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Tag Archives: setting
Selecting character senses
Last week, I read an excellent article by author Jade Lee (aka Kathy Lyons). It was called “Setting as Character,” but the underlying message is that characters always interpret the setting through their internal lenses (or precepts, the term the author uses in the article).
To help her remember her characters’ internal precepts, Jade assigns them images that reflect (and control) their internal states, external behaviors, clothes, movements—and even what senses they tend to rely on. One of her examples (emphasis added):
The heroine of Cornered Tigress was a skittish cat. That gave me her colors: black and gray. It also gave me how she moves: on her toes silently, or she pounced or stalked. Cats don’t see as well, they’re very texture and taste oriented. So she became a cook and whenever she entered a room, she tasted the air and noticed the fabrics. When she grew frightened, she hid in tiny closed spaces like a closet, but she would fight like a demon when cornered. The hero made her feel safe. When he caressed her, she wanted to stretch and purr.
In the comments, Jade helps others find these images. One thing to remember is not to focus on events, but behaviors and characteristics—internal factors rather than the action of the story (or backstory). Focus on adjectives and describing your characters’ personalities (even if you only have a sketch), then look for something that matches—something in nature, or something man-made, but ideally something that can grow, develop or change. This can even fill in blanks for you as you’re creating a character.
The most instructive comments even give a guide for finding these, and several examples (emphasis mine, again):
Think of your heroine — is she powerful take charge like a race horse? Fiesty, never say die even though it’s stupid like a small terrier? Cold and stand offish like a frozen fountain? seething beneath in anger like a volcano? Get some general words associated with her — three or four key characteristics. You gave me her main baggage issue, but I don’t have a feel if she’s a do-er or a be-er (action first or feel/fit into a situation first before you act) If she’s afraid or angry or determined first. That will lead to more imagery that will lock it down in your head. . . .
[B]ackstory and plot [are] not what makes him unique. And that certainly isn’t what DRIVES him. What are his internal precepts? What gets him out of bed in the morning? What does he believe he has to do in this lifetime before he dies? That will tell me what kind of man he is. And then we can begin fleshing him out with an image.
If you need a different way to look at it—think this…Name one core belief that he lives beyond all others.
Granted, if the best image for your character isn’t an animal, this may not be as helpful in the sensory writing. But it can still help to focus on their senses and the way they interact with their environment.
What do you think? What kind of images spring to mind for your characters?
Photo by Chrissy Wainwright
Posted in Technique
Tagged controlling images, internal precepts, senses, sensory writing, setting
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Make sure parallels pack a punch for suspense
I have a guest post up at LDS Publisher today on setting up an author website—you might recognize it if you’ve been around here for a while 
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By parallels, I mean scenes that repeat something from the previous ones, or very recent scenes—the same character goal, level of tension, or even setting. Now, parallels can, of course, be used for good—but they can also be ignored for evil to our detriment.
Parallels for good
Within reason, parallels can show off recurring themes, symbols, and the importance of characters or settings. Well-chosen repetition draws attention to itself unobtrusively—it makes readers sit up and take notice without (“Hey, this is the third scene on the dock; what might that mean?”) without stopping the story.
Parallels to our detriment
On the other hand, parallels can be over done, or completely unintentional.
Scenes in the same setting can be repetitive, and may also be a sign that not enough is moving in the story. Maybe not, of course—you could have the whole thing take place inside a single room, but this may be one area to look at. As with the tension chart, we can look at whether there’s another possible setting that might enhance the conflict or add a new layer of meaning.
Scenes with the same character goal are often a sign that the character isn’t making enough progress. While we definitely don’t want to make things easy for our characters, watching a character fail repeatedly at the same thing wears down the suspense. We may begin not to care whether they’re going to succeed or not, unless each scene has high tension—or the character goal can be refined to relate to the specific events, conflict and disaster for that scene.
But probably most important are the sections where the tension level doesn’t change or varies only slightly for several scenes in a row. In Writing Mysteries, one writer shared some advice from an editor: “I must not try to keep everything at high pitch all the way through a story. Excitement, if too steady, can be as boring as having nothing at all happening” (109).
One way to look at this visually is to use the tension rating from your scene chart. In most spreadsheet software, you can create a line graph from that column of data—Kaye Dacus calls this an “EKG” for your story (you know, an electrocardiogram? Like a heartbeat chart?).
Naturally, at the climax of a book, the tension will be quite high, probably for several scenes. But is the tension flat in there? Are there other “plateaus” or “plains”? Does the tension start (or the promises from yesterday) out much higher than it ends?
If the end isn’t satisfying because it doesn’t match the tension of the rest of the book, don’t lower the suspense! Fix the end!! Change things up in plains and plateaus—if you can, add what looks like a reprieve, or a rest for a little bit before plunging them back into danger.
What do you think? How else can parallels point out problems with suspense?
Photo credit: Redvers
Posted in Technique
Tagged character goals, edit, editing, editing techniques, parallels, revision, revisions, scene charts, scene goal, scene tension, self-editing, setting, suspense, tension
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