Tag Archives: Convenience

Novel Girls: Poetry, slang, and likable characters

26 May

We had a Novel Girls meeting back on May 1st and it’s just being published today. That should tell you how much I’ve had to blog about! I love sharing with you all.

Katherine and I both shared a poetry piece this time. I’m not much of a poet so I was really curious how this would go. We raised a few questions about poetry critiques and how that would go. I like to write very structured poetry with rhyme schemes and certain numbers of syllables. I like to keep to conventional grammar and use periods and commas. Katherine wondered if I needed periods. Was capitalizing the next line enough to tell the reader that the phrase ended? I’m a stickler for punctuation so I want to keep them, but does it take away from the poetic flow of the poem? With commas, the reader will pause while reading, which is the same thing many will do with a line break. In a structure that’s more rigid, I can’t use line breaks where I would want my reader to pause, but does that mean I can’t use them? Are commas within a line awkward or a good guide for the flow of the poem? Nicole had said she’d like to bring some of her poetry in as well, but that her poetry is a very personal thing for her and she writes about her own emotions in a very raw sense. If something is that personal, can it still be critiqued? If something is very raw and personal, how much can you critique content? You can always suggest structure and spelling changes, but telling someone you don’t like their emotions, feelings, or reactions doesn’t feel right.

Nicole’s piece had a character that used slang words like ‘Gunna’ in his speech. As a reader, I’m very distracted by characters who speak in slang and I think it says something about their education level and intelligence. Katherine wasn’t bothered at all. I write characters who don’t use shortened words or slang and it sticks out to me when someone does. Does slang in prose bother you? What does it make you think about the character who uses it?

Sometimes the character we want the reader to like is overshadowed by another character who has a big personality. While it’s great that a character stick out because he or she is well written, you don’t want your protagonist to be overshadowed. We ran into a situation where I knew very little about the main character and more about a side character and in comparison, I didn’t really care about the protagonist. I needed something to latch on to, some level to relate to her on, in order to care about her change. In the premise of a short story, this can be really hard to do. My suggestion was to make the main character like something, be it a color or a sports team or a jacket, so that I can like her. If a character appears dispassionate about the world around them, I’m not inclined to like the character. Even if a character likes the Pittsburgh Penguins and idolizes Sydney Crosby (shudder), I can still like the character because he or she is passionate. Do you know other tricks to make a character likable?

There were a few other things we touched on that are worth sharing. Katherine had a wonderful quote which was “Titles are rudders of intentionality,” which she believed she had read somewhere. I just Googled it and couldn’t find anything, so if that is original, copyright to Katherine!

We talked about a technique that we’re calling ’emotional blocking.’ In theater, blocking is how a character gets from stage right to stage left. In literature, emotional blocking explains how a character gets from happy and smiling to angry and screaming. There are steps in between to get to the destination and it’s important that the writer gives the progression of these emotions to explain the change to the reader.

Out final quick topic was convenience. It’s convenient that I have a knife in my sock and want to stab the shop clerk’s neck. It’s convenient that I can find the receipt I need in my cluttered purse in a split second. If something is too convenient, there needs to be a reason. If too many things fall out of the sky into your characters’ waiting hands, you need to start explaining why. Go back a few pages, add something in that will make this less convenient. I went to the store with the intention of killing the clerk. I knew I would be returning the ugly socks my husband picked out so I had the receipt ready. Adding these things in can help make your story seem more real.

That’s all from the Novel Girls this time. Go check out Nicole and Katherine‘s blogs to see what they have to say.

Until next time, write on.

You can follow me on Goodreads, Facebook, Twitter, Pinterest, and Instagram. I’m available via email at SamAStevensWriter@gmail.com. And as always, feel free to leave a comment!

Novel Girls: Time Period, Education, and Coincidences

10 Feb

We had yet another lovely night with the Novel Girls! This might be one of our last times for the four of us to get together before Sonia moves away for her job. We hope she’s able to come back soon! In the mean time, we’ll have to brave our way forward while sending her the sections we’re going over.

Speaking of Sonia, two of the points I want to cover up while we were talking about her piece. The piece takes place in the mid-20th Century, she said around the 50s or so. I recognized instantly that it was a historical piece and Sonia did this really well with time-period specific vocabulary. I think our favorite was ‘doll dizzy.’ However, it was hard to narrow when in the early/mid-century the setting was. She’ introduced Frank Sinatra to establish that it was later than 1940, but where in the 1940-1950s era, we didn’t know. Did it really matter? No, the story was strong. But it could have helped. I’ve thought of a few ways to help establish a historical setting.

  1. Use period-appropriate words.
  2. Describe the dress, cars, music, etc. that define the era.
  3. Reference a great historical event that has recently happened. If it’s famous enough (moon landing for example), this will give readers a solid guess at the year.
  4. Birth/death year of a character and their age so readers can do simple math to figure out the year.
  5. An idea my friend John suggested: Refer to social customs and mores from the period. For example, a woman being alone, a shoulder or ankle being considered a scandal. We associate these customs with a specific part of history. (Thanks, John!)
  6. If all else fails, but a date stamp in the work or in the summary of the piece.

Can you think of some other ways to establish a time period in historical fiction writing?

The other thing that came up while reading Sonia’s piece was the education level of a character. When plotting characters, this is usually something a writer thinks about. If someone has dropped out of high school versus having a PhD, there will be aspects of their life and personality that are hugely different. Usually vocabulary, lifestyle, and occupation do well to describe this, but Sonia’s piece being historical fiction, this was made more complicated. The vocabulary seemed off because of the period, not because of education. The occupation of her character was a huge help to understanding this, but it came into the piece later. Lifestyle was a bit confusing because the exchange rate and cost of things isn’t immediately re callable to the reader. Here are just a few ideas I have to help establish education level.

  1. Use contrast between those of high and low education level. Compare their clothing, spending habits, family situations, and speech patterns.
  2. The way other characters talk to your character can make a difference. I find that people with more education are quickly given more respect by their peers, no matter what job they’re in. If you have two people in the same job and one is a high school grad and the other is a college grad, the way someone would speak to the college grad might be.
  3. Reference the time a character spent in school. If your character has a masters, you can say that he is still paying off loans from working on his masters.more respectful than to the high school grad.

How else can you show a character’s education level?

While we were reading Katherine’s piece, she asked us if her fantasy seemed to far-fetched or if it was grounded enough in reality. We agreed it was very well grounded but talked about when we feel fantasy is overdone. The biggest thing we all agreed on is when things are too convenient. A door is locked? Good think your character knows just the spell to open it. Is there a large rock in the road? No matter for character who suddenly has super strength. On the flip side, when a character doesn’t use a power/skill/resource that they have in a situation where it would be very advantageous to use it, fantasy becomes equally frustrating for a reader. The classic superheroes are a good standard to look at when trying to find the right balance. They all have a weakness. Superman has Krypton and his love for Lois Lane. Wolverine has his own anger to deal with that can impede his decisions. If your fantasy characters have a good mix of abilities and weaknesses, I think there’s a solid chance of the fantasy seeming well grounded.

What do you find frustrating in fantasy writing?

We didn’t discuss this specifically, but I wanted to talk about the word ‘just.’ Most writers know that the word ‘just’ is a filler and doesn’t add anything to your writing except word count. Taking the word out of sentences makes them stronger 99% of the time. However, what about in dialogue? Do we use the filler word to make dialogue more lifelike? My husband was doing a transcription of his students the other day and we were laughing at how silly everyone sounded, using filler words like ‘just, like, kinda,’ etc. So, is using ‘just’ in dialogue more realistic, or still a filler? I’m personally an advocate for making dialogue as realistic as possible, and if the character is the type who would use filler words a lot, I think it should be used in the writing. What do you think? Does using the word ‘just’ in dialogue hurt the writing or make it more realistic?

If you have any suggestions for things we could discuss at our next Novel Girls meeting, drop me a comment, we’d love to hear from you.

Until next time, write on.