Lane Diamond

Author, Editor, Publisher, Coach

Page 17 of 19

Compelling Characters – Great Books Are All About the People

Think of your favorite novels.  What did you love most about them?  Sure, they offered a fun and interesting story, but I’ll bet that, in many of those books, you were compelled most by the people you met on your journey—the characters.

We’re not just readers; we’re people.  We relate to other people… even if they’re fictional.  The real trick to effective writing is to make us suspend our disbelief long enough to consider that maybe, just maybe, your characters are real people too.

To Kill a Mockingbird, by Harper Lee – If you love this book as much as I do, then you also love Atticus Finch and Scout.  You see what they see.  You feel what they feel.  Personally, I imagined myself seated in a rocker on Atticus’s front porch, as we spoke of the law, of politics, of our mutual hope that Scout would know a better world someday.  Perhaps because I knew so little of my own father, I imagined what life might be like if Atticus were my dad.  Such is the power of great characterization.

The Grapes of Wrath, by John Steinbeck – I can still feel the dust of Oklahoma layered over me.  I can still smell my traveling mates, the Joad family and Casy, as it had been several days since we last had the opportunity to take a decent bath.  I can still taste the mush, made only slightly better by the one spoon of sugar Ma allowed each of us.  I can’t see Tom in that coal-black cave of vines, but I can hear him breathing.  “I swar, I even spoke Okey fer awhile, like they done.”  I loved the Joad family—Ma, Tom, Rose of Sharon, and the whole gang.  I starved with them.  I cried with them.  I hoped against all odds with them.  Such is the power of great characterization.

The Stand, by Stephen King – This story offers a character-rich environment—easily a dozen characters to whom you can open your heart.  How could you possibly not like Nick, Stu, Glen, Frances, and of course, Mother Abigail.  You can even sink your teeth into a number of bad guys.  It’s an imaginative story, to be sure, but the characters kept me going for all 1,153 pages (complete & uncut edition).  I feared with them.  I cared with them.  I sacrificed with them.  Such is the power of great characterization.

A Soldier of the Great War, by Mark Helprin – As I read the story, I truly learned to love Alessandro Giuliani, the protagonist.  If I could have chosen my own grandfather, I might have chosen Alessandro.  I so missed him ten years after first reading the book that I had to read it again.  It didn’t matter that I knew the story; I needed to visit the old man I loved.  Eight years later, I visited him for a third time.  Soon, we’ll be meeting again.  Such is the power of great characterization.

A Prayer for Owen Meany, by John Irving – How effectively did John Irving bring Owen Meany to life?  Despite the fact that the story itself often antagonized me, the reader, by virtue of politics with which I often disagreed, I still couldn’t put the book down.  Owen Meany is one of the most compelling and unique people I’ve ever met.  Yes, I met him, and he was just as amazing as I imagined he would be.  Such is the power of great characterization.

These are only a few examples, varied in genres and styles, of novels that succeeded wildly not just because the authors told good stories, but because they brought to life great characters.  They gave to us people who breathed, walked and talked on the page.  They came to life and, in doing so, became a part of our lives.

What makes for great characterization?  I can tell you what it’s not: he has blue eyes; she has red hair; she’s short with tiny feet and freckles; he has an aristocratic nose and wavy blonde hair.  Are those details bad?  Not necessarily. Are those details good?  Not necessarily.

As a reader, I don’t like a lot of physical description.  I always develop, when the author allows me to, my own mental image of the characters.  I knew what Jack Ryan, from Tom Clancy’s novels, looked like long before Alec Baldwin or Harrison Ford played the character in movies.  I knew what Nick, from Stephen King’s The Stand, looked like long before they released the TV movie.  Rob Lowe as Nick?  Sorry, but I don’t think so.  Have you ever had that same reaction to an actor?  Have you ever said, “No, no, no; he doesn’t look anything like that character?”

I liked Gregory Peck as Atticus Finch.  I did not like Matt Damon as Jason Bourne.  I liked Robert Urich as Spenser.  I did not like Stacy Keach as Mike Hammer.  I liked Tom Hanks as Forrest Gump.

You may feel different about each of those actors and characters, and that’s my point.  For you, that female lead may be a short redhead with green eyes, a bit chubby, with freckles and an unfortunate birthmark.  For me, she may be a long-legged blonde with blue eyes, a disarming smile, and a figure that takes my breath away.  (Yeesh, I’m such a guy.)  The freedom to exercise our imaginations draws us into a story, drives us to know your characters better.

Dear Author, please give us, your loyal readers, a little freedom.

What do readers really want in a character?  We want to see her with our own eyes, hear her with our own ears, feel what she feels.  We don’t want you to tell us that she’s afraid; we want you to show us the hair standing up on the back of her neck.  We want to see her shiver, and see the goosebumps rise on her arms.  We want to hear and feel her anguish over a lost love.  We want to know her heart, her soul, her attitudes and desires—as if she were a good friend.

Such is the power of great characterization.

‘Til next time, and as always, remember: To write well, you must work hard.  To succeed in this tough gig, you mustn’t be lazy (or discouraged).

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Meet Tony Hooper

I’m Tony Hooper.  Lane Diamond thinks he knows me, calls me his protagonist, thinks he can manipulate me just to offer others a thrilling ride.  Yeah, good luck with that!

He doesn’t know me, any better than you know me.  Don’t judge me until you’ve worn my skin, crawled inside my mind.

What do you know about loss?  What do you know about pain?  What do you know about living every night of your life as if a raging tornado were roaring through your gut, twisting your intestines into a stew of guilt and anguish, shooting your heart across the abyss at 250 mph?

Me and pain, we’re buds.  BFFs.  Just as well, because I deserve it.  If I believe in justice and claim to fight for it—and make no mistake, I do—then I have to accept the pain.  I must embrace it.

Fate deals the cards; all I can do is play the hand.

If I end up dead or in prison as a result, so be it.  But if you’re one of those animals out there, one of the monsters that preys on the innocent, know this: I’m coming for you.

And to my little brother, who’s always represented the best part of me, I can only say, “Forgive Me, Alex.”

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First 5 Chapters of “FORGIVE ME, ALEX” – A Psychological Thriller

Some of you may have already read the opening chapter of my upcoming novel.  Well, now I’ve added Chapters 2-5 on the novel page at this site.  Just click here, and please leave a comment at the end after reading.

Thank you.

‘Til next time, and as always, remember: To write well, you must work hard.  To succeed in this tough gig, you mustn’t be lazy (or discouraged).

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Wind Tunnel – A Short Story

My second short story, Wind Tunnel, is more of a feel-good affair than my first one, Devane’s Reality.  It is now available through AmazonSmashwords and BookieJar.

Set first in Chicago and later in Argentina, it serves as a reminder that it pays to do good.  Call it karma, call it paying-it-forward, call it what you will—sometimes, all is right with the universe.

Thanks to D.T. Conklin for his exacting edit, and to Josh Evans for the vibrant cover.

‘Til next time, and as always, remember: To write well, you must work hard.  To succeed in this tough gig, you mustn’t be lazy (or discouraged).

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Flash Fiction

Let me first say that I’m not a fan of flash fiction, particularly the 55-word variety.  In my experience, 9 out of 10 pieces are not worth the reading, even if it does take only a few seconds.  People don’t tell stories; they write anecdotes, ask questions, set up a possible story.

Yet I entered a flash fiction contest.  Go figure.

I found Austin Briggs’ contest on Twitter, liked what he was doing (Hey, I love any opportunity for a writer to make money!), and decided to both spread the good word and enter my own piece.

He provided this prompt: “Eccentric Woman.”

His essential guidelines were clear: 55-words max (includes the title), must contain a setting and at least one character, and must present a conflict and resolution.

Those are ambitious guidelines for a 55-word piece, and that’s ultimately why I decided to participate (my entry, Sipping, took 2nd place in July).  Did all entries adhere to those guidelines?  Did all the winners?  Hmmm….  As I said before, flash fiction so rarely gives us a story.

Nonetheless, Austin is doing a good thing for writers.  If you like flash fiction, and you’d like an opportunity to make a little money in a contest, please check it out.  You’ll find the July results here: Austin Briggs’ Flash Fiction Contest.

‘Til next time, and as always, remember: To write well, you must work hard.  To succeed in this tough gig, you mustn’t be lazy (or discouraged).

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Is Time Even Real?

I watched The Science Channel yesterday while having breakfast, a show hosted by Morgan Freeman called Through the Wormhole, and the subject was time.  The essential argument related to the properties of the so-called fourth dimension.

One scientist went so far as to argue that time is an illusion, not real, a construct of the human mind.  Only space exists, and it does so whether or not time is real.

I responded with a literary metaphor, and I think I should copyright it right here and now, before it slips away from me.  So here it is.

Time is the page upon which the story of space is written.  Burn the page, and the story is lost.

Someday, I think, we’re going to throw out the rest and decide that there really is only one dimension: space-time.  We’ll see.

‘Til next time, and as always, remember: To write well, you must work hard.  To succeed in this tough gig, you mustn’t be lazy (or discouraged).

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Grammar

Okay, be honest.  When you saw the title of this post, you thought, “Ah geez, do I even want to read that?”

Unless you’re a word geek, you hate grammar—as a subject; as a list of rules you must learn, and to which you must adhere; as an 80-lb ball and chain tied around your ankle and preventing you from sprinting to the finish line.

Yet language is little more than a recognizable set of rules by which we communicate.  No rules?  No language.

Can we ever break the rules?  Of course, but be careful.  Pick your spots, make sure they lend your prose a nice punch, and keep them to a minimum.

You’ll find the rest of this discussion here: When Is Good Grammar Required?

‘Til next time, and as always, remember: To write well, you must work hard.  To succeed in this tough gig, you mustn’t be lazy (or discouraged).

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Writers Need To Make a Living Too

A recent online article by C. Hope Clark, Are we speaking for free, too?, prompted me to dust off a piece I wrote long ago at www.Writing.com. I’ve decided to reprise it here, since I have a primarily new audience.

What’s a writer?

I once installed a new kitchen sink and garbage disposal in my condo. That doesn’t make me a plumber. I once built some shelves for my closet. That doesn’t make me a carpenter. I once watched a meteor shower streak through the night sky. That doesn’t make me an astronomer.

Writers are professionals. Professionals are paid for their work. Hence, writers are paid for their work.

Everyone else is an “aspiring writer,” or a hobbyist.

As an example, if you write short fiction and you’ve looked around at print markets for your work, you’ve no doubt discovered that more outlets don’t pay than do pay. Sure, they may offer “2 free contributor copies.” Oh goodie! Now I can eat something besides PB&J sandwiches and macaroni & cheese. Oh wait! Never mind.

Just in case that’s not bad enough, you might subsequently have this conversation:

MAGAZINE EDITOR: I discovered that you posted your story on a website where people have access to it.

ME: That’s right. It’s an interactive writer’s site. We review each other’s material and offer some constructive feedback, perhaps a little encouragement. We can all use more of that.

EDITOR: Sure, but people can read your story there.

ME: Yes, this story has had 138 views as of this morning, primarily by other writers, no doubt.

EDITOR: See, that’s what we consider “previously published,” and we expect “First-Time” rights.

ME: But it’s 138 people.

EDITOR: That doesn’t matter.

ME: 138. That’s 138 people in the whole world. How many of those do you suppose are part of your 1,200 subscribers?

EDITOR: That’s not the point. We pay for first-time rights.

ME: Really? What do you pay?

EDITOR: We pay 2 free contributor copies.

ME: Oh goodie! Now I can pay the rent this month!

(Pregnant pause)

Imagine calling a plumber to install your new water heater:

YOU: I’d like you to remove the old water heater, install my new one in the same spot, and dispose of the old one.

PLUMBER: Okay, that will require three hours of labor, which costs $270. Additionally, there’s a $50 fee for disposing of your old water heater.

YOU: Well, I don’t actually offer money for plumbing services, but I will pay “2 free written references.” Man, that’s gonna look good on your resume!

(Pregnant pause)

Yeah, how’s that new water heater working out?

It’s amazing how many magazine editors think we writers should feel “honored” that they want to publish our material… absolutely free. Yep, we should be thrilled that their 1,200 readers (Oh joy!), or 800 readers (How wonderful!), or 300 readers (Are you kidding me?) are going to read our story.

Let’s close out that first conversation:

EDITOR: You know, this would be a good job if it weren’t for you damned writers!

Yeah, it’s so nice to be loved and respected.

I’ll give you a little hint, Dear Writer: You create this problem for yourself… every time you agree to work for free. The sooner we all stop doing that, the sooner we’ll get paid for our work. You have the power. We have the power, and it’s time for a little peaceful revolution.

‘Til next time, and as always, remember: To write well, you must work hard. To succeed in this tough gig, you mustn’t be lazy (or discouraged).

Team Concept

A recent release from the Association of American Publishers, which reports continuing growth in eBook sales, prompted some reflection on the business of self-publishing. While our Evolved Publishing venture is not self-publishing, neither is it a clone of the traditional publishing model. We are a hybrid small press.

When I was in the U.S. Air Force—about a million years ago—I toiled in an office where nine individuals worked with, and often against, each other. Within our section, we performed three primary functions. The nine individuals, in random combination, rotated between those three functions. Seems fair, right?

Just one problem: one of those functions provided greater headaches and pressure to perform than the other two, and nobody wanted to go anywhere near it. Hey, we were government employees—no one advanced on merits; only seniority mattered. So why bust your butt to perform a stressful, thankless job if you didn’t have to? I should make clear that this was not my attitude.  Mama taught me better. Four or five in our section, however, had not learned those proper lessons.

When half a team—geez, I hesitate to call what we had a team—crashes the team bus in a fiery ball, the entire team burns up. The end result? Poor performance, poor service, poor atmosphere, poor outlook. Poor. Thus, some lowly bottom-of-the-ladder two-striper—that would be me—approached the section chief with a proposal: convert the nine hey-I’m-just-in-it-for-me individuals into three let’s-pull-together teams. Let each team of three learn to rely on each other to succeed—no whining, no finger-pointing. If one member of the team failed, the entire team failed, and their individual performance reviews would reflect that. Suddenly, it was in everyone’s interest to ensure that the other members of the team succeeded (only two others on the team now—much more manageable).

If my teammate needed help, I helped—this new dynamic swept through the section. Even the one or two hopeless sourpusses had to step up, because no one wanted to shoulder the blame for a team’s poor review. No one wanted to be a pariah. Better yet, and on a more positive note, those very sourpusses appreciated that now, finally, someone else was in their corner, rather than constantly fighting against them.

We no longer suffered the lesser demons of nine individuals. We now encouraged the greater angels of three teams.

This lowly two-striper even received a U.S Air Force Achievement Medal, for “designing creative solutions to promote excellence in service.” Hoo-rah!

I took the lessons learned in that setting into the real world (working for the government bureaucracy, even if military, is not the real world). As I took on management roles in a couple companies, responsible for hiring, training, project and personnel development, I focused heavily on the team approach. No, all was not bliss. You can’t bring together a large group of people and expect everything to be perfect.

Nonetheless, I saw firsthand, time and time again, how a well-coordinated team always outperformed a group of individuals focused solely on themselves. On top of everything else, the sense of camaraderie it promoted, when it worked well, created a pleasant working atmosphere… and quite often, lasting friendships.

Now, we bring this same philosophy to our new publishing company. If you haven’t already, and particularly if you’re an aspiring writer, I hope you’ll check out what we’re doing at Evolved Publishing.

‘Til next time, and as always, remember: To write well, you must work hard. To succeed in this tough gig, you mustn’t be lazy (or discouraged).

Wordiness Is Not a Style – Part 3

This article continues two earlier posts: Wordiness Is Not a Style – Part 1, and Wordiness Is Not a Style – Part 2.  If you haven’t yet read those preliminary articles, please do so before continuing here.

Okay, so here’s the part a few people have been anxiously awaiting: practical examples.

Triggers: Specific Phrases that Often Lead to Wordiness

These seven items are some of the most common Wordiness Triggers I see when I edit.

  1. There were / There was
    1. Bad: There were stars shining….
    2. Good: Stars shined….
  2. Gave a/an
    1. Bad: John gave a short laugh….
    2. Good: John laughed….
  3. It was [blank] that
    1. Bad: It was the dog that ate it….
    2. Good: The dog ate it….
  4. There was a [blank] that
    1. Bad: There was a cat that scratched….
    2. Good: A cat scratched….
  5. Found himself / To find himself / Found that
    1. Bad: He found himself lying in a ditch….
    2. Good: He lay in a ditch….
    3. Bad: He awoke to find himself soaked in sweat….
    4. Good: He awoke soaked in sweat….
    5. Bad: He found that he’d been sleeping….
    6. Good: He’d been sleeping….
  6. In what they were / Of what they were
    1. Bad: The humor in what they were singing was….
    2. Good: The humor of their song was….
  7. I’ve got / He’s got / They’ve got / Etc
    1. Bad: I’ve got a terrible headache….
    2. Good: I have a terrible headache….

EXAMPLES:

Now, let’s review a series of specific examples from pieces I’ve edited or reviewed.  As always, I shall keep confidential the authors’ names and story titles to protect the not-so-innocent.  

BAD: There was screaming, and it pierced my ears like needles of ice.  NOTE: “There was” is one of our classic triggers.  GOOD (Simple): Screams pierced my ears like needles of ice.

BAD: There were men attacking the village, and through their actions of burning cottages, the forest itself began to flame.  NOTE: First, “There were” is one of our classic triggers.  Second, a phrase such as “through their actions of” is a major red flag.  Third, why say “the forest itself” when a simple “the forest” will suffice?  Fourth, don’t provide an action that only “began to” do anything, unless you intend to interrupt that action before it’s complete.  GOOD (Simple): Men attacked the village and burned cottages, and the surrounding forest soon flamed.  GOOD (Detailed): Men attacked the village and burned cottages, and the flames leapt from cottage to stable, from stable to field, from field to trees, until they cast the surrounding forest ablaze.

BAD: I’m hopeful that I’ll find something.  NOTE: The red flag here is “hopeful that.”  GOOD (Simple): I hope I’ll find something.

BAD: The few remaining cars are nothing more than burned out shells sitting on bare steel rims where tires once were.  NOTE: First, the phrase “are nothing more than” raises a red flag.  Second, the final four words are utterly redundant.  After all, everyone knows what purpose the steel rims serve.  This is no less intrusive and insulting than telling a reader “water is wet.”  GOOD (Simple): The few remaining cars, mere burned-out shells, sat on bare steel rims.

BAD: As in all wars, each nation involved believes that the fight will bring improvement in some way; each combatant seeks to gain something, or at least keep all or some of what it already has.  NOTE: The first nine words drag out the start of that sentence.  Second, I’m always suspicious of phrases like “in some way.”  Third, consider the phrase “all or some of.”  Yikes!  Why even mention it?  After all, what else is there?  GOOD (Simple): All nations involved in war believe the fight will bring some improvement; each combatant seeks to gain something, or at least to keep what is already theirs.  GOOD (Detailed): All nations involved in war believe the fight will bring some improvement; each combatant seeks to gain something, or at least to preserve their treasure, their families, their way of life.

BAD: His tone became less harsh as he spoke to the child.  NOTE: Beware of anyone that “becomes” anything.  Slap the writer’s wrench around that thing and tighten it up.  GOOD (Simple): His tone softened as he spoke to the child.  GOOD (Simple): He spoke to the child in soft tones.

BAD: With an open hand, he pushed Steve backward toward the sunlit stream from which the people of Centerville obtained their water.  Steve found himself setting among the summer brambles that grew there.  NOTE: Hmmm… is “with an open hand” truly necessary?  Does it add anything?  What of the word “sunlit” in this case—how is it germane to the fact they get their water from that stream?  Details are great, provided they’re also relevant.  If this detail supplements others, then fine; if not, kill it.  As for the second sentence, beware characters who “find themselves” doing anything.  The Nike marketing folks had it right.  “Just do it!”  They didn’t say, “Just find yourself doing it!”  Finally, if the summer brambles didn’t grow there, how would they have gotten there?  Please don’t state the ridiculously obvious.  GOOD (Simple): He pushed Steve backward toward the stream from which the people of Centerville obtained their water.  Steve fell into a patch of summer brambles.

BAD: Their eyes and minds work furiously as they attempt to discern her purpose.  NOTE: Why else would they “work furiously,” except to “attempt” to do something?  GOOD (Simple): Their eyes and minds work furiously to discern her purpose.

BAD: From where he stood, he saw her fog-colored hair that moved with the breeze.  NOTE: All right, now those first four words are just silly.  Would that be as opposed to some sort of out of body experience—from where he didn’t stand?  Also, “that moved” is too much here.  NOT SO GOOD (Simple): He saw her fog-colored hair move with the breeze.  GOOD (Show; Don’t Tell.): Her fog-colored hair bounced with the breeze and assaulted her head in a gray swarm.

BAD: He should have a place to rest through eternity where she might visit him often while she lived, and she would bring flowers.  NOTE: We’re getting silly again.  First, would that be as opposed to having NO PLACE to rest, WHERE she might VISIT him often?  Second, would that be as opposed to her visiting him while she’s dead?  GOOD (Simple): He should rest through eternity where she might visit him often, and she would bring flowers.

BAD: A blanket of mist clung to the ground as Mary and John found their way.  They threaded the rows of graves.  NOTE: First, “found their way” raises a red flag.  Second, the two short sentences provide a choppy feel.  GOOD (Simple): A blanket of mist clung to the ground as Mary and John threaded the rows of graves.

BAD: When his controlling progressed to violence, and he started hitting her, she hid it from everyone.  NOTE: To first say, “his controlling progressed to violence,” and then to say, “and he started hitting her,” is to say the same thing twice, in two different ways.  GOOD (Simple): When his controlling progressed to violence, she hid it from everyone.  GOOD (Detailed): When he moved beyond simple controlling and started pushing her, slapping her, punching her, she hid it from everyone.

Well, that should be enough for now—plenty to think about as you don the self-editing cap and return to your manuscript.  Remember: Pith is not your enemy; it is your friend.  Pith will not preclude you from writing high prose; indeed, it will aid you in that endeavor.

Always adhere to this High Commandment of professional writing: Make Every Word Count.

‘Til next time, and as always, remember: To write well, you must work hard.  To succeed in this tough gig, you mustn’t be lazy (or discouraged).

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