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Don’t Let Your Characters Eat the Marshmallow

If you’ve been following me for a while, you know I LOVE, LOVE, LOVE TED talks. I learn so much about life and people from them, and as a writer, I am continually drawing information about how to shape characters and the ways people truly interact.

One of my favorite TED talks is by Joachim de Posada, explaining a study where four-year-olds were given marshmallows and told not to eat them for fifteen minutes. If they succeeded, they’d be given another.

His point was that the students who delayed gratification were more likely to be successful.

This morning, I was working on a scene that has stumped me for months. I suddenly realized the problem–I was letting the characters eat the marshmallow too soon. Delaying gratification for characters is as important as delaying it for ourselves. Readers will continue to sympathize with a character who does not get what they want.

Off to reread my story to find other places I can keep the character from eating the marshmallow.

Hope you have a blessed day!

Disney Channel Invaded My Writing (and I’m not sure it’s a bad thing)

I suppose almost nine must be the new preteen. What happened to my little angel, who wore us out with shows like Yo Gabba Gabba! and the Backyardigans?  Two years ago, we were hanging out on the balcony of a hotel in Pigeon Forge, and my sweet boy was holding my hand for dear life. Now, he makes sure there’s at least a foot of distance between us when we’re walking together. 

And now, he wants to watch Disney, 24/7. Dog with a Blog, Girl Meets World, Austin and Ally, and A.N.T. Farm. Overacting aside, these shows have several parts that I don’t like–the kids speak disrespectfully to the parents, the principals and teachers are depicted as idiots, and sometimes the characters are downright mean to each other. True, there’s a good message at the end of the show, but the kids want to mimic the over-the-top silly stuff. 

We try to be diligent about policing their TV and internet usage, but sometimes my husband and I get as caught up in these shows as the kids do. And then, we look at each other and wonder how we get sucked in.

It’s those little quirks, those memorable, outrageous moments that are something like a train wreck. They dump paint on each other, throw drinks in each other’s faces, fall out of chairs, and suddenly we’ve tuned in to fifteen minutes of the show. But what really catches our attention are the entrances of characters into the scene.

Since we’ve been watching more Disney, it’s changed the way I write scenes in my story. I’ve started thinking more about introducing characters and those “seriously?” moments in my own writing, and researching iconic movie entrances. Turns out, they’re in some of my favorite classics as well as some modern icons.

Take Breakfast at Tiffany’s, for example. When she stepped out of that cab, I was sold. She could have stood there and took bites out of that danish the rest of the movie, and I would have still loved it. 

Who could forget Willy Wonka’s big entrance–both Gene Wilder’s and Johnny Depp’s depictions? Peter Gibbons in Office Space?  Sandra Bullock’s emergence as Gracie Lou Freebush? 

I loved Rachel Leigh Cook’s descent down the stairs in She’s All That, and Leelee Sobieski’s prom entrance in Never Been Kissed.

How many times in our writing do we just have characters walk into a room? She went to the kitchen, he stepped into the classroom–entrances can make all the difference. 

It seems like such a simple concept, to make the character the focal point of the scene, but a lot of times we get so caught up in the progression of the plot or setting description that we forget to do it. We give them simple actions, like smiling, grinning, smirking, etc. and forget the power of a sashay, strut, or glide.

Perhaps Carly Simon says it best…although today’s critters would take issue with the “was” 🙂

 

Lessons from the Classroom for YA Writers

Engaged Student

I wish I had started out as a writer first, then a teacher. I think my first few years would have been much better. Writers tend to notice things about people that others don’t.

That said, I’m thankful for the time I’ve spent trying to sell curriculum to resistant young people every day, because I think it makes me a much better writer. Here are five things I’ve learned:

1. Teens respond better to active, engaging material than passive.

In the classroom, this translates to hands-on activities and interactive models, such as the potato gun above–one of my all-time favorite projects from some of my favorite students*. In writing, this means drawing them into the action and letting them experience it as the character. They don’t want to just stand by and let you tell them a story. They want to think, feel, taste, smell, touch, fear, rejoice, and be.

2. Teens thrive on relationships.

They want to have them, hear about them, talk about them, dissect them–it’s a challenge sometimes as a teacher to get them to stop thinking about relationships long enough to teach them something. You might think I’m only talking about romantic relationships, but it’s more than that. They thrive on building strong relationships with the adults in their lives, even the elderly. They are interested in watching how two teachers interact with each other, or how a mother interacts with her baby.

That’s why I feel like it’s important to consider the relationship dynamic between ALL characters, not just the main ones, and adding in a few details to show appropriate behaviors between people. Maybe someone holds the door open and someone else thanks them. Perhaps an older couple is walking by in front of them, holding hands. Sadly, a lot of kids do not have good role models to imitate. In Christian fiction, especially, we need to keep that in mind.

3. Teens are smarter about life than we think.

I’ve critiqued a lot of aspiring YA writers, and one of my pet peeves is how they sometimes try to explain every little thing. It’s like they think teen readers won’t know the meaning of words or understand the history behind an event. Believe it or not, teens are usually pretty up-to-date on current events and fairly knowlegeable about history. After all, they get three years to study it in high school. I’ve had some great intellectual discussions with students about surprising topics over the years.

They also have experienced more than we might believe–pain, loss, joy. In fact, many of them could teach us a few things about coping.

We have to be careful to not make characters too naive. In a recent discussion with a group of young readers, we talked about the Princess Diaries and how frustrated they were with Anne Hathaway’s character being inept at so many things. While most of them liked the movie, they didn’t find her character relatable. Their average/awkward is a lot different from the way Princess Mia was painted.

If we’re not careful, we could write characters that might come across as an insult to today’s savvy teen readers.

4. Teens have short attention spans. 

It’s been my experience that teens lose focus after about 10-15 minutes. In my classroom, I have to find creative ways to throw in hooks every so often to pull them back in. And honestly, I think that’s true for a lot of adults, too. I’ve seen a lot of students take books back to the library before finishing them. Instead of being a story they couldn’t put down, it was something easily dismissed. At the very least, a writer should put a hook at the end of every chapter.  You’re not going to keep them turning pages with a bunch of info dumps, either. They’ll just flip through and skip pages to look for the next action scene.

5. Teens are brutally honest. 

One thing I love about working with high school students is that you never have to worry about what they’re thinking. If they love an assignment, they’ll tell you. If they hate it, you’ll know. So, hard as it may be to handle their blunt feedback, if you’re going to write YA, you might consider having a couple of teens read your story before submitting, and REALLY listen to their advice.

*Photo used with permission.

 

Redeeming Bible Villains–Jezebel

This post is continuing with the theme of finding redeeming traits that might make characters based on Bible villains more three-dimensional.

Of all the villains in the Bible, Jezebel is one of the most fascinating. Even among those who aren’t avid Bible readers, mention of her name conjures images of wickedness and seduction.

Her name appears in the Bible twenty times, although one refers to the Jezebel of Revelation 2:20. This Jezebel, though also a seductress, does not have quite the wicked reputation as the Old Testament queen.

When Jehu conspires to kill Joram after being annointed king of Israel, Joram asks if he’s coming in peace. Jehu answers, “What peace, as long as the harlotries and witchcraft of your mother are so many?” (II Kings 9)

Unlike Cain, to whom the Lord gave leniency, Jezebel was sentenced to death by her own servants and eaten by dogs. 

I love these Old Testament stories, with all their twists, turns, and gore. But to write a Jezebel–how can she possibly have any redeeming qualities?

At first, I considered the possibility that perhaps she didn’t WANT to marry Ahab, and she might have been at least somewhat obedient there. Yet I Kings 21:25 says:

But there was no one like Ahab who sold himself to do wickedness in the sight of the Lord, because Jezebel his wife stirred him up.

It’s hard to picture her not enjoying being a powerful queen, manipulative and murderous. This verse has the same feel to it as Adam’s blame in Genesis–the woman made me do it! 

So, admittedly, these might be a stretch, but here goes–

  1. She was zealous in her idolatry. In how many other instances would a woman marry a king and not be expected to adopt his faith? Especially in Bible times where women wouldn’t have had the freedoms we relish in today. 
  2. She was effective in her evangelism. In I Kings 16:31-32, we see that Ahab not only fell into worshipping Baal, but he also built altars to worship in Samaria, which he surely knew was an atrocity to God. In this, I picture her as perhaps a smooth talker–the seductress side of her winning him over. And perhaps, that alone would be a redeeming enough quality for a Jezebel-type character, charismatic enough that readers are swept into the seduction.
  3. She accepted her death with dignity. Although there was no dignity in being eaten by the dogs, Jezebel did face her fate head on. Unlike the warden in The Shawshank Redemption, who ended his life in the final moment before the authorities came for him, Jezebel put on makeup and adorned her head, and waited for Jehu. She even asked him, as Ahab had, if he came in peace, knowing full well the answer. 

There you have it.  Redeeming qualities of Jezebel. On to the next villain!

 

 

Don’t Your Characters Ever Get Tired?

I was critiquing a writing piece a few weeks ago and the person had an action-packed chase sequence. It wasn’t terrible, but the sequence happened over a three day span and the characters didn’t make any stops to eat or sleep.

Which was… UNBELIEVABLE. Let me tell you, if someone was after me and I had to run, my almost forty-year-old body is in trouble. I can make it about a quarter of a mile before I’m panting like a dog on a hot summer day. I’mresourceful–I might be able to trip my stalker and knock them into a mailbox or something, or grab a large brick from someone’s flowerbed and aim where the sun don’t shine. No way a story written about me could justify a character going through a three day chase scene like that.

The point is, it’s important to think about the reality of a character physically being able to handle the challenges we put them in.

I remember reading about the jump Tris made in Veronica Roth’s Divergent (which I loved), and being a little disappointed in the impact description.

Roth writes:

I hit something hard. It gives way beneath me and cradles my body. The impact knocks the wind out of me, and I wheeze, struggling to breath again. My arms and legs sting.

The physics teacher in me felt like there might be some rope burn from the net, maybe a few bloody scrapes.  Maybe she’d wobble her first few steps or something? I mean,  I know that “hottie” Four frees her from the net, but then she goes on the tour, and there’s no physical remnants of her dauntless acts.

So, the other day I had a conversation with my sis-in-law about an upcoming trip we’d like to take with the kids–an eight mile hike. She advised me to prep for the trip, cautioning that it would be difficult for an average person to just jump in on a hike like that without any training.

Makes me think about the characters in my story–a teenage girl, on the run, hiking four or five miles off-trail. I’ve added all these setting details, but I’ve basically just taken them from point A to point B. They rest, they sleep, but I’ve forgotten to add those touches of realism–aching feet, blisters, sheer exhaustion–that would keep my character from seeming larger than life.

So many tiny little details to think about when writing a story.

Going back now to reread the whole thing and look for places to add sore elbows and feet 🙂