure.” (Bill Gates)

“I have not failed. I’ve just found 10,000 ways that won’t work.” (Thomas Edison)

We don’t like stories of cowards, of those too repressed or afraid or timid to live. Usually in stories, cowards are either killed or, if they’re a main character, their initial cowardice is overcome as they rise to become a hero. There’s a good reason for that. Readers don’t buy stories that lack progression.

Not surprisingly, it was hard to find great examples of characters terminally afraid to live their lives, afraid to embrace their passions.

One example that came to mind for me is Pierre Gringoire, the struggling playwright in The Hunchback of Notre Dame who is saved by Esmeralda, but lacks the courage to do anything productive. He is about as completely useless a character as any I’ve ever read. I’ve hated him since I was first forced to read this dark, depressing book as a kid. Pierre refuses to fight for the beautiful woman who saved his life, refuses to fight for anything useful, and eventually slips away from all conflict, taking along Esmeralda’s pet goat, Djali, the only creature who seems capable of dealing with his pitiful life.

So be Walter, not Pierre, and embrace your passions.

What are you waiting for?