On Writing: Gifts from the Muses

January 15, 2008 — Pat Bertram

When I begin to get immersed in a creating a book, whether by writing or simply by working it out in my mind, I look twice at everything that comes my way, wondering if it is a gift from the muses.

Today I received a begging letter from The Nature Conservancy, which described the Karner blue butterfly, and what they are doing to preserve it. I tossed the letter into the trash, then immediately fished it out. I’m familiar with blue wasps, and recently I saw a huge blue bee, but I had never seen a blue butterfly, and the thought captured my imagination.

I could see it, a scene in my new novel — a savannah of blue lupines, clouds of blue butterflies, a swarm of blue bees, a few blue wasps daubing in the mud. My characters would be filled with awe as they made their way through the blue, but it would be so strange that they would also be fearful.

Of course, like all gods and goddesses, the muses are fickle and love to play tricks on us humans. I wouldn’t be surprised if by the time I finished writing my book and got it published, blue would have been done to death. The nine muses will be out there somewhere in the great blue yonder, laughing at me and my gullibility in thinking I was original.

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Creating a Character — Part V

January 10, 2008 — Pat Bertram

Interesting characters make interesting stories, not the other way around. Cardboard cutouts and comic book heroes serve the needs of many popular books today, but I want more than that for my current work. A tongue-in-cheek apocalyptic novel, it could easily dissolve into foolishness without a well-developed character to give it credibility. During my last few posts, I have been profiling this character, but he is still not fleshed out. He needs physical characteristics, though not all characters are defined by the way they look. If I remember correctly, Mark Twain never described Huckleberry Finn.

Does it matter what my character looks like? I won’t know for sure until I start writing the book, but I doubt it. He is an ordinary guy who becomes extraordinary because of all he endures. Now that I think about it, that is the basic plot of all of my books, and one I never get tired of reading or writing. I realize that to sell in this tight market, a book has to immediately capture the attention of an agent, an editor, a reader, and to do that you need more than an average guy. But I am so tired of reading about gutsy females, stone-cold business executives, leftover war heroes, beaten-down cops, bitchy/successful/beautiful/rich women, muscle-bound gunslingers, that an average guy suits me and my story just fine.

My main characters all tend to be stoic, which make them seem unbelievable or standoffish. Most people like to experience emotions vicariously, and if characters react stoically, it makes it hard for readers to identify with them. So I need a character tag: a habit or trait that helps Chip stand out from the page. It’s a simple thing, but I decided he likes candy — not just any candy, but something specific like licorice or butterscotch. He always carries a few pieces with him, and then one day not long after the world ends, he reaches into his pocket for a candy that isn’t there. This, more than anything else he has experienced, tells him that the world he knew is gone, and his stoicism slips. Does he cry? Scream? Have a temper tantrum? Throw things?

I don’t know. I guess we’ll find out after I write the book.

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Creating a Character — Part IV

January 9, 2008 — Pat Bertram

In an earlier post, I suggested using the Luscher color test as a means of profiling a character. To see if it would work, I had Chip, the hero of my work in progress, take the test at www.colorquiz.com.

I know enough about Chip and about colors to figure out what his choices might be. Green signifies a stable and balanced character, so that was Chip’s first choice. Blue, signifying tranquility, was his second. Brown, signifying a down-to-earth character was his third. Gray, signifying a preference for a safe, secure and balanced existence was next. Magenta, orange, and yellow were a toss-up since he didn’t particularly care for any of them, and black, signifying negativity, was his last choice.

This was the result of the test:

His Existing Situation: Uneasy and insecure in the existing situation. Needs greater security and a more affectionate environment, or a situation imposing less physical strain.

His Stress Sources: Wishes to be independent, unhampered, and free from any limitation or restriction, other than those which he imposes of himself or by his own choice and decision.

His Restrained Characteristics: Egocentric (self-conscious) and therefore quick to take offense. Wants to broaden his fields of activity and insists that his hopes and ideas are realistic. Distressed by the fear that he may be prevented from doing what he wants; needs both peaceful conditions and quiet reassurance to restore his confidence.

His Desired Objective: Needs a peaceful environment. Wants release from stress, and freedom from conflicts or disagreement. Takes pains to control the situation and its problems by proceeding cautiously. Has sensitivity of feeling and a fine eye for detail.

His Actual Problem: Does not wish to be involved in differences of opinion, contention or argument, preferring to be left in peace.

If you have been following Chip’s development, you can see that this is an interesting and accurate profile. I might have all of my characters take it, especially the minor characters who don’t need a full character sketch. Feel free to do the same.

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Creating a Character — Part III

January 8, 2008 — Pat Bertram

To be real, a character must have strengths and weaknesses. I have been creating a profile for Chip, the hero of my work in progress, and I know some of his strengths: he is independent, can cope with adversity, has high ethical standards. The only weakness I know about so far is that he is distrustful of women, which women see as a failure to commit.

Strengths and weaknesses are arbitrary. Independence can become an inability to depend on others, an ability to cope can be seen as indifference, high ethical standards can become intransigency. Which is great for the book: the resulting misunderstandings can cause conflicts among characters and the plot or subplots to thicken.

I can already see that Chip’s high ethical standards and principles will be a driving force in the story. He is a vegetarian and an animal lover who will be forced to kill to feed those dependent on him. His independence, exemplified by a need for freedom, is also at stake. He will be forced to decide how much of his freedom he is willing to give up for safety, and how much of his safety he is willing to give up for freedom.

So far, I haven’t been able to come up with a special strength or weakness that would set Chip apart from any other character, but since plot and character are so closely related, this may not be a bad thing. It does no good to assign a special strength or weakness to a character if it is not going to be tested during the story, and I don’t want to Chip to be constrained by a particular trait before he even begins his adventures. If he needs a special strength, I will write it in when necessary. The great thing about writing is that we are not stuck with what is past. We can always go back and recreate it to answer present needs.

Wouldn’t it be interesting if life outside the pages of our novels worked that way?

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Creating a Character — Part II

January 7, 2008 — Pat Bertram

Nope. Sorry. Can’t do it.

Although I’ve been telling you that to get published in today’s market you need a character who wants something desperately, I’ve never been able to do it. I spend so much time with my characters during the creation and writing of my novels that I have to like them or at least tolerate them. Passionate characters, like Scarlett O’Hara, who go after their goals with no thought for anyone else, might be interesting to you, but to me they are spoiled brats and intolerable.

Perhaps if I could have overcome this prejudice and followed my own advice, I’d have found a publisher by now. Unfortunately for me, all of my heroes have been reactive rather than proactive, at least in the beginning. Seems like I’m going to be making the same mistake again, but I have to go with what feels right.

I just don’t see Chip, the hero of my work in progress, as a driven fellow. Except for his problem with his mother, he seems to be satisfied with his life. He does have a long-term goal: he would like to buy a ranch or farm and take care of old and unwanted animals from zoos and circuses, but since this goal is negated when the world ends, it can’t be a desire that drives him throughout the book.

Still, there has to be a unifying characteristic that is with him throughout all of his adventures. He is distrustful of women because of his mother (and perhaps because of past relationships). That distrust could be his motivating factor, until at the end he finds a woman he can trust. It would also suit his temperament.

In The Writer’s Guide to Character Traits, Linda N. Edelstein, PhD, lists styles of behavior and explains the psychology of each. Reviewing the list, I can see that Chip does not have an adventurer’s personality, nor is he bossy, conventional, creative, a conformist, dependant, eccentric, a fall guy, fearful, flamboyant, hyper, a loner, a man’s man, passive-aggressive, a show-off, a victim.

But he is resilient. According to Edelstein, this means he has the ability to recover from losses and disappointments. He is generally happy and productive. He can face his problems and cope with adversity. He is an effective problem solver. He has high ethical standards and takes responsibility for his own life. He has a sense of humor. He is interested in others as well as himself and maintains a strong support network. In the extreme, his independence can become an inability to depend on others, which goes along with his distrust of women.

Maybe he is not an exciting and passionate character, but he sounds like someone I could live with for the next year while I am writing the novel.

Of course, this isn’t all there is to him. He does have special strengths and weaknesses that cause the plot to thicken at times, but I don’t know yet what they are.

I’ll have to get back to you on that.

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Creating a Character — Part I

January 6, 2008 — Pat Bertram

Plot without characters to give it life is merely a recitation of activity, and characters without plot to give them meaning go nowhere. The best way to learn about your characters is to throw them into the plot and see what they do, what they say, and what they think. In this bizarre merry-go-round called fiction writing, however, characters drive plot, which means that you need to know who your characters are before you can begin figuring out where they are going.

I have always had a general idea of who my main character was before I started writing a novel, but I have never created a history or a full-bodied character sketch for him or her beforehand. Although the writing experts say such a sketch is necessary, I never saw the point in generating material I would not use. But since I am getting nowhere with my latest writing venture, I thought I would try it. See where it leads.

I decided the hero is going to be a man. Originally I had planned on a woman, but as I said in an earlier post, the man has the stronger story and the more poignant choices to make, so he will make a better point-of-view character. For purposes of this sketch, I will call him Chip.

What I know so far about Chip’s history is that his mother is overbearing and interfering. Though she lives only an hour away, she came to visit and stayed for months. He hates himself for being a wimp and not kicking her out, but she is his mother, after all, and she has no one but him — his father ran out on them when Chip was in grade school. The story begins (and the world begins to end) the night Chip asks his mother to leave.

Chip is thirty-three, the owner of a pet store, and currently without a girlfriend. Perhaps he is leery of a relationship, not wanting to end up with someone like his mother. Other than that, I’m not sure I want to get into his background. Do we need to know where he went to school? What his childhood was like? What his failures and lost opportunities were? Do we care about his politics, his beliefs, his travels, his ex-girlfriends? Seems boring to me, and I can’t see that it makes any difference when the world is ending.

Most books on writing say that an interesting and enduring character must have a strong desire, a goal he will do anything to achieve, but do Chip’s present desires really matter when everything is about to change? To begin with, Chip’s only desire is to get his mother out of his apartment, though later he will want desperately to escape the human zoo where he has been incarcerated. Is that enough to propel the story? Or do I need to give him another desire, one that he has at the beginning and that follows him throughout his adventures, until at the end he gets either what he wants or what he deserves?

I’ll have to think about that and get back to you.

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Unblocking Writer’s Block

January 4, 2008 — Pat Bertram

Writer’s block is a term, like chronic fatigue syndrome, that covers a multitude of ills. Sometimes it means an inability to begin writing that book, sometimes it means a stoppage in the flow of words or ideas, sometimes it means a lack of desire to write. It is only a critical condition when the blocked writer is on a deadline, otherwise time or a change in writing habits can help.

For me, writer’s block generally means that I have taken a false turn in the story, that I’m heading in the wrong direction. This often happens in the middle of the book when all the ideas that I had in the beginning have been used up, and I need to fill a hole in the plot. The only thing I can do is go back through the story, make sure every action is motivated, every scene necessary, every character operating at his or her full potential. Usually I can find where I went wrong. After I change it, I continue in the proper direction with renewed vigor.

My latest attempt at writing, however, stalled at the beginning. I wrote three and a half pages almost a year ago, then nothing. It seems ludicrous that I could have taken a wrong turn so early, but I must have, otherwise I would be well on my way to finishing the novel. Ironically, it was supposed to have been fun to write, a take-off on the apocalyptic fantasies that have been so popular in recent years. Then why is it so hard to get going?

Perhaps the story isn’t worth writing. Perhaps my characters aren’t strong enough. Perhaps I begin with too many characters or too few.

I decided that the story is worth writing. I have a great hook, high stakes, and a delicious ending. So the problem has to be in the characters. I was going to tell the story from two points of view — a man and a woman who come together in the end — but the problem seems to be that one of their viewpoints is superfluous. Showing both of their reactions to the end-of-the-world-as-we-know-it would be repetitive, like those lawyer books that rehash the entire story during the courtroom scene. Yawn.

The man has the stronger story and will have to make some of the more poignant decisions (for example, he is a devout vegetarian who will be forced to kill to feed those dependant on him) so today I deleted the woman. She didn’t even have a chance to come to life before I had to do her in. Poor thing. May she rest in peace.

Now maybe I can get going on the book.

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In the Beginning: Starting to Write a Novel

January 3, 2008 — Pat Bertram

I finished writing my fourth novel several months ago, and I feel as if I should be starting another one. After all, a writer writes, right?

I have a synopsis and a great hook, but I just can’t get into the story. I don’t know who my characters are or why anyone, including me, should like them. I am bored by the minutiae of their ordinary lives and I want to jump right into the extraordinary times that are coming, but I need the preamble to set up the story. I suppose I could start with the last chapter as Margaret Mitchell did for Gone With the Wind, and work my way toward the beginning, but my linear mind would rebel. Or I could start with a violent scene to get my adrenaline going. Books that start with violence sell better than ones that begin more passively, anyway.

I tell myself that, good or bad, I should just get the story down on paper and worry about rewriting later. Then I remember that it’s hard for me to find any words, so they need to be good.

Starting to write a novel is always difficult, even for professionals like Mary Higgins Clark who have been writing for decades. She admitted in an interview that it never gets easier. But still she writes.

Perhaps if I were writing for publication as she does, I would be motivated. There is nothing like the threat of having to return an advance to keep a writer churning out the words. I am not writing for publication yet, and I already have four unpublished novels packed away in the dusty reaches of my computer. Adding another seems pathetic.

So what’s the alternative? Blogging. It satisfies my writing urge, the posts are short and don’t require a big commitment of my time, and I don’t need to create interesting characters.

Characters are the key to a good beginning. Once you know who they are and what they want, they can help drive the story. But the only way to learn who they are and what they want is to write them. It’s a vicious circle.

For now, I’ll stick to blogging.

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Writing Without a Reader is Like Kissing Without a Partner.

December 31, 2007 — Pat Bertram

Print on demand publishers and publish on demand printers. Co-op publishing ventures. Ebook publishers and self-published ebooks. BookSurge and Lulu. Content providers for websites, personal websites. In this brave new world of publication, there is a way for anyone and everyone who has strung words together to be published.

What is lacking is readers. In fact, I would be willing to bet that many writers read less than one or two books a year, and I wouldn’t be surprised to find out that there are more writers than readers. Whether we like it or not, reading is considered to be entertainment, and the money spent on movies, music, games means less money for books.

The traditional publishing industry is answering this trend by promoting authors rather than titles. If your book is one of a series, you have a much greater chance of being published than those of us who prefer starting with a whole new set of characters for each novel. The publishing industry is also continuing their move toward more blockbuster novels, which stands to reason. It is cheaper to promote a single author than several. They still do publish books from new authors, but it is harder for you as a new author to attract the attention of a publisher, and if by chance you do attract their attention, for the most part they leave you to sink or swim on your own. This could be why so many people are publishing their own books. If you have to do your own promoting, why not reap all the rewards?

The sad truth is that while the self-publishing business is growing, the money earned by most individuals barely counts as an allowance. On average, a self-published book sells between four hundred and five hundred copies, which means that a few people who are good at self-promotion will sell a lot, while everyone else will only sell a few.

The only sane way to deal with this insane situation is to write for ourselves, but many of us feel the same way as John Cheever, who said, “I can’t write without a reader. It’s precisely like a kiss — you can’t do it alone.”

The next best thing is to write a fabulous novel that is so entertaining and well-written that any reader who sees it will immediately fall in love with it and spread the word.

It could happen.

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On Writing: Giving 110% 24/7

December 30, 2007 — Pat Bertram

If I hear one more person say he is going to give a hundred and ten percent, I think I’ll scream or vomit or do something equally repulsive.

What does it mean, anyway? A hundred and ten percent of what? Once you go beyond one hundred percent, you get into a form of mathematics that I know nothing about. It could be a hundred and ten percent of two hundred percent, which isn’t good. Or it could be a hundred and ten percent of one thousand percent, which is worse.

Unless you flunked remedial math, in which case you might have an excuse for your ignorance, you should know that you cannot give more than one hundred percent. That is the maximum. I’m not certain it is even possible for a person to give the maximum effort. Your energy and fluids and muscles would be so debilitated that you might not be able to recover. But if it were possible to give a maximum effort, the world would be a great place to live because of all you special people.

The only expression ghastlier than a hundred and ten percent is 24/7. When speaking of a business, it might apply, but when it is used for a person, as in “I work twenty-four seven,” it becomes impossible. The only thing a person can do 24/7 is breathe, and with sleep apnea being so prevalent, a lot of people don’t even do that 24/7. You certainly can’t work 24/7. What about sleeping? Eating? Defecating? All these activities subtract from that 24/7. (If you continue to work while on the toilet, I don’t want to know about it.)

There is nothing wrong with hyperbole. It is an acceptable literary form. But please, if you must hyperbolize, be inventive. I’m certain that if you try you can come up with something even more annoying than giving a hundred and ten percent 24/7.

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