I wrote about a theory I have about Imposter Syndrome on my SubStack today. I’m pretty proud of this one.
Here’s the Link:
April Challenge: Update No. 3
I’m cranky.
Maybe that isn’t the best way to start off a blog about the Work in Progress, but this story is so hard to grab ahold of and hang onto. It feels like trying to hold onto water. Just when I think: Oh! That’s it! the idea slips away. This hasn’t kept me from writing forward, however. I’m still just getting story—the good, the bad and the ugly—on the page.
So the stats:
I wrote 5 of the 7 days.
I wrote approximately 7,000 words this week for a total word count for April of 26,000 words give or take a few.
I don’t think I’ll make a 50,000 words added, but I do think I’ll have a rough idea of the book beginning to end, and that was what I’d hoped for.
One more week to go…
So, as promised, here’s some story info about this book tentatively titled Deconstructing Cale Elysian:
The original blurb:
For nearly nineteen years, Cale Elysian has lived a sheltered life. Whether it’s in the country manor where he resides with his family or the dormitory school life that he’s shared with his friends, he knows little beyond the confines of this existence. And lately, that awareness has begun to fester into wishing there was more, wishing he was more. He feels like a blank slate and no prospects to change it. Unable to go with his friends on the traditional, celebratory Grande Tour around the continent of Anola following their Year 7 exams, Cale resigns himself to the fact he’ll have to live vicariously through their stories when they return. He can't change the characteristic overprotectiveness of his father or the fact his step-mother is dying, after all.
But when two strangers show up at the manor house with a magical item and dangerous intent, Cale realizes that not only has his father’s overprotectiveness been warranted but that magic, he thought was only in stories, exists. More outlandish, Cale learns that he and his father have powerful magical abilities that have had them in hiding. Worst of all, Cale comprehends his father has been lying to him his entire life.
Separated from his family and on the run from a danger he can’t identify, Cale is ill-equipped to navigate the complexities of the world. Though he has a treasure map of memories his father gave him as a path to his true self, his strongest assets are his best friends, Yoneo, Jem and Domis who await the adventure of the Grande Tour of Anola. While Cale hides in plain sight among them, his odyssey will challenge everything he’s ever believed about himself and his family. It will test and define his relationships with his friends in new and complicated ways. By the time he collects the last of the hidden memories, Cale will have to decide once and for all who he really wants to be.
The Cast of Characters
Cale: The main character. It’s his journey of self-discovery. He learns he has a magical ability and everything he understood about who he is has been a lie. The most complacent of the group, Cale usually has gone with the flow, but now, his old ways of being have been stripped away as he begins to redefine who he is.
Yoneo: Cale’s best friend. They met when they were ten, and have gone through all of their school years together as dorm mates. Yoneo is wise. Of the group, he’s the one most likely to diffuse a fight.
Jem: The most rambunctious of the group, Jem is willing to do anything for a good time and a laugh. He’s got the privilege and the money to back up his escapades, but he’s also a hot-head, so watch out when he’s angry. He’s the activity director of the group, he has all the best ideas for getting into trouble, and out of it.
Domis: The logistician of the group, Domis is who everyone goes to when they need to think a problem through. Jem’s roommate for all their years at school, he’s also the best one to pull Jem from one of his moody funks.
Siha: The newest addition to the group, Siha has the most street smarts of the bunch. She’s wily and wise when it comes to keeping them safe from whatever is on their trail.
Character and Conflict Part2: Motivation
Having read - a lot - a definite way for me to want to throw a book at the wall is when the narrative either loses sight of the conflict or an author struggles to develop one. As a reader, a lack of or an unclear conflict can feel like sitting in a staff meeting without a purpose. Whether you’re a writer who wants to write a more cohesive story, or a reader who’s developing their critique technique, one thing to look for in respect to believable and developed conflict is the main character’s motivation.
Characters - if developed as a round, dynamic, fleshed out character - are motivated to act. Their movements don’t just spontaneously combust into forward movement for the sake of moving plot. If they do, there is a problem with author insertion and adding to a reader’s awareness of a plot feeling contrived. If you aren’t sure why a character makes a choice in the action or dialogue, or feel confused by it, chances are the character’s motivation isn’t clearly defined or the author is intruding.
With respect to characterization and conflict: do you ask your protagonist, antagonist these questions?
Motivation for a character, just like in our own lives outside of the pages, can be intrinsic or extrinsic. Intrinsic motivation is the internal means of propelling a character based on internal desires. Harry Potter, for example, in The Sorcerer and the Stone (J.K. Rowling) was motivated to understand who he was outside the Dursleys. He wanted to know more about his past which propelled him on a journey toward personal enlightenment. Intrinsic motivation. Frodo Baggins, in The Lord of the Rings: The Fellowship of the Ring (JRR Tolkien), however, was motivated to get the one ring out of the Shire in order to keep his home safe from an external danger. Extrinsic motivation. While the stories begin with a specific sort of motivation - internal or external - this doesn’t mean the motivation won’t change. We see both Harry and Frodo undergo changes along the journey to change what motivates their choices, just as that occurs in our own lives.
I took a wonderful class many years ago that helped me as a creative writer. The class was called The 90-Day Novel by Alan Watt. Character motivation was one idea which really stuck with me. A simple tool Mr. Watt presented which I have used over and over in my own writing is the following sentence:
If (Main Character) can (fill in the blank) then s/he can (fill in the blank).
Here’s an example from Star Wars: A New Hope:
If Luke Skywalker can get off Tatooine then he can be happy.
This is Luke’s reality in the opening of the movie. A clear motivation which propels his curiosity. The longer we follow his journey, however, his initial motivation shifts as the he moves forward in the hero’s journey. When his family is murdered, his motivation shifts. This is a mirror to reality; our motivation is constantly shifting based on attained goals, redefined wants, and personal desires.
So to mirror Luke’s shift in motivation:
If Luke Skywalker can help the rebellion he can avenge his family’s death.
It is important to follow the motivation to the root, however. As the above example shows there are still questions: Why does Luke want to avenge his family?
If Luke can avenge his family then he can clear his conscious for leaving them.
A round and dynamic character’s motivation will always modify and shift as the journey shapes her; that is what makes her more relatable to readers. These changes in motivation whether intrinsic or extrinsic are often rooted in the journey (which if you aren’t familiar with Chris Vogler’s work on the Joseph Campbell monomyth be sure to look it up). As the story moves forward, the motivation serves as a guide for interaction with other characters, propels the main character’s choices, and determines forward action which is believable rather than contrived.
Think about your favorite novel or your current work in progress. Can you create an If/can, then/can statement?
Up Next: Pacing your story . . .
Character and Conflict, part one: Types of Conflict
As a reader, a teacher of literature, and a writer, next to character, conflict is the most critical element of literature. Conflict, the problem which the main character must overcome, is what drives the story from beginning to end. The conflict is that which makes the audience cheer or jeer. It is what keep us opening the book and reading into the wee hours of the morning. Conflict is what builds tension and explores the very essence of our own psyche. Haven’t you ever thought: what would I do in that situation?
A good book has a clear, relatable and exciting conflict. It’s what keeps us reading.
Without conflict, the plot line flattens out. In a previous blog, I explored the difference between a character-driven story and a plot-driven one, and would say that regardless of how the story is driven, conflict is still present and necessary. A plot line in either case is still essential to move narrative from beginning to end, and is only able to occur because conflict is present.
The types of conflict we find in stories are categorized as follows:
Character (protagonist) versus Character (antagonist)
Character versus Character is the tried and true conflict of one person against another (or a few others). Think: Harry versus Voldemort, Luke versus Darth Vader, Katniss Everdeen against President Snow.
The typical conflict: one character versus another.
Character versus Society
Character versus society is the exploration of a character’s conflict with the ideals or constructs of the society in which their journey takes place. For example, while Katniss Everdeen is pitted against the power struggle with President Snow (The Hunger Games by Suzanne Collins), the conflict also delves into what President Snow and District One represent (opulence and classism, abuse of power, etc). Or in Harry Potter’s journey in the The Order of The Phoenix, the character versus character is maintained with his conflict with Voldemort, but there is added complexity in the struggle against the Ministry of Magic which include fascism, racism, and abuse of power. A favorite example, The Great Gatsby by F. Scott Fitzgerald and Nick’s descent in the high society of 1920’s New York. These society constructs force the character to take a stand or change perspective which stretch the tension and develop the conflict.
Character versus Nature
Character versus nature is the survival story. This is the main character facing the destruction of a natural disaster, hunger in a famine, or being lost in the woods and finding a way to survive the long winter. Think: Gary Paulsen’s Hatchet or The Mountain Between Us by Charles Martin.
Elements of nature provide conflict.
Character versus Self
Character versus self is the tried and true struggle to overcome personal attitudes and perceptions. In Sherman Alexie’s The Absolutely True Diary of a Part-Time Indian, for example, Junior must face his perceptions about himself as a Native American to determine his worth.
Though this isn’t strictly character versus self, I would argue that many novels don’t adhere to only one conflict which is a mirror to the reality of our own human experience. We struggle with ourselves, but simultaneously we struggle with our boss, or our spouse, or our parents, or our children, and at the same time with what we hear is happening on the news. Conflict in our lives doesn’t happen in isolation and often doesn’t for our characters either. In To Kill a Mockingbird by Harper Lee, Scout struggles with societal perceptions about race and gender (character versus society) while at the same time learning about her own understanding of those things (character versus self). In a recent story I read called I am Still Alive by Kate Alice Marshall, the main character faces her inner conflict coping with a new disability after an accident while trying to survive alone in the wild, AND eventually facing off with her father’s murderers. Three conflicts layered into the hero’s journey of this character (believe it or not, it worked!)
The internal struggle is the epitome of character versus self.
If you examine your current Work In Progress or the novel you’re currently reading, can you identify the conflict? I’m reading Cassandra Clare’s Queen of Air and Darkness and I’m not sure I can at 200 pages of 800 . . . there’s a lot going on (and I might want to throw the book at the wall) but more on that later..
Next up: I’ll explore the idea of character motivation and the tried and true magic statement I learned that has helped me stay on point.
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