Category: Writing (page 44 of 81)

Characters and Relationships

Courtesy Marvel Studios

To paraphrase Churchill, I tend to judge a character mostly by the quality of their relationships. The more complex the connection, the more driven the characters involved, the better the story becomes. I’m not just talking about romantic relationships, either. Each of us has a variety of connections to others, ranging from simple acquaintance to a deep and nuanced history, and our characters should be no different.

Many times, a story will tell us of a child’s relationship with their parents. Be they deeply involved or completely aloof, the parents have an influence over their child and define that relationship. Is the child dedicated to making their parents proud of them, or proving them wrong about something? It comes down to the nature of the relationship parents and child had while said child was growing up. Even years after the fact, the shadow of a mother or father can fall over their son or daughter in some way or another, and how the character reacts tells us so much about them. One of the best scenes in Iron Man 2 is Tony Stark looking at the vibranium atom. He was lead to his discovery by his father, and the genius billionaire playboy philanthropist quietly remarks “Dead almost twenty years… and still taking me to school.” His little smile speaks volumes of his complex relationship with his father.

An overlooked relationship can be between characters who are friends. A friend is not only someone with whom common interests are shared, but also a source of inspiration or a voice of reason. A best friend or sidekick can be played mostly for last or marginalized in several ways, but good ones persist even as a story grows in scope and scale. Bruce Wayne’s butler Alfred and employee Lucius Fox are not always powerful influences on Batman, but in the animated series as well as Nolan’s films, they make their presence felt on more than one occasion, helping to keep the Dark Knight on the right path.

A lot of stories involve romance. It’s best when such things are not shoehorned into the story, but grow naturally from the relationships characters have to begin with. Most people do not go about their lives with randomness, but follow a progression from one decision to another; sometimes decisions carefully made, sometimes at the spur of the moment, and all with consequences that reach far beyond that decision point. In V for Vendetta, the title character makes the choice to rescue the young woman who helped him, even though it meant keeping her prisoner. What came after changed both of them, and did so in a way that makes sense.

Beyond family, friends, and lovers, characters have relationships with their enemies. The most common (and somewhat dull) setup is purely antagonistic on both sides. Sometimes, enemies respect one another. In rare cases, they began as friends, and maintain a heightened sense of awareness of each other every time they cross paths. Sherlock Holmes and Professor Moriarty may not have known each other as children, but they do hold each other to an uncommon degree of admiration. In Akira, Kaneda and Tetsuo begin as close friends, but circumstances drive them apart. And as the image above indicates, Professor X and Magneto maintain a complex and deep relationship even after they become enemies.

What relationships stick with you? Which surprise you or make you think or feel? And how can these things be applied to your characters?

Rewrite Report: What Was I Doing, Again?

Bard by BlueInkAlchemist, on Flickr

This has been one of those weeks that’s kinda gone off the rails.

I mean that strictly in terms of rewriting stuff. I’ve barely touched Cold Iron. I have, instead, blown the dust off of my freelance gaming writing hat. I’m working on two articles, one with a definite home and one I’ll need to shop around.

I need to remind myself that it’s important for me to keep writing, even if I think what I write is never going to be read. There may be similar articles out there to the one’s I’m working on during lunch breaks and in the other cracks in my daily schedule, but I do have a perspective that’s unique from that of other people. I mean, everybody has a unique perspective, since we don’t share a hive mind or anything, but my point is that I shouldn’t be afraid to share what’s on my mind because something similar may have come before.

Hopefully I’ll have more to ‘report’ on next week, after this busy weekend passes and I wrap up these articles.

Villains Are People Too

Courtesy HBO

I hate Joffrey Baratheon with the passion of a thousand burning suns.

Not Jack Gleeson, mind you. I think he’s doing an excellent job with the material. From what I understand, he’s a really nice guy. His character, however, really gets on my nerves. He has no regard for authority outside of his own, his bloodthirst verges on the disturbing, he’s spoiled and rotten and just absolutely infuriating.

He’s a wonderful character, though.

I say “wonderful” even as I want to slap the kid around because he does his job beautifully. Villainy such as his can be difficult to take seriously. Go too overboard with it and you risk coming across as cartoonish. Casting the bad guy in your story with the mold of Megatron or Skeletor is actually pretty easy. Have them hatch evil schemes, threaten their subordinates or family members with disintegration at the slightest provocation, so on and so forth. Making an audience care about them, at least to the degree they begin to become hated, is another task entirely.

One of the things to keep in mind when creating and informing the actions of your villain is that, to them, they actions they take are either perfectly reasonable or, failing that, ultimately justified. The way a character was raised, their outlook on the world and their place in it, and the perceived inability of others around them to act are just a few of the components that make up the motivations of a villain, just as much as they inform the motivations of a hero. In fact, and you’ve probably heard this line before, most villains do not see themselves as villains. Since their actions are justified (in their minds at least) and reasonable (from a certain point of view), would they not be just as much as hero as another character in the same story?

The difference between a sympathetic villain and one we can’t wait to see stomped into paste is willful ignorance. Some characters never come face to face with their flaws and failings, and blithely go about their villainy with a smile. The villains that do acknowledge their shortcomings either become stronger threats or more inclined to see things from the heroes’ point of view. They heed the advice of others, find ways to correct errant or outrageous behavior, and we as the audience appreciate this. Character growth is always good, after all, even if it means the roots of a villain’s evil spread and become more secure. To do this, a villain must occasionally ignore a glaring error or cross certain boundaries established by society or common moral sense. Again, it can be tricky to do this without turning the villain into a parody of themselves. But when you pull it off, be ready for your villain to be hated.

This is why I can appreciate Joffrey even as I want to strangle the brat. He’s not just a cackling, sneering villain for the heroes to defeat. He’s a person. He’s a spoiled, sadistic, power-drunk, ignorant, selfish, short-sighted, fucked up person, but a person nonetheless.

Rewrite Report: Submission Edition

Bard by BlueInkAlchemist, on Flickr

The fantasy novel sits at roughly 100,100 words.

As the time approached for Angry Robot to open its doors, I knew I had to make some decisions. The first one was to convince myself that this is not a young adult book. While two of the three main protagonists are in their late teens, a hundred thousand words is an intimidating number with which to start off a story. I also couldn’t convince myself that kids in their teens could get behind a protagonist who has a tendency to think and talk his way out of situations instead of relying on physical or supernatural prowess. Maybe I’ve just been too burned out lately to find the right angle to exploit, but what it boils down to is that Asherian, while pro-active in his words and deeds, doesn’t start out as the initiator of the story. Events happen to him and he reacts. It takes a few chapters for him to shake off the complacency he’s been taught. Once the scales fall from his eyes, so to speak, he begins taking more initiative. But I think a young adult protagonist takes the reigns almost immediately, at least when written well. Case in point would be Katniss volunteering in The Hunger Games.

In any event, I went over the first five chapters again to make sure the flow and setup are as good as I can make them, put together the two-page synopsis, and sent the whole shebang to Angry Robot. I also renamed it Cities of Light. Fingers and toes crossed.

While waiting for that to at least return with something resembling feedback, my attentions turn back to Cold Iron. This is a rewrite that still requires a bit of spit and polish, as timing of events within the story and some character beats have changed. It was hard for me to decide a decent scene between the lady detective and the murderer, set in the interrogation room, had to be cut. But I simply could not work the timeline properly to make it work without padding the story, and more importantly, making sure to empower said lady detective was far more important.

Cold Iron is, to me, the lean and energetic kitten to Cities‘ cozy but somewhat massive tomcat. It’s a novella and I want to keep it short. The cover is coming together extremely well, and once that is in place and I finish this particular rewrite, I’ll be sending some review copies of the draft to folks I know with platforms to shout from. I may propose said review drafts in the same manner as a pitch – brief synopsis, what makes this story worth the time to read, etc.

Anthologies may happen. Timeless Tales for the old myths made new thing, maybe a flash fiction collection. Not certain of that yet.

I also am brewing an idea I’m pretty excited about. I think there’s an itch out there not getting the particular scratch it needs.

But that’ll come later. Gotta finish what I’ve started already first.

Writers Should Read

The Thinker

Three years ago when I started this thing I posted about breaking writer’s block through reading. It’s been said by people cooler than myself that buying into writer’s block is a mug’s game, so I won’t totally re-create that previous post. I will, however, re-post some of the advice from back then, because it’s still true.

Why read?

First of all, if you read what you’re interested in, especially if it’s in the area where you want to write, you’re likely to find inspiration.  For my part, I started writing because the stories I felt needed to be told weren’t being written, or perhaps I could write them better.  Reading new works coming out today make sure that the readers are still interested in my stories.

There’s also the fact that by reading new stories, you get a sense for the competition.  If you check the bestseller lists, or follow the hype, and read some of what most people are reading in your genre, you’ll see why the stories are selling in the millions.

Tips for reading

  • Don’t read at your computer or writing desk.  Find a well-lit, comfortable place and put a book or magazine (or even a comic book!) in your hands.  Besides relaxing your eyes a bit, the tactile sensations will take you out of your frustration. Any change of pace is good in situations like this.
  • Take your time.  Don’t skim, if you can help it, and pay attention to little details and conversations within the dialogue.
  • Jot down notes.  Have a pen and paper handy and write down ideas that come to you as you read.  Even if they turn out to be ideas you don’t use, it’ll engage the creative centers of your mind.
  • Relax!  If you can’t enjoy reading, how can you enjoy writing?
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