Category Archives: The Writing Life

Okay, I confess. I’ve always wanted to be an evil minion. I’m nowhere close to clever enough to be an evil mastermind, but I could totally be an evil mastermind’s go-to girl.

In all seriousness, bad guys are my favorite. Good guys, for the most part, tend to bore me, and I’m the first to admit that my fiction has few heroes. Even my protagonists have their roots in the dark side.

First, let’s be clear. When I talk about bad guys and villains here, I’m not necessarily talking about a story’s antagonist. Though they often are cast as characters whose goals are in direct opposition to the protagonist of the tale, a good villain should be able to take any role. For example, when we’re introduced to Hannibal Lecter, one of the best bad guys around, in Silence of the Lambs, he takes the role of the mentor, helping the protagonist, Clarice, find the real antagonist, Buffalo Bill. In comics and graphic novels, the hero’s arch-nemesis often starts as a friend, and villains often switch from good to evil and back again as the story dictates.

So, what makes a great bad guy? Here’s four traits that I think really get to the root of that very question.

First, and probably most important, a great bad guy never believes they’re bad. As the actor Willem Defoe famously said, everyone believes they are the hero of their own story. Your villain is no different. In fact, while your actual hero might struggle with their identity, the best villains have no doubts. To them, they have only the purest motivations. Everything they do has an extremely good and rational reason.

A great litmus test for your bad guy is to have them take part in a “good vs evil” scene, where both sides lay out their case. The best ones should almost convince the reader to join the evil side of the argument.

In short, a great bad guy can rationalize like nobody’s business.

This brings us to trait number two, which I think is intrinsic to every morally questionable character. They either have no concept of or don’t care about consequence. Unintended outcomes are usually a secondary factor, if a factor at all. To these characters the ends always justifies the means. This capacity is, I believe, one of the main reasons we love villains. They do what we wouldn’t dare. While a hero struggles to find a way around bad consequences and is emotionally affected by having to choose between necessary evils, a good bad guy focuses on the goal and doesn’t let anything get in the way.

We see this all the time with villains who want to save the world, even when it means doing something horrendous. The first season of the TV show Heroes had a group who wanted to blow up New York, sacrificing millions for the sake of the rest of the world. Watchmen has a villain who kills billions for the same reason — and the ploy actually works.

The third main trait is unpredictability. A baddie’s untrustworthy nature is a huge draw because we always want to know what they’ll do next. They always keep us guessing. We see this in various forms, my favorite being when they’re acting as what Tracy Hickman calls the contagonist. A contagonist is the conniver, the untrustworthy ally that has a goal that might run parallel with the hero, but who in the end, isn’t out for the same things. They have their own agenda that can, at any moment, complicate the story.

We see Hannibal take this role in the novel Red Dragon, where he helps the hero just as he did with Clarice to find a killer, but in the end, his real agenda is to get revenge on said hero for putting him in prison. He plays along, all the while working his secret agenda to bring about a goal that has nothing at all to do with the main plot of the story.

In that vein, always be careful that you don’t reveal too much about your bad guy. When the reader completely understands a character, they lose their unpredictability. While we may be hooked with tantalizing hints into why a bad guy went bad, the best ones always remain something of an enigma that can do anything at any time. A fantastic example of this is the Joker from Christopher Nolan’s Dark Knight, who never does what’s expected because his end game is never fully understood. We get a bunch of theories, but no definite answers. At the same time, our friend Hannibal suffers from over sharing. Over a succession of books, Thomas Harris tells us everything about the man from his childhood onward. For many readers, this ruined the innate menace of the character.

Though, while you’re keeping the reader in the dark for the most part, remember that every big bad is also a person, never completely evil, just as a hero is never completely good. This brings us to trait number four — every great bad guy has a spark of light in that dark little soul of theirs. Something should always give us hope that this character can find redemption, no matter how bad they might behave. I think this last bit is why the best bad guys can bounce around the story in whatever role they like. They might be a protagonist serial killer who only kills criminals the justice system can’t catch, a thief sidekick who’ll do anything to start over clean, or an antagonistic Norse trickster god who just wants his daddy’s approval, bad guys should have something the reader can identify with. A little sugar with their spice always makes their mayhem a little more interesting.

So, got any other traits that can turn a so-so bad guy into a great one?

Building Character ““ Tools for Genuine Interaction and Staying on Track

February 8, 2013

Ace Jordyn

So, you’ve done the deep psychological analysis, built the world, have a broad outline, now what? How do you place your character into the story and make it believable? How do you keep the protagonist’s story on track? How do you keep character interactions interesting, genuine and moving the story along?

In complex novels, I use charts to help me along, to keep information organized and to consider the deeper questions of values and motivation for each significant character. In every instance, I refer to the major points from the story arc because that’s when those critical moments of change, realization, action and reaction happen. This system keeps me from straying from core values during interactions. What happens in those moments when characters surprise me and go in a totally different direction for reasons of their own? As long as the character is true to their core (usually is), I embrace the change and make adjustments accordingly.

Relationship Arc Chart- Protagonist and a Key Character

	Disasters (faced by the protagonist)	Protagonist (reaction to the disaster)	Pam (reaction to the protagonist)
Act 1	Attackers at warehouse	Is dumbfounded by the attack and then decides he must figure out who did it. Is afraid because goods were damaged, he didn’t finish his work and is late to see his father	Likes him a lot but doesn’t always trust her feelings for him – is hot and cold toward him- her father warns her away. Not sure if he’s a victim or incompetent.
	Overhears conspirators re father and power & sees someone run away	Suspicious of everyone except his friend and Pam. Urgency to do something before it’s too late.	Wonders if he’s making things up – see this in her body language and cautious language
	Discovers father is dead	Is devastated, angry and feels he failed his father. Resolves to solve murder.	Has deep compassion for him but is afraid of his anger and feels helpless to help him.

It’s also important to be aware of the impact of a significant event on all major characters. For example, the death of a central figure has a huge impact on the protagonist and other characters. We really see this, and expect it, in mystery writing yet reactions need to be thought out just as clearly in any genre. How does each person feel about the death? What opportunities or misfortunes do they see as a result? How every character reacts to the death and to those around them must be consistent with personal motives and values.

Relationship Arc Chart- Reaction to a Major Event

Person	Rxn to Felix’s death	Rxn to Joey (protagonist)
Sally (wife)	There is the customary wailing etc but with an unusual sparkle in her eye. After, she appears to be even more crazy and delusional as she insists he isn’t really dead	She wants him to remain loyal to his father – to obey his father as if he’s still alive rather than becoming his own person
Shosha(high priestess)	Relieved. Now Felix won’t be a threat to the people or to her plans. Knows she must appear to be saddened by the death.	Sees Felix’s death as an opportunity to bend Joey to her will. Believes he is the key to restoring balance and making the island safe but he must follow her.
Talar(head of a guild)	Relieved and upset. Felix was a master at his craft and did before his son learned all the skills. He was crucial to island trade. Never liked or trusted him. Has a lifelong grudge about something.	Unsure if Joey can do his father’s job yet he is the last master of his trade. Believes the son is/will be like his father (unstable, and self-serving) and wants to protect his daughter from him.

There are two seldom spoken about things writers need to be aware of to keep interactions genuine. I don’t chart these but I do short write ups on each to make sure I understand them from my characters’ points of view.

Male and Female Perspectives

Yes, males and females see and express things slightly differently. And no, it’s not all stereotypical black and white behaviour either so please don’t take my comments as such. However, it’s folly not to consider the language, approach to situations and socialization of the sexes when writing characters or in understanding target market appeal. That’s why there are so many books on relationships (the Mars and Venus stuff) because it is important. It’s not about equality issues or discrimination. It’s simply that as women and men we are biologically different and we see the world a little differently. Those differences need to be understood and embraced. We can do the same jobs but our approach and communication may be different.

Women may be more prone to focus on emotions and relationships while men are more concerned about process such as fixing something or winning the race. Use this to create confusion and tension as characters speak at cross purposes on an issue. Mix it up to make interactions more interesting. Change the socialization norms. That’s what happened when television, books and movies first created female detectives and lawyers – interactions between the sexes was awkward and rife with tension. It still is and it makes for compelling viewing and reading. Being aware of the differences gives writers more ammunition to mix it up and make interactions more dynamic, less boring and less stereotypical.

Life stages

So how do people react to Joey – as a late teen, and with his father’s death, his mother Sally doesn’t want him to leave the household to become his own man. He’s now expected to fill his father’s shoes, stay in the family business and look after her. Although he knows he must do this, Joey’s interactions with his mother will be charged as he struggles for his own identity and sense of self. If Joey had been married and with a maturing family of his own, his position in society and his skill wouldn’t be questioned and therefore his interactions with his mother would be quite different like charged but now able to assert himself and demand what he wants, respectful or entirely dismissive.

Writing for teens (YA) is different than writing for adults or middle grade. It’s deeper than point of view – it’s about issues, maturity, ability to express, comfort with expression and experience. An adult who has been burned in a relationship as a teenager will have a very different approach to a date than a teen on a first date. That seems obvious, but as an adult writing for teens, I must be very careful not to insinuate my adult knowledge, observations and experience on my characters otherwise their interactions won’t ring true for my readers. The same holds true whenever we write about something apart from our own soci-economic strata.

These are just a few of the tools I use to keep character interactions interesting. What works for you?

Relationship Rumba

February 1, 2013

Nancy

Character Craft & Skills Nancy Greene The Writing Life Writing Tools 3 Comments

Okay, before you can go to the conventions and use your elevator pitch like we talked about last month, you have to write the story. This month we’re going to focus on the craft aspect of writing. Because it’s February, and for some reason this month bring about images of mostly naked babies holding bows. we’re going to focus on relationships. Don’t groan – we aren’t going to spend the entire month talking romance, although it will be a topic this month.

Think about the stories you love. What made you love it? Not the plot. Not even the special effects. It’s the characters and their journey that takes a story from like to love. Some of the all time most loved stories include Gone With The Wind, The Wizard of Oz, Charlotte’s Web, and To Kill a Mockingbird. Action adventure movies can be loved, but it seems to me that only happens when there’s something extraordinary about the character dynamics. Well loved stories, regardless of genre, all have one thing in common – characters that stay with us long after we close the book.

I’m going to use one of my favorite books – The Last Unicorn by Peter S. Beagle – as an example of what I mean. Each of the characters, even the unicorn, is flawed. Schmendrick the Magician (and I didn’t have to look up how to spell his name even though my spelling is atrocious) can’t actually work magic. He’s the incompetent fool, the disappointment and the failure. He can’t touch the unicorn. He joins her quest to benefit himself, not because it’s the right thing to do. Yet, he still finds the strength to get up each morning and try to be a true magician. Molly Grue lives with bandits. She’s brash and a bit crude. Yet, her heart is pure enough to see a unicorn. King Haggard has everything, but can’t feel joy or love. The unicorn is immortal, but she doesn’t know love or regret. A misfired (or not) spell robs her of her immortality. Over the course of the story all four of these character (and Prince Lir) confront who they are. All are searching for something more than themselves. All but one changes.

Why is this one of my favorite books? Because of the depth and beauty of the characters and their interactions. Peter S. Beagle’s A Fine and Private Place is also on my most favored books list for the same reason. I wanted the good guys to win. I wanted the bad guy to get his comeuppance.

How did Peter Beagle and all those other writers create such memorable characters?

Well, that’s what we’re talking about this month.

This month we’ll look at creating a complete characters, the “good” bad guy, and believable character interactions. We’ll spend some time on Romance in deference to St. Valentine’s holiday. But also platonic relationships between the characters and conflict in general. Please check out posts over the month, and remember it’s not too late to get that box of chocolates.

Novel Rewriting Workshop and Other Dave Wolverton Semimars

January 29, 2013

Nancy

Conventions First Drafts Giveaways Nancy Greene Rewriting Superstars Writing Seminars The Writing Life 5 Comments

Did you every have one of those stories that you know “missed it by that much”? I did. While there were some obvious fixes I knew I needed (like beefing up my descriptions), there was a fundamental flaw in the story that I couldn’t get my hands around. The story was sick and needed help. So, I took my baby to a professional.

Let me back up for a second, the story I’m talking about is my trunk novel. I’ve been picking at it for far too long. The first draft was well over 300,000 words. I know. I know. So, I broke it into three books. The problem was that the first book’s story arc was high on the Character quotient of Orson Scott Card’s MICE scale. For those who don’t know, I’m going to vastly oversimplify this. Card broke stories down to four archetypes – Milieu (setting), Issue, Character, and Event. A character story is mostly concerned with the character’s internal journey. So, the book ended when my main character transitioned from spoiled, self-centered twit to taking responsibility for the greater community, and before the promised big battle. A lot of the comments I received was that “nothing happened” in the story. So, books one and two became book 1. But I still had what I called a “pacing” problem. I didn’t know how to fix it. Hence, the trip to the book doctor.

The book doctor of choice and the stated course of therapy? David Farland’s Novel Rewriting Seminar. Dave is a New York Times Bestselling writer who has been translated into many languages and trained a number of #1 New York Times bestsellers, like Brandon Mull, Brandon Sanderson, and Stephenie Meyer. His latest novel, NIGHTINGALE, has won eight awards. So, the ability to hear him speak, much less take a class from him, is an amazing opportunity.

This seminar focuses on editing. In order to attend, you have to submit a sample to Dave and be accepted. You’re committing to a lot of homework, both before and during the workshop. We had a reading list which ensured all participants were starting with the same base knowledge.

All participants send in the first 100 pages and a synopsis of their stories. Part of the pre-seminar homework is to read the first 20 pages and synopsis of the other workshop stories. Getting to read and critique other stories, when you do so honestly, is a learning experience. What do I mean by “critiquing honestly”? I mean not cutting down a story just to cut it down. Your plan should always be to help the writer improve the story. realizing that your comments are just your opinion and you’re not any smarter or better than any other writer. Use critiquing as a way to help someone, but also as a means of seeing what you are doing that might be hurting your own writing.

The work doesn’t end when you get to the workshop. This isn’t a seminar where you can sit back and zone out. Each day, we went over two or more of the workshop stories, discussed story structure and elements, and were given homework that applied the topics discussed. We each left with 10 other perspectives on our story. Another fabulous excercise we did was disecting the story-telling elements in The Hunger Games movie. Many of the workshop participants would go out to lunch or dinner together. We built a community there.

Each participant meets with Dave to go over his comments on the first 100 pages of your novel. I have to say the time spent with Dave was worth far more than the price of admission. Not only is he a genuinely wonderful person, but he has so much insight and experience over the entire entertainment industry. I could have spent hours talking to him about everything from game design to movie making to publishing, and barely dipped my toes in the well of information and experience that he has. Dave pointed out some of the things I knew needed work – my descriptions of places and people were thin. But he also articulated the bigger problem I was having, and a way to address it.

What was the best thing about the workshop? That’s a hard question. The people I met there are wonderful. The knowledge I gained was invaluable. But, I have to say the best thing about the workshop was leaving knowing what I had to do, and that I could accomplish it.

Dave has a workshop for whereever you are in your writing career. He has a host of new writing classes scheduled for 2013 available at www.davidfarland.com/writing workshops. These range from his new Short Fiction Master’s Class, to his Million-Dollar Outlines, Novel Revision class, and Fiction Mastery Class. While there is some overlap between the seminars, each focuses on a different aspect of the craft of writing. I can’t wait to attend some of the other ones.

As if the workshops weren’t cool enough, if you go to to any of his workshops and mention that “I heard about it through the Fictorians,” Dave will buy you a free dinner with him (if time allows), or he’ll give you $20.

If you have the choice between dinner with Dave or $20, take the dinner. Every time.

So please check out his workshops here.