Drama in a Small Town: LISTEN WHEN YOUR CHARACTER SPEAKS

Drama in a Small Town: LISTEN WHEN YOUR CHARACTER SPEAKS: I’ve attended seminars, enjoyed conferences and have personally given workshops on many aspects of writing. I lead both a Critique group ...

LISTEN WHEN YOUR CHARACTER SPEAKS

I’ve attended seminars, enjoyed conferences and have personally given workshops on many aspects of writing. I lead both a Critique group and a Creative Writing class. I mention this because I'm aware of the importance of character development, and plotting my romantic suspense novels. There are many hard and fast rules for writing. Don’t head hop. Stay in the character’s POV. Make your dialog real and keep your plots solid and believeable.

Would someone please tell that to my character? I’m presently writing, ROBYN, the fourth of the Rexford Series. Robyn is perky, cheerful, a character with personal problems but the first to help her friends when they’re in trouble. I’ve done a complete character analysis on Robyn. I know how she thinks, her weaknesses and faults, her joy of life. I also know her disappointments. Pretty easy character to write about....so, what happened?

Robyn is bulking at the stereotype. She snarls and tells me she’s changing, developing a backbone. Wait a minute. That’s not how I pictured her. Okay, she hasn’t altered her physical looks. She’s still petite with short blonde hair and a sunny smile, but now she’s making snap decisions and taking charge of her life.

This often happens when I write fiction. My characters take over. They talk to me and let me know they have a mind of their own and I had better listen. Unfortunately, they also disrupt my sleep at night and demand my attention. I’ve learned to keep a tape recorder next to my bed to keep a record of their midnight ranting. In the morning, I’m always surprised by the suggestions.

Listen to your characters. Get the feeling of what makes them tick. Never say never when it comes to their growth and you’ll end up with a well-rounded character who will develop your manuscript into a great reading experience.

Keep writing, Joyce Brennan

   

Drama in a Small Town: THE ARREST

Drama in a Small Town: THE ARREST:                                                               THE ARREST “Police, open the door.” The pounding and shouts roused B...

THE ARREST

                                                              THE ARREST

“Police, open the door.”

The pounding and shouts roused Ben out of a deep sleep. He sat up in bed, sure he was dreaming when a loud crack splintered the door of his studio apartment. Officers dressed in swat-team uniforms flooded the room. Arms yanked him to his feet.

“Wait a minute. Stop. What’s going on?” Ben’s protest was met with an arm to the throat as he was wrestled to the floor. He felt a knee to the back of his neck as metal cuffs pinched on his wrists.

“Would someone please tell me…”

“You have the right to remain silent.” The officer continued reading Ben his rights before they hauled him to his feet.

“At least, give me my pants and shoes…wallet.”

Someone swore and tossed a pair of jeans in his direction. A grim officer helped him dress and allowed him to slip his bare feet into his shoes, while others rummaged through his dresser.

“Found it.” An officer held up a package. No one else spoke as two strong men hauled him downstairs and into a squad car.

Ben’s questions remained unanswered as they sped to the police station. He didn’t bother to protest when the officers led him into a small room furnished with two chairs and a table. He realized a video camera captured his every move so he sat quietly, careful not to show any emotion.

After twenty minutes, Detective Grissom entered the room and slapped a folder on the table. He scrapped out the chair sat across from Ben and took his time shuffling the papers in front of him.

“Drug possession with the intent to sell,” he growled.

            Ben started to speak but realized the situation was hopeless. He wasn’t involved in drugs. Didn’t have drugs in his apartment. That didn’t mean they weren’t placed there by rogue cops. He listened while Grissom read off the charges.
            “You’re in serious trouble, young man.”

Ben stayed silent and stared at the detective.

Grissom’s voice rose to a higher level. He stood and began to pace the room. “What do you have to say for yourself?”

Ben clamped his lips.

Grissom stood between Ben and the camera and slapped the open folder before him. “If you don’t plan to talk to me, I’ll have no option but to book you. Understand?”

Ben noticed the detective edged the folder in his direction. He glanced down and squashed a smile when he read the note. We got them, Ben. I’m placing you in protective custody until it’s time to testify.

Undercover agent, Ben Marks nodded. Instead of a cell, another undercover agent rushed him off to a motel room. It was much better than the grimy apartment he rented to take part in the sting.

Joyce Brennan  July, 2012

When writing a short story, start with action. You don't have the space to set up a descriptive background. Don't name minor characters unless they're important to move the story forward or are involved in the conflict. I also try to stay in the main character's point of view. Keep  your reader guessing until the end. 

The same holds true when writing a longer manuscript. Choose the main character,(hero/herorine) and try to keep your story in their point of view or that of the secondary character. (lover/detective/ best friend, etc.) Don't jump from one character's POV to another in the same scene. Stay consistant. Flush out those characters with description sprinkled throughout your novel. It's boring to read that Suzie has long blond hair, blue eyes and a smile that lights up the room. Show that.

 "What is she thinking?" I'm often asked how to place a character's inner thoughts in a novel. Skip the ("I can't stand him," she thought.) and either write it in italics or simply write, "I can't stand him."  No-he thought/ she thought. Give your reader credit. Also, don't go into a long narrative of your characters thoughts. You might put your reader to sleep. Mix it up with dialog and/or action.

Keep writing, Joyce  

Author of: UNEXPECTED GIFTS, BROKEN PROMISES, and DON'T DANCE ON MY HEART, all available on Amazon. Watch for the REXFORD SERIES, and A DRIFTWOOD SPRINGS CHRISTMAS.

  

  

Drama in a Small Town: FINAL INTERVIEW

Drama in a Small Town: FINAL INTERVIEW: I hope you enjoy this short story. FINAL INTERVIEW   Joyce Brennan Her hands shook slightly and she clasped them together. I sat...

FINAL INTERVIEW

I hope you enjoy this short story.

FINAL INTERVIEW

 Joyce Brennan

Her hands shook slightly and she clasped them together. I sat across the table from her and introduced myself.

“I don’t usually give interviews,” she said, “but I’ll make an exception because this is such a special day.”

Dressed in white, she began to fuss with her hair while attendants watched her every move. I couldn’t help but admire her natural beauty.

“I appreciate your time,” I said. “I guess my first question, how did you reach this point in your life?”

“I can sum it up in two words…true love.”

 “But there had been many obstacles.”

“That made it all the more exhilarating. We had overcome all odds.”

“We? You’re referring to you and Ted. How did you become attracted to Mr. Mason?”

“That should be obvious. Ted’s exciting and extremely handsome.”

I understood the attraction. Ted Mason’s face had graced the front pages of all the newspapers. Women from throughout the world were swooning over him.

“How did you cope with the letters he received from his fans?” I asked.

She waved her hand in the air. “I knew he was completely dedicated to me…to us.”

“Tell me how you met?”

“It was fate.” A blush crossed her pale face as she evaded my question. I tried another approach.

“Have you always lived in Texas?”

“No. Ted and I came here to get married.”

“Why Texas?”

“You know. The wild, wild West. It seemed appropriate. We had an amazing affair.”

I checked my notes. “Wasn’t Ted already married?”

“That happened years ago. We were completely devoted to each other.”

“Tell me, Gilda, did you have long term goals?”

A high giggle filled the room. “Ted and I lived for the moment. That’s more exciting.”

“Do you want to talk about Sylvia Tanner?

Her face paled briefly, but she quickly recovered. “I don’t think that’s appropriate. How do I look?”

“Fantastic.” I wasn’t lying. With her clear skin, light complexion and delicate features, she reminded me of Dresden china.

Our conversation was interrupted. “The priest is here. You’ll have to leave.”

Gilda smiled brightly. “You’ve been so kind. Now I must meet my intended. For better or worse, richer or poorer, till death…well you know.”

I knew.

I paced the floor until the designated time. I stood behind the curtains and when the lights dimmed, I cringed. Gilda Bennett joined her beloved by lethal injection. Sylvia Tanner became their final victim. Ted Mason had been executed six month before. The serial killers, now joined in death, were no longer a threat.

HOW MUCH SHOULD YOU DESCRIBE WHEN WRITING FICTION?

You’ve all read books where the author goes on and on about the room, the furniture, the heroine’s hair or the way she’s dressed. As a writer, you want the reader to picture your character and setting, but don’t go overboard. Decide what’s important.  If you describe a sofa, covered in a paisley print, make sure that sofa has a critical role in the scene. Is the room old-fashioned? Were blood spots hidden in the design? Did it indicate the lack of style or clash with the rest of the room? Maybe your heroine can’t afford matching furniture or she has inherited a rag-tag furnished house. Unless that sofa in some way pushes the story forward, omit it.

I once began reading a novel where the first two pages described the ivy climbing up the side of the house and pots of flowers lined the porch.  Ask yourself if that information is important. If one of your characters hides in the shadows of hanging plants or places notes in the ivy for his/her lover, it might be useful information. If you are describing a country cottage, take a critical look at your description. Don’t overdo it.

Sometimes, your character is completely out of his/her element. A city dweller might be intrigued with the flowers and garden of a country estate. Mention it, and then go on with your plot unless that’s where your character meets the love of his/her life, or discovers a dead body.

Don’t bore your reader with pages of description. Dribble it throughout your story. For instance, let’s say your heroine has long blonde hair and blue eyes. She’s five-six and weighs one hundred-twenty pounds. Writing those facts sounds like she’s filling out papers to apply for a driver’s license. Don’t tell it, show it.

“Angela gathered her blonde hair in a ponytail and covered her blues eyes with dark glasses, as if that would provide a disguise.”

If Angela is five-six, maybe she’d tower over her petite sister. No one really wants to know how much Angela weighs unless it’s important to the plot. If you feel it adds to the manuscript, you might allow the hero to describe her to one of his friends.

Insert descriptive phrases throughout your novel, but don’t make the reader suffer through boring pages of unnecessary facts.

Keep writing. Joyce