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3T Writing Tidbit

 

We're delving into another of the three elements of story: character. (The three elements being character, setting, and plot 😄) I'm not going to go in any special order with these. 

Here's a provocative sentence I came across: 

Archetypes are masks of a complete human being.

Last month I unpacked the complete human being. Let's put it all together.

Our characters start out with a vision of themselves, either good or bad. They see themselves perhaps as the Hero, a Captain America, or perhaps as a Villain, like Felonious Gru in Despicable Me. More, all their actions and attitudes consciously reflect this archetype -- they wear their vision of themselves like a mask.

But it isn't their real selves. Real people, and characters who feel real, are messy. Conflicted, inconsistent, flawed. They change. They grow, they shrink, they lose, and they win.

Because their mask isn't their real self, it keeps that character separate and distanced from change, contradiction, interaction with other people, and even fully understanding themselves.

So, like a real person, they must learn and change to embrace their own truth, to remove the mask of the static, idealized archetype or even burst it, to become a complete and full human being.

Published since 2009, over the years I've accumulated various items of writing wisdom. The Third Tuesday Writing Tidbit showcases these items in no particular order. Click here to see all 3T Tidbits.

2T Repeat Performance - what makes your vampires different?

I've done a number of blog tours over the years, posting on different sites. Now I'm bringing them to you!

Originally published August 22, 2012 for My Odd Little World

What makes your vampires different from the others out there?

Keeping it real.

I can’t claim to have read every vampire book or seen every movie or show. But there are three ways I know of to “make” a fictional vampire—physically (like the plague in I Am Legend), magically (like the witches’ spells in The Vampire Diaries), or morally (divinely cursed like Dracula). Mine are the physical variety. The underlying mechanism has yet to be revealed, but there’s one noticeable aspect that sets my v-guys apart.

My vampires don’t drink blood for their stomachs—they drink it for their veins.

Like humans who can’t make their own blood, my vampires must have regular transfusions (taking their transfusions by mouth).

I like this a lot (especially for romance) because it’s hard to have a real relationship with someone who looks at you as a giant barbequed chicken. My humans are donors, not dinners. Even better, vampires only have to drink about three times a month (just often enough to replace dying red cells).

Now, I do have to say that my vampires have many similarities to those out there. They’re strong, fast, rich, highly sexual and fall in love hard with one person. There’s a group of savvy warriors united by the mysterious Ancient One to protect humans.

But real physiology grounds my vampires, no matter how whimsical the plots get. The blood they drink goes directly into their veins instead of their stomachs, which is frankly more authentic to me because the stomach digests blood. Mini-rant here—feel free to skip to the next paragraph :). That’s one reason I have a problem with turning rituals where the human drinks blood. How effective can blood be, churned up with gastric acid? Assuming it stays down, that is. In humans, blood is an emetic—drink enough and you, um, you know. Email me if you don’t :).

Of course, because my vampires don’t use blood for food, they have to get their energy another way. It’s not revealed yet, but there are indicators they get it from being buried in the soil (perhaps like plants do) honoring the “native soil” needed by Dracula, and the vampires-sleeping-in-graves legend.

The physical differences also have a real social impact. Those who successfully make the change keep their human intellect and morals: silly, smart, wise; good or bad. So on one hand we have the Iowa Alliance living in harmony with humans, and on the other we have the Chicago Coterie trying to take over the world. Some vampires don’t make the change successfully. They lose what makes them human, becoming pure vampire hunger uncontrolled by their rotting human brain. There’s a nice tension between the good guys protecting humans, the bad guys using them as minions, and the rogues mindlessly hunting them.

Lastly, some vampire characters are developed ignoring popular lore. Lore may not be real, but popular means a lot of people understand vampires in terms of the legends. I try to honor all legends that are physically based. My vampires are hurt by silver. They get a buzz from running water. Sunlight fries them. They do have reflections, but no reflection is part of the divinely-cursed vampire mythos (no soul). After being undead long enough, they can turn their bodies into mist; longer yet and they can shapeshift. These all have real reasons tied consistently into the physical nature of my vampires. Which will get revealed eventually :)

3T Writing Tidbit

We're delving into another of the three elements of story: character. (The three elements being character, setting, and plot 😄) I'm not going to go in any special order with these. 

Here's a provocative sentence I came across: 

Archetypes are masks of a complete human being.

Last month I unpacked mask. Let's look at the complete human being.

It's a fact that no character, not even Pinocchio, can be a real human being. But you can make them feel more or less like a real person to the reader. How is that?

In researching archetypes, I came across a Between the Lines Editorial blog that explains it very well. There are flat, static characters who are one- or two-trick ponies and never change. There are also rounded, dynamic characters. These characters change over time (like we do) and have many personality traits, some of which vary over time and are even contradictory (like we do!).

So make your Pinocchio, not a static wooden puppet, but a conflicted being who wants to be a real boy but can't, until he understands the truth and changes his life.

Published since 2009, over the years I've accumulated various items of writing wisdom. The Third Tuesday Writing Tidbit showcases these items in no particular order. Click here to see all 3T Tidbits.

2T Repeat Performance - tell us how the series began

I've done a number of blog tours over the years, posting on different sites. Now I'm bringing them to you!

Originally published August 21, 2012 for Guilty Pleasures Book Reviews

 Tell us how the Biting Love series began?

 Backwards. Seriously, I submitted the third story first, the second story second (which was the first sold) and the first story…well, maybe I should start from the beginning :)

Back before my first sale, the rejections were getting to me (I am not terribly thick skinned and tend to write two novels for every rejection I get), so I decided to throw everything I’d gotten good feedback on—sex, love, humor, and vampires—into one story. (If I’d had an extra kitchen sink, that would’ve gone in too :) By layering each element, I quickly wrote Bite My Fire (cop Elena, master vampire Bo). That went so well I dashed off Biting Nixie (punk rocker Nixie, vampire lawyer Julian).

Problem was, nobody knew how to sell that kind of…well, to put it kindly “fusion of styles” (and to put it realistically, “mishmash”). I got even more (shudder) rejections.

And then Samhain Publishing had a special call for hot paranormal romance with humor, exactly the elements in my books. (Author Snoopy dance.) I wrote a fresh novella for the call, which would become the spine for Biting Me Softly. That didn’t make the anthology, but it did interest an editor into opening the door. I quickly wedged in my strongest foot (Biting Nixie) and she bought it. (Author fainting dance :) Then she went back and bought Fire. So Book Two was published before Book One.

I then expanded the novella into Book Three and she bought that, and that ought to be the end of the story. But a call for New Year’s novellas came. I’d been wanting to feature city admin Twyla and got a great idea for her and Spartan vampire Nikos, set on New Year’s Eve in Times Square. I sold that and The Bite of Silence (a novella) was published four months before Book Three—which then became Book Four.

Fortunately Biting Oz has always been Book Five (although the original title was Biting the Rainbow). I’m working on Beauty Bites now, slated to be Book Six, but I’ll let you know how that actually works out.

3T Writing Tidbit

How about delving into another of the three elements of story: character? (The three elements being character, setting, and plot 😄) I'm not going to go in any special order with these. 

Here's a provocative sentence I came across: 

Archetypes are masks of a complete human being.

Last month I unpacked archetype. Let's look at the mask.

 Literal masks usually represent supernatural beings, ancestors, imagined figures, or non-human beings.

Literary masks are the representation of an ideal worn by a character. As such, they keep that character separate/distanced from change, contradiction, interaction with other people, and even fully understanding themselves.

The character's mask is formed by their attitudes and actions (but not reactions) and are usually a conscious commitment to the identity of the mask.

An example of a mask: I am a truthful person. (No real person is entirely truthful.) When faced with a situation in which the truth would cause harm, I don't lie, I only embroider what I say a little. (Note the denial of reality. When this character is caught in a lie, they will deny it to themselves (action) but feel bad for some unknown reason (reaction).)

Published since 2009, over the years I've accumulated various items of writing wisdom. The Third Tuesday Writing Tidbit showcases these items in no particular order. Click here to see all 3T Tidbits.

2T Repeat Performance - How do you develop your characters?

I've done a number of blog tours over the years, posting on different sites. Now I'm bringing them to you!

Originally published August 20, 2012 for Blackraven Erotic Cafe

How do you develop your characters for the Biting Love series?

 Take a strong man and a strong woman, throw them into an explosive situation, stir and serve!

Okay, it’s not quite as easy as that :) Let me explain by first breaking it into pieces.

Developing the Hero—I love strong men, but there are different kinds of strong. My vampire heroes are all powerful, handsome, smart, with deep voices that buzz along your spine…you get the picture :) But each hero has unique traits. Master vampire Bo carries the responsibility for the whole town of Meiers Corners (thank goodness he has miles-wide shoulders). Julian, a lawyer, is hella smart. Each hero also has at least one emotional scar; and one quirk that drives the heroine nuts (just like real life couples :).

Biting Oz’s hero is black-haired, sapphire-eyed bodyguard Glynn Rhys-Jenkins. This vampire is determined and loyal. He’s also a bit of an enigma. When visiting Meiers Corners, the first thing he does is set up a table of homey knickknacks. That’s his scar; he had no true home as a child and is searching for one.

Developing the Heroine—My women are independent women who earn their own way. They’re not looking for a man to take care of them, or even a male who can complement them—they’re looking for the guy who can keep up with them. Each has a major hurdle to overcome, usually tied to the theme of the story and most often in direct conflict with the hero’s issue. For example, while Julian keeps strict control of his vampire nature, Nixie is all about personal freedom of expression.

In Biting Oz, heroine Gunter Marie “Junior” Stieg is a musician whose strong sense of family duty keeps her stuck working in her parents’ sausage store. But she dreams of heading for Broadway. This conflicts nicely with Glynn’s need to find a real home.

Developing Others—The plot suggests people our heroine must meet. They usually lay flat on the page until I remember to flip them one-eighty. Example: cop Elena needed a partner. The cop stereotype is tough, street-smart, closed-lipped and stocky. So I paired her with gangly, clueless, lips-flapping Dirk. Taking a stereotype and adding a twist tickles me almost as much—in Biting Oz, beautician and town gossip Dolly Barton (some say the FBI get their best tips from Dolly) drops a stunning vampire secret on Junior.

Combining more than one purpose in a single character adds richness. Nixie, heroine in Biting Nixie, plays in the pit orchestra with Junior and also runs the townhouse where Glynn stays. She urges Junior to find out what’s behind his mysterious table of knickknacks.

Putting It All Together—So those are the pieces! I work them around until they fit, then augment each other. I have dozens of heroes and heroines floating around in my head, and it can take months of trying various combinations until a pair clicks. Then I go back and forth between character, theme and plot, sharpening each against the other. Start the book with an explosive meet (Junior’s blocked by a sea of Munchkin kids—Glynn picks her up and carries her over their heads) and away we go!