Stories and Treks

By Dan Haring

My older brother and I shared a room growing up, and for many years we had this poster of the USS Enterprise hanging on our wall.

Neither of us were huge Trekkies, (or Trekkers) although I seem to remember my brother watching a fair share of TNG as he got older. But before that, we were little boys and it was a cool spaceship with a ton of really neat detail. That's all that really mattered. After watching a few of the Star Trek films and finding out who Kirk and Spock and the rest of the crew were, I found even more enjoyment staring at the poster. Not only that, I was inspired by it.

And that's what great stories and characters can do. That's why there are millions of Trekkies and Star Wars and Batman fans. Millions of Dr. Who and Firefly and Sherlock fans. It's because these mythologies have characters that we love and hate, characters we're able to lose ourselves and our normal lives in, characters that change our lives. 

And that's why we see these characters popping up again and again. That's why there have been 500 James Bond films. It's why we're getting a new Superman movie next month. These characters resonate.

So think about it as you're crafting your story and characters. Are your characters worth caring about? Would anyone cry if they died? Does it break your heart when something horrible happens to them? Are you elated and inspired when they overcome their hardships and obstacles?

If you answered "no" to any of the above questions, chances are your characters aren't quite where they need to be. I don't have a silver bullet answer for what to do or how to fix them if they're falling short. But the best characters not only have pieces of us in them, they allow us to project our hopes and dreams and fears onto them. It's not easy to create a Katniss Everdeen or James Tiberius Kirk or Luke Skywalker, but it's possible. 

This past weekend I saw Star Trek Into Darkness, (which was fantastic) and got this cool Star Trek poster by Mark Englert. (it even glows in the dark)

As soon as I saw it, I knew what I was going to do with it. My two boys share a bedroom, and I hung it where they both can see if from their beds, next to the Batman and Star Wars pictures. They're a little young for Star Trek, but they're not too young to be inspired. And as they read Harry Potter and watch The Avengers I want them to have favorite characters and go through the love and hurt and joy and pain those characters go through.

If you ask me, that's why we read and watch stories.

And why we tell them too.

8 Key Ways to Add Layers of Depth to Your Scenes

By Jordan Dane
@JordanDane
 

I’ve been working with college-aged writers recently and noticed that many of them rush a scene by sending it to me too soon, as if they’re in a race. My job is to get them to be their own critic and not settle for mediocre, even if it means they won't get a grade. To get noticed in the slush pile of an agent or editor, today’s author must bring something new to the table that is uniquely from them and their storytelling ability.

Using an example of constructing a house, they send me the basic framework, but the finishing touches are lacking. Is the dialogue there? Check. Is there a beginning, middle and end to the writing sample? Check. Did I meet the bare essence of the assignment? Check. But a good house needs walls and all the finishing touches that make it feel like a home. Well-balanced scenes can be those finishing touches that make a house a home. They can add a balance of color/setting, voice, emotion, and memorable characters that doesn’t slow the pace down and make your work stand out as unique, too.

Here are 8 key ways to layer your scene with more depth and make them stand out:

1.) MAKE YOUR VOICE UNIQUE - Pick a POV for the character who will tell the story of the scene and give him or her a unique voice. That means you must see through their eyes and add their senses and opinions to the scene. You can talk about what’s in a room, as if it were a forgettable inventory, OR you can add color by having your character say things like, “the dump smelled like cat piss.” Also give each character their own unique voice, using the same care as you craft each one.

2.) USE ACTION - Show your character taking part in the scene, rather than merely talking about the emotion they’re feeling. A guy who is forced to fight when he’d rather cut and run like a coward will behave differently than a guy who wants to be there and do the right thing. The coward might hang back or urge someone else to take his place or fake an injury to get out of what he really doesn’t want to do. The brave guy would take lead or protect the others by shielding them with his body, for example.

3.) USE DEEP POV - Set your character’s deepest thoughts in italics as “Deep POV” to give the reader insight into your character’s internal motivation. These could be expletives or funny one liners that he /she would mutter under their breath or in their head. The right Deep POV touches can add punch.

4.) WEAVE IN BACK STORY SPARINGLY - Know your character and their back story so you can slip it into the story seamlessly. Not many readers today tolerate a back story dump. There’s not many ways to disguise it either. But weaving a back story over a longer timeframe of your story is a good way to build upon your character’s history without slowing the pace—and it can create a mystery element. Other characters (who have a past with him or her) can fill in the gaps in a more interesting way.

5.) PICK THE ESSENCE OF EMOTION - Emotion is vital to make a scene memorable. Pick out the best images or set the stage in actions that best highlight the emotion you’re trying to weave into the scene. Add only the essential images. This could be a man talking about the small of a woman’s back, at a certain time of day when her body entices the shadows, or his memory of the first time he’d ever noticed how perfect that gentle curve had always been. The sensuality can be there, without overwriting the description of her, plus it conveys his enduring love for her in a sensual way. I'm not a poet, but I often think that good writers have the soul of a poet in them when I read certain passages that make me stop and reread them.

6.) PICK THE MOST PROMINENT PHYSICAL TRAITS - Beauty is in the small details. Today’s average reader may not tolerate an author describing a character in great detail because that would slow the pace, but try picking out the most essential characteristics of your character and pepper your scene with those images to suggest traits, rather than spell them out. Instead of describing how thin a guy is, add color by saying his suit hangs on him as if he were a human coat hanger.

7.) GIVE THE SCENE STRUCTURE – I think of scenes as mini-stories that will propel the story along with 1-3 plot points infused into every scene. They have a beginning, a middle and an end so that the characters in that scene take a journey and move the story forward. Internal monologue should not be repeated. Have your character discover or learn something about themselves during the scene, for example.

8.) ADD SETTING THAT ENHANCES YOUR SCENE – Any scene can be enhanced with the right setting. The bare bones of two characters talking in a study can be enhanced if there is a menacing storm rumbling outside, a loud crackling fire in the hearth, and a musty old library smell in the air from the countless alchemy books that lined the shelves, an extensive collection of magic books that spanned centuries, set in a mansion in the French Quarter of New Orleans. Classic.

I’ve mentioned 8 key ways to add depth to your scenes. Can you add more to this list? Please share your thoughts and what has worked for you.

That voice in my head is getting louder...

by Amanda Stevens

A character named Lucy November has haunted me for years. She’s become so real that a writer friend claims she sees Lucy sitting cross-legged in an empty room, impatiently drumming her fingers on the floor as she waits for me to give her a story. Actually, she has a story—a whole book, in fact—called Garden of Perpetual Slumber. That book has never been sent to a publisher, but it did help me land my current agent, who for years resided at the top of my dream agent list. Yay!

But…back to Lucy. She’s an aspiring filmmaker who moonlights as a corpse cosmetician at a boutique funeral home in Austin, Texas. By boutique, I mean the mortuary specializes in elaborate funerals and unique presentations. A little like Christopher Walken’s mortuary in Undertaking Betty but less Star Trek and more Rocky Horror, if you get my drift. Lucy also converses with the corpses. She calls herself a facilitator because she likes to think that she eases their transition to the other side.

The book has problems.  For one thing, the mystery plot is way too convoluted and for another, the reanimated corpses are nothing more than diversions. The good news is I know how to fix. I’ve tweaked Lucy’s occupation, incorporated the corpses into a simplified mystery plot and I’m integrating some mythological elements into the back story. But as excited as I am by these changes, something has been niggling at me for a while now.

Is Lucy a character whose time has come and gone?

How long should a writer cling to a character or a plot or even a premise before moving on? After all, my cemetery restorer protagonist in The Graveyard Queen series sprang fully developed from my imagination. The premise, plot, setting…everything came together seamlessly.

So what is the deal with Lucy? Am I trying too hard to make her work? Am I now so invested in this character that I’ve lost my objectivity? Has she taken on so many of my own personality traits that I’m unable to let her be who she needs to be? Have I become one of those awful stage mothers, pushing my beloved progeny into a direction she doesn’t want to go?

Just to mix things up, I’ve considered relocating her from Austin to Savannah, but a different setting would completely alter her personality. After all, she is a product of her environment. Austin is a cool, laid back city that prides itself on its weirdness. A haven for the nonconformist. A sanctuary for misfits, hipsters and aging hippies.

This is Lucy in Austin:

Savannah is old South. Deep South. The dark, eccentric, Gothic South of folk magic, Bonaventure Cemetery and John Berendt’s Midnight in the Garden of Good and Evil.

This is Lucy in Savannah:

See what I mean?  Two different characters.

So what do I do?  Abandon the project?  Keep trying until I find her the prefect home?  How long must I listen to Lucy's voice in my head before I tune her out forever?

What do you do when a character won't leave you alone?