My heroes are all wounded. Not just emotionally, but physically, as well. Being a hero in a Cheryl Pierson story is like being an expendable member of the landing party on Star Trek. If you had on a red shirt when you beamed down to the planet’s surface, you could pretty well figure you weren’t going to be returning to the Enterprise in one piece, or alive.
In my recent TWRP historical western release, Fire Eyes, U.S. Marshal Kaed Turner is tortured and shot at the hands of the villain, Andrew Fallon, and his gang of cutthroats. A band of Choctaw Indians deposit Kaed on Jessica Monroe’s doorstep with instructions to take care of him. “Do not allow him to die,” the chief tells her.
Can she save him? Or will he meet the same fate that befell her husband, Billy? Although Kaed’s injuries are severe, he recovers under a combination of Jessica’s expert care and his own resolve and inner strength.
The injuries he sustained give him the time he needs to get to know Jessica quickly. Their relationship becomes more intimate in a shorter time span due to the circumstances. Under normal conditions of courtship, the level their relationship skyrockets to in just a few days would take weeks, or months.
Wounding the hero is a way to also show the vile, evil deeds of the villain. We can develop a kinship with the hero as he faces what seem to be insurmountable odds against the villain. How will he overcome those odds? Even if he weren’t injured, it would be hard enough—but now, we feel each setback more keenly than ever. He’s vulnerable in a way he has no control over. How will he deal with it, in the face of this imminent danger?
Enter the heroine. She’ll do what she can to help, but will it be enough to make a difference? This is her chance to show what she’s made of, and further the relationship between them. (If he dies, of course, that can’t happen.)
From this point on, as the hero begins to recover, he also regains his confidence as well as his strength.
It’s almost like “The Six Million Dollar Man”: We can build him stronger…faster…better…
He will recover, but now he has something to lose—the newfound love between him and the heroine. Now, he’s deadlier than ever, and it’s all about protecting the woman he loves.
Or, his injuries may give him a view of life that he hadn’t hoped for before. Maybe the heroine’s care and the ensuing love between them make the hero realize qualities in himself he hadn’t known were there.
In my holiday short story, A Night For Miracles, wounded gunman Nick Dalton arrives on widow Angela Bentley’s doorstep in a snowstorm. Angela is tempted at first to turn him away, until she realizes he’s traveling with three half-frozen youngsters, and he’s bleeding.
As she settles the children into the warmth of her home and begins to treat Nick’s injury, she realizes it’s Christmas Eve—“A Night For Miracles,” Nick says wryly. “I’m ready for mine.”
In this excerpt, the undercurrents between them are strong, but Nick realizes Angela’s fears. She’s almost as afraid of taking in a gunman with a reputation as she is of being alone again.
FROM “A NIGHT FOR MIRACLES” (RELEASE DATE DEC. 2, 2009, TWRP)
Angela placed the whiskey-damp cloth against the jagged wound. The man flinched, but held himself hard against the pain. Finally, he opened his eyes. She looked into his sun-bronzed face, his deep blue gaze burning with a startling, compelling intensity as he watched her. He moistened his lips, reminding Angela that she should give him a drink. She laid the cloth in a bowl and turned to pour the water into the cup she’d brought.
He spoke first. “What…what’s your name?” His voice was raspy with pain, but held an underlying tone of gentleness. As if he were apologizing for putting her to this trouble, she thought. The sound of it comforted her. She didn’t know why, and she didn’t want to think about it. He’d be leaving soon.
“Angela.” She lifted his head and gently pressed the metal cup to his lips. “Angela Bentley.”
He took two deep swallows of the water. “Angel,” he said, as she drew the cup away and set it on the nightstand. “It fits.”
She looked down, unsure of the compliment and suddenly nervous. She walked to the low oak chest to retrieve the bandaging and dishpan. “And you are…”
“Nick Dalton, ma’am.” His eyes slid shut as she whirled to face him. A cynical smile touched his lips. “I see…you’ve heard of me.”
A killer. A gunfighter. A ruthless mercenary. What was he doing with these children? She’d heard of him, all right, bits and pieces, whispers at the back fence. Gossip, mainly. And the stories consisted of such variation there was no telling what was true and what wasn’t.
She’d heard. She just hadn’t expected him to be so handsome. Hadn’t expected to see kindness in his eyes. Hadn’t expected to have him show up on her doorstep carrying a piece of lead in him, and with three children in tow. She forced herself to respond through stiff lips. “Heard of you? Who hasn’t?”
He met her challenging stare. “I mean you no harm.”
She remained silent, and he closed his eyes once more. His hands rested on the edge of the sheet, and Angela noticed the traces of blood on his left thumb and index finger. He’d tried to stem the blood flow from his right side as he rode. “I’m only human, it seems, after all,” he muttered huskily. “Not a legend tonight. Just a man.”
He was too badly injured to be a threat, and somehow, looking into his face, she found herself trusting him despite his fearsome reputation. She kept her expression blank and approached the bed with the dishpan and the bandaging tucked beneath her arm. She fought off the wave of compassion that threatened to engulf her. It was too dangerous. When she spoke, her tone was curt. “A soldier of fortune, from what I hear.”
He gave a faint smile. “Things aren’t always what they seem, Miss Bentley.”
I hope you’ve enjoyed this peek into what makes my heroes ‘tick.’ For more information and excerpts, I semi-maintain two blogs for your reading pleasure.
http://www.cherylpiersonbooks.blogspot.com is my writing tips and news blog, and
http://www.westwindsromance.blogspot.com is my western historical blog. You can visit my website at http://www.cherylpierson.com
Thanks for reading! Please leave a comment!
Cheryl
Wednesday, August 12, 2009
Tuesday, July 28, 2009
INTRODUCING UNFORGETTABLE CHARACTERS--WITH FLAIR!
In past posts, we've looked at where our writing ideas come from: Dreams, historical events, poetry or movies, or even from our own life experiences, to name a few. We looked at how our characters can be drawn from people we've known in our lives, whether we admire or despise them.
Characters, we said, can also come from unusual places--such as song lyrics, and can be based upon historical figures of the past. Characters can be born in our own imaginations completely--not based upon any actual person we ever knew or studied in a history book. If you write futuristic stories, your alien creatures must be created entirely within your own flights of fancy. If paranormal writing is your bailiwick, you must create your otherworldly characters from legends, lore, and once again, your own imaginings.
Let's look at what makes up a character's basic framework, beginning with the external elements. These will include all the components that have made our character who he or she is, from the most elementary choices of physical appearance to the limits of cultural and societal dictates that have been imposed upon the character.
One good option is to design your own "character chart" for each character, assigning basics such as hair and eye color, and delving into as much detail as you want. Age, birthday, even astrological signs can be included. Did your character lose a parent? Is he an only child, or the eldest of ten children? Every detail you can assign is like the stroke of a paintbrush. You are an artist, creating the picture of this person for your reader. If you don't allow us to see the details of the character, we can't know them deep down. We learn through your description, your inference, or through the observations of your other characters.
This leads us to the internal process of your characters' lives. Again, as in the physical description, you must delve into the characters' minds and decide what you will allow your readers to know. Your characters' emotions, reactions, yearnings, and thoughts are all an integral part of developing them into people we are going to remember. Will we like them? Empathize with them? Root against the villain? Most importantly, will we care--one way or the other?
Defining your characters' motives and feelings must be detailed, leaving nothing to assumption. This is a key element in creating believability.
But physical and emotional character creation is only a part of the whole "ball of wax." Your characters have to have a world to live in--a plot to carry out. These components include the conflict (what makes the story exciting and why do we care?) and the point of view. Point of view (POV) is extremely important, because this is the character who will be telling the story. The setting can be a huge factor as well, at times, becoming a character in its own right.
How do you introduce your characters with enough flair to make them interesting and to make your reader emotionally invested in them?
Think about books you've read with memorable character introductions. Can anyone forget their first glimpse of fiery Scarlett O'Hara? Or of the handsome scoundrel, Rhett Butler? Grab a copy of "Gone With the Wind" and study the way Margaret Mitchell introduces her characters. Her physical descriptions are matchless. Interestingly enough, she doesn't delve into deep point of view as much as she lets us learn things about the characters through their dialogue and what others say/think about them.
Another example of an unforgettable character entrance is Jack Schaeffer's "Shane." Written in the late 1940's, it remains a classic today. This is an example of how very important the viewpoint character can be. Though the story is about Shane, a mystery man who shows up and helps the homesteaders out of a jam against the most powerful landowner in the valley, seeing it through the eyes of young Bobby Starett gives us a poignant understanding of the other characters--Shane in particular. Telling the story through Bobby lets the tension build to a climax that would be unattainable through any other character's "voice."
Another way of introducing a character is through dialogue. Giving the reader a titillating bit of conversation that leads us to a) the storyline, or
b) discovery about the character's personality or circumstances,is a sure-fire way to garner interest in the character who delivers the line.
Circumstances can also be the means to provide the introduction of a character who is unforgettable. In Thomas Eidson's "St. Agnes' Stand", the main character, Nat Swanson, is in a dire predicament. He's been shot, and is being pursued by two men whose friend he killed in avenging a woman's honor--a woman he barely knew. He just wants to be left alone, to make it to California where a ranch he won with the turn of a card awaits--along with a new life. However, he comes upon a group of orphans and nuns who are sure to be captured and killed by a band of Apaches if he doesn't intervene--and he can't walk away. Again, he steps in to do the right thing--and it may be the death of him.
I hope this has given you a few ideas as to the different ways we have of introducing unforgettable characters--with flair!
If you haven't read these books, I highly recommend them. I teach fiction writing classes in Oklahoma City, and have a fabulous reading list I use in those classes if anyone is interested.
The following excerpt is from my recently released novel, FIRE EYES. This is the first "meeting" of the hero, Kaed Turner, and the heroine, Jessica Monroe. I hope you enjoy it!
FROM FIRE EYES:
The man’s warm blood trickled across Jessica Monroe’s bare feet. The band of Choctaws had ridden up into her yard moments ago and slid him off a horse onto her front porch. She forced herself to stand still while Standing Bear spoke. Too much movement would appear rude.
“Will you care for him, Fire Eyes?” The direct question took her off guard. The Indians had insisted on giving her a name—Fire Eyes. They had brought her, on two occasions now, wounded men to care for. The last one had died.
Still, they saw her as a healer. Sometimes she felt they were trying to include her in their civilization now that she was virtually alone. But their infrequent visitation was a small price to pay them to leave her in peace. Relatively speaking. She gave an inward sigh, wondering if she would ever feel truly at peace in the world again. Nonetheless, she would care for the injured man. What other choice did she have?
She nodded. “Yes, Standing Bear. I’ll do what I can for him.” She looked down as the unconscious stranger rolled onto his back, even farther across her feet. He was tall and broad-shouldered, and his dark hair was matted with blood, his face bruised and swollen from the beating he’d taken. The late afternoon sun glinted across the metal badge pinned on the tattered remains of his shirt. A lawman. She stepped back.
Standing Bear made a motion, and four of the eight warriors accompanying him jumped to the ground and approached the wooden porch where Jessica stood.
She took another step back, her heart pounding in her throat even as her mind directed her to be calm. They meant her no harm. Ignoring her, they lifted the beaten, bleeding lawman, and carried him through her doorway straight to her bed.
“Not—” Jessica began.
They roughly deposited him right in the middle of the white and blue quilt Jessica’s grandmother had made for her as a wedding gift.
One of the braves gave her a harsh look, and she forced a smile. “Fine. That’s just fine.”
The muscular, bare-chested Choctaws brushed past her as they came back across the threshold. Jessica looked up once more at the chief, and could have sworn, for a moment, she saw amusement in his coal-black eyes.
“Marshal Turner is a friend.” He nodded toward the front door. “He will not harm you, Fire Eyes. He can be trusted.” Standing Bear paused. “We will not harm you, either.” His gaze flicked over her, and she knew he had seen her momentary fear.
“I-I know, Sir.” Jessica’s feet were sticky with the lawman’s drying blood. “You’ve been good to me—” She hesitated. “I just get anxious sometimes.” Her gaze drifted past him to the two warriors who were returning from the barn where they had stabled the marshal’s horse. One of them carried Turner’s saddlebags, which he laid at her bloody feet before swinging onto his own mount’s back.
Standing Bear nodded, turning his horse to go. “We will come again in three days. Do not allow him to die.” He said it imperiously, as if by his command, it would be so, and the man would live, regardless of his injuries.
Jessica’s mouth tightened in silent rebellion as, without a backward glance, the warriors melted into the nearby trees. What had she done? She couldn’t promise anything. She should have refused. Should have sent him with them, to their village and their own medicine man. Was it too late? She stepped forward, trying to glimpse the last sign of them. “Wait! I—”
Silence answered her. They were gone.
ANSWER TWO QUESTIONS ABOUT THIS EXCERPT TO ENTER THE DRAWING FOR A PDF COPY OF FIRE EYES ON FRIDAY, JULY 31!!! WINNER WILL BE ANNOUNCED MONDAY, AUGUST 3!!!
Characters, we said, can also come from unusual places--such as song lyrics, and can be based upon historical figures of the past. Characters can be born in our own imaginations completely--not based upon any actual person we ever knew or studied in a history book. If you write futuristic stories, your alien creatures must be created entirely within your own flights of fancy. If paranormal writing is your bailiwick, you must create your otherworldly characters from legends, lore, and once again, your own imaginings.
Let's look at what makes up a character's basic framework, beginning with the external elements. These will include all the components that have made our character who he or she is, from the most elementary choices of physical appearance to the limits of cultural and societal dictates that have been imposed upon the character.
One good option is to design your own "character chart" for each character, assigning basics such as hair and eye color, and delving into as much detail as you want. Age, birthday, even astrological signs can be included. Did your character lose a parent? Is he an only child, or the eldest of ten children? Every detail you can assign is like the stroke of a paintbrush. You are an artist, creating the picture of this person for your reader. If you don't allow us to see the details of the character, we can't know them deep down. We learn through your description, your inference, or through the observations of your other characters.
This leads us to the internal process of your characters' lives. Again, as in the physical description, you must delve into the characters' minds and decide what you will allow your readers to know. Your characters' emotions, reactions, yearnings, and thoughts are all an integral part of developing them into people we are going to remember. Will we like them? Empathize with them? Root against the villain? Most importantly, will we care--one way or the other?
Defining your characters' motives and feelings must be detailed, leaving nothing to assumption. This is a key element in creating believability.
But physical and emotional character creation is only a part of the whole "ball of wax." Your characters have to have a world to live in--a plot to carry out. These components include the conflict (what makes the story exciting and why do we care?) and the point of view. Point of view (POV) is extremely important, because this is the character who will be telling the story. The setting can be a huge factor as well, at times, becoming a character in its own right.
How do you introduce your characters with enough flair to make them interesting and to make your reader emotionally invested in them?
Think about books you've read with memorable character introductions. Can anyone forget their first glimpse of fiery Scarlett O'Hara? Or of the handsome scoundrel, Rhett Butler? Grab a copy of "Gone With the Wind" and study the way Margaret Mitchell introduces her characters. Her physical descriptions are matchless. Interestingly enough, she doesn't delve into deep point of view as much as she lets us learn things about the characters through their dialogue and what others say/think about them.
Another example of an unforgettable character entrance is Jack Schaeffer's "Shane." Written in the late 1940's, it remains a classic today. This is an example of how very important the viewpoint character can be. Though the story is about Shane, a mystery man who shows up and helps the homesteaders out of a jam against the most powerful landowner in the valley, seeing it through the eyes of young Bobby Starett gives us a poignant understanding of the other characters--Shane in particular. Telling the story through Bobby lets the tension build to a climax that would be unattainable through any other character's "voice."
Another way of introducing a character is through dialogue. Giving the reader a titillating bit of conversation that leads us to a) the storyline, or
b) discovery about the character's personality or circumstances,is a sure-fire way to garner interest in the character who delivers the line.
Circumstances can also be the means to provide the introduction of a character who is unforgettable. In Thomas Eidson's "St. Agnes' Stand", the main character, Nat Swanson, is in a dire predicament. He's been shot, and is being pursued by two men whose friend he killed in avenging a woman's honor--a woman he barely knew. He just wants to be left alone, to make it to California where a ranch he won with the turn of a card awaits--along with a new life. However, he comes upon a group of orphans and nuns who are sure to be captured and killed by a band of Apaches if he doesn't intervene--and he can't walk away. Again, he steps in to do the right thing--and it may be the death of him.
I hope this has given you a few ideas as to the different ways we have of introducing unforgettable characters--with flair!
If you haven't read these books, I highly recommend them. I teach fiction writing classes in Oklahoma City, and have a fabulous reading list I use in those classes if anyone is interested.
The following excerpt is from my recently released novel, FIRE EYES. This is the first "meeting" of the hero, Kaed Turner, and the heroine, Jessica Monroe. I hope you enjoy it!
FROM FIRE EYES:
The man’s warm blood trickled across Jessica Monroe’s bare feet. The band of Choctaws had ridden up into her yard moments ago and slid him off a horse onto her front porch. She forced herself to stand still while Standing Bear spoke. Too much movement would appear rude.
“Will you care for him, Fire Eyes?” The direct question took her off guard. The Indians had insisted on giving her a name—Fire Eyes. They had brought her, on two occasions now, wounded men to care for. The last one had died.
Still, they saw her as a healer. Sometimes she felt they were trying to include her in their civilization now that she was virtually alone. But their infrequent visitation was a small price to pay them to leave her in peace. Relatively speaking. She gave an inward sigh, wondering if she would ever feel truly at peace in the world again. Nonetheless, she would care for the injured man. What other choice did she have?
She nodded. “Yes, Standing Bear. I’ll do what I can for him.” She looked down as the unconscious stranger rolled onto his back, even farther across her feet. He was tall and broad-shouldered, and his dark hair was matted with blood, his face bruised and swollen from the beating he’d taken. The late afternoon sun glinted across the metal badge pinned on the tattered remains of his shirt. A lawman. She stepped back.
Standing Bear made a motion, and four of the eight warriors accompanying him jumped to the ground and approached the wooden porch where Jessica stood.
She took another step back, her heart pounding in her throat even as her mind directed her to be calm. They meant her no harm. Ignoring her, they lifted the beaten, bleeding lawman, and carried him through her doorway straight to her bed.
“Not—” Jessica began.
They roughly deposited him right in the middle of the white and blue quilt Jessica’s grandmother had made for her as a wedding gift.
One of the braves gave her a harsh look, and she forced a smile. “Fine. That’s just fine.”
The muscular, bare-chested Choctaws brushed past her as they came back across the threshold. Jessica looked up once more at the chief, and could have sworn, for a moment, she saw amusement in his coal-black eyes.
“Marshal Turner is a friend.” He nodded toward the front door. “He will not harm you, Fire Eyes. He can be trusted.” Standing Bear paused. “We will not harm you, either.” His gaze flicked over her, and she knew he had seen her momentary fear.
“I-I know, Sir.” Jessica’s feet were sticky with the lawman’s drying blood. “You’ve been good to me—” She hesitated. “I just get anxious sometimes.” Her gaze drifted past him to the two warriors who were returning from the barn where they had stabled the marshal’s horse. One of them carried Turner’s saddlebags, which he laid at her bloody feet before swinging onto his own mount’s back.
Standing Bear nodded, turning his horse to go. “We will come again in three days. Do not allow him to die.” He said it imperiously, as if by his command, it would be so, and the man would live, regardless of his injuries.
Jessica’s mouth tightened in silent rebellion as, without a backward glance, the warriors melted into the nearby trees. What had she done? She couldn’t promise anything. She should have refused. Should have sent him with them, to their village and their own medicine man. Was it too late? She stepped forward, trying to glimpse the last sign of them. “Wait! I—”
Silence answered her. They were gone.
ANSWER TWO QUESTIONS ABOUT THIS EXCERPT TO ENTER THE DRAWING FOR A PDF COPY OF FIRE EYES ON FRIDAY, JULY 31!!! WINNER WILL BE ANNOUNCED MONDAY, AUGUST 3!!!
Thursday, July 23, 2009
BUILDING YOUR BLOCKBUSTER NOVEL--PART I: WHAT TO WRITE ABOUT AND GETTING ORGANIZED TO DO IT
We’ve talked about how to get an idea. Simple enough, you say—but not always. Writing is a process—we’ve all heard that before, but let’s think about what the “process” actually is.
First of all, we have to come up with the idea that we want to write about. For many of us, the stories start with just one idea, one scene that we’ve thought of, or even dreamed of—the germ of the story that we want to tell. There are many ways that writers get the beginning seed of what their tale will become, but how to make it be “the best that it can be?” Regardless of how an idea comes to you, it’s what you do with it that counts, in the end.
Some stories are uniquely your own to tell. An autobiography, such as Elie Wiesel’s “Night”, or a fictionalization of an autobiography, such as Harper Lee’s “To Kill a Mockingbird”, could not be told by anyone else in the same way.
Other ideas are out there for the taking—but it’s up to each writer to put their own spin on a “generic idea” that others have used before. One of the examples I like to use in class about this is the retelling of Shakespeare’s “Romeo and Juliet” in many different formats through the years. It’s a basic story; “star-crossed lovers” that can only be together in death. Who would believe a successful musical could be made of that theme in “West Side Story”? The twist on the ending was that Juliet’s counterpart, Maria, didn’t die, but the other parallels remain constant. There have been several movie versions, but a few years ago, Leonardo DeCaprio starred in a modern remake of Romeo and Juliet, his men using semi-automatic weapons rather than swords. Oddly enough, the director chose to let the characters keep the original dialogue that Shakespeare wrote. There was a message in that: no matter what the time, no matter what the weapons, or the clothing, the love between the hero and heroine remained as constant now as it was then. Although the medium that relays the message has changed—written word translated to stage then to screen in various “takes”—the point of the story never changes, only the telling of it.
So you’ve decided what to write about, and you have a basic idea of what the story will be. Has it been done before? More than likely. What will YOU bring to the table? How can you tell the story that will make it “the one” that everyone will want to read? Putting your own tone and “self” into the story will be what makes it different and unique, even if it has been “done before.”
The next question you must ask is, who are you writing this story for? What audience are you aiming at? Most people have a pretty clear idea of what group they are targeting, but if this is something you haven’t thought about, give it some careful consideration. If you’re writing YA, remember it’s going to have to be a bit “edgier” than what publishers were looking for when you were “that age.” The romance genre has changed, too. Some things that were acceptable, such as heroes who took what they wanted regardless of the consequences, (forced sex) are frowned upon in today’s mainstream romance market. However, there is a huge range of venues in other genres that are more accepting of that type of behavior for their heroes. Just be aware of your target audience. This will help you not only in completing your writing project by giving it direction, but also in finding an agent and/or publisher when you’re finished.
Getting organized is the final preparatory step. Whether you’re a “planner” or a “pantser”, you need to have some general direction of where you’re headed with your book. I don’t generally recommend forcing pantsers to become planners. But in the beginning, sometimes it’s good just to make some kind of a general outline about what you want out of the story. There’s one question that must be answered of any story you want to tell:
“This is a story about __________________ who wants to do ________________.”
Easy enough, right? Sometimes, that’s harder to answer than it seems it will be. It’s not always cut and dried. And there may be more that one simplistic answer as to what your main character(s) want.
To recap, decide what you want to write about—something you love or are interested in telling about. Start with an idea, and don’t be discouraged about not knowing where to put it in your story. Many times, the idea we think is the “beginning” of the story turns out to be something nearer the middle. Has it been done before? Yes, but you’re going to make it different than anyone has ever told it before by bringing your own writing style and personality to it. In other words, you are bringing YOURSELF to the writing table, pouring your thoughts and beliefs and skills into your work to make it different and interesting. Who are you writing for? Give it some very careful thought. Some people write for themselves, while others hope to be on the NYT bestseller list in 6 months. Targeting your audience is important, either way. Getting organized is the next step to preparation. Getting your thoughts together and making an outline or even a general “guide sheet” to go by loosely will help, no matter what you’re writing.
Next, it’s time to start building your characters!
First of all, we have to come up with the idea that we want to write about. For many of us, the stories start with just one idea, one scene that we’ve thought of, or even dreamed of—the germ of the story that we want to tell. There are many ways that writers get the beginning seed of what their tale will become, but how to make it be “the best that it can be?” Regardless of how an idea comes to you, it’s what you do with it that counts, in the end.
Some stories are uniquely your own to tell. An autobiography, such as Elie Wiesel’s “Night”, or a fictionalization of an autobiography, such as Harper Lee’s “To Kill a Mockingbird”, could not be told by anyone else in the same way.
Other ideas are out there for the taking—but it’s up to each writer to put their own spin on a “generic idea” that others have used before. One of the examples I like to use in class about this is the retelling of Shakespeare’s “Romeo and Juliet” in many different formats through the years. It’s a basic story; “star-crossed lovers” that can only be together in death. Who would believe a successful musical could be made of that theme in “West Side Story”? The twist on the ending was that Juliet’s counterpart, Maria, didn’t die, but the other parallels remain constant. There have been several movie versions, but a few years ago, Leonardo DeCaprio starred in a modern remake of Romeo and Juliet, his men using semi-automatic weapons rather than swords. Oddly enough, the director chose to let the characters keep the original dialogue that Shakespeare wrote. There was a message in that: no matter what the time, no matter what the weapons, or the clothing, the love between the hero and heroine remained as constant now as it was then. Although the medium that relays the message has changed—written word translated to stage then to screen in various “takes”—the point of the story never changes, only the telling of it.
So you’ve decided what to write about, and you have a basic idea of what the story will be. Has it been done before? More than likely. What will YOU bring to the table? How can you tell the story that will make it “the one” that everyone will want to read? Putting your own tone and “self” into the story will be what makes it different and unique, even if it has been “done before.”
The next question you must ask is, who are you writing this story for? What audience are you aiming at? Most people have a pretty clear idea of what group they are targeting, but if this is something you haven’t thought about, give it some careful consideration. If you’re writing YA, remember it’s going to have to be a bit “edgier” than what publishers were looking for when you were “that age.” The romance genre has changed, too. Some things that were acceptable, such as heroes who took what they wanted regardless of the consequences, (forced sex) are frowned upon in today’s mainstream romance market. However, there is a huge range of venues in other genres that are more accepting of that type of behavior for their heroes. Just be aware of your target audience. This will help you not only in completing your writing project by giving it direction, but also in finding an agent and/or publisher when you’re finished.
Getting organized is the final preparatory step. Whether you’re a “planner” or a “pantser”, you need to have some general direction of where you’re headed with your book. I don’t generally recommend forcing pantsers to become planners. But in the beginning, sometimes it’s good just to make some kind of a general outline about what you want out of the story. There’s one question that must be answered of any story you want to tell:
“This is a story about __________________ who wants to do ________________.”
Easy enough, right? Sometimes, that’s harder to answer than it seems it will be. It’s not always cut and dried. And there may be more that one simplistic answer as to what your main character(s) want.
To recap, decide what you want to write about—something you love or are interested in telling about. Start with an idea, and don’t be discouraged about not knowing where to put it in your story. Many times, the idea we think is the “beginning” of the story turns out to be something nearer the middle. Has it been done before? Yes, but you’re going to make it different than anyone has ever told it before by bringing your own writing style and personality to it. In other words, you are bringing YOURSELF to the writing table, pouring your thoughts and beliefs and skills into your work to make it different and interesting. Who are you writing for? Give it some very careful thought. Some people write for themselves, while others hope to be on the NYT bestseller list in 6 months. Targeting your audience is important, either way. Getting organized is the next step to preparation. Getting your thoughts together and making an outline or even a general “guide sheet” to go by loosely will help, no matter what you’re writing.
Next, it’s time to start building your characters!
Wednesday, July 15, 2009
NAMING OUR HEROINES AND HOW WE DO IT
For some reason, choosing the name of the heroine of a story is hard for me—much harder than naming the hero. I’m wondering if it’s because, as women, we give more thought to what we find attractive in a man (naturally!) Even if he’s “Hunk of the Week,” if his name doesn’t appeal to us, it’s hard to think of him romantically.
We are seeing our heroines from a different perspective. They are…us. So, naming them might not be as important in our minds, since secretly, we are them. (No, we can’t use our own name!)
The various heroines of our stories, while different in some respects, still retain qualities of ourselves that we’ve endowed them with. If you look at the heroines you’ve created, though they come from different places and circumstances and have different views of the world, there are some basic things about them that don’t change.
There are at least three basic considerations for naming our heroines, apart from the obvious ones we covered when we talked about naming our guys (time period, setting, etc.)
The first one is, understanding the heroine and her motives.
Let’s look a minute at how a part of ourselves creep into our heroines’ lives, no matter what sub-genre we write. I always think of two examples that stand out in my own life experience that are easy to show.
Growing up in the 1960’s, women had three basic career opportunities: teacher, secretary, nurse. Those limitations didn’t matter, because I wanted to be a nurse ever since I could recall. But because my parents discouraged me from that field, I never pursued it—except in my writing.
At some point, in every story I write, that aspect of myself comes through in my heroine. There is always a need for her to use her nursing skills, and it’s usually to take care of the wounded hero. (In a Cheryl Pierson story, the hero will always be hurt somewhere along the way. Much like the guys with the red shirts on Star Trek know they wont be beaming back to the Enterprise from the planet’s surface, my heroes always have to figure they’re going to need some kind of medical care to survive my story.)
The second example is the fact that, being a child of an alcoholic father, I do not like surprises. I want to know that things will be steady, stable and secure. But what can be certain in a tale of romance? Nothing! Just as the hero of my stories is going to be physically in jeopardy at some point, the heroine will always have to make a decision— a very hard decision—as to whether she will give up everything that she’s built her life around for the hero. Will she take a chance on love? In the end, of course, it’s always worth the gamble. But, because I am not a risk-taker in real life, my heroines carry that part of me, for the most part, with them—until they have to make a hard choice as to whether or not to risk everything for the love of the hero.
The second consideration is, that we must like the heroine.
She is us! Have you ever started writing a story after carefully picking names for your hero and heroine, only to discover you really don’t like the character herself; or maybe, when you write the name of the character, you feel your lip starting to curl? Is it the name itself you don’t like after repetitive use, or is it the character you’ve created? Either way, there’s a problem. Stop and consider exactly what it is about that character/name you have started to dislike. Remember, the heroine is part of you. If you’re hitting a rough spot in real life, it could be you are injecting some of those qualities into your character unwittingly. There may be nothing wrong with the name you’ve selected…it could just be your heroine has taken an unforeseen character turn that you aren’t crazy about.
The third consideration is that we have to give her a name that reflects her inner strengths but shows her softer side.
This is not a dilemma for male characters. We don’t want to see a soft side—at least, not in this naming respect.
I try to find a name for my heroines that can be shortened to a pet name or nickname by the hero. (Very handy when trying to show the closeness between them, especially during those more intimate times.)
I always laugh when I think about having this conversation with another writer friend of mine, Helen Polaski. She and I were talking one day about this naming of characters, and I used the example of one of my favorite romances of all time, “Stormfire” by Christine Monson. The heroine’s name is Catherine, but the hero, at one point, calls her “Kitten.” Later, he calls her “Kit”—which I absolutely love, because I knew, even though “Kit” was short for Catherine, that he and I both were thinking of the time he’d called her “Kitten”—and so was she! Was “Kit” a short version of Catherine for him, or was he always thinking of her now as “Kitten”? Helen, with her dry northern humor, replied, “Well, I guess I’m out of luck with my name. The hero would be saying, ‘Oh, Hel…’”
One final consideration is the way your characters’ names go together; the way they sound and “fit.” Does the heroine’s name work well not only with the hero’s first name, but his last name, too? In most cases, eventually his last name will become hers. Last names are a ‘whole ’nother’ blog!
In 1880, the top ten female names were, in order: Mary, Anna, Emma, Elizabeth (4), Minnie, Margaret, Ida, Alice, Bertha, and Sarah (10).
By 1980, they’d changed drastically: Jennifer, Amanda, Jessica, Melissa, Sarah (5), Heather, Nicole, Amy, Elizabeth (9) and Michelle.
Twenty-eight years later, in 2008, there seemed to be a resurgence toward the “older” names: Emma, which was completely out of the top twenty in 1980, had resurfaced and taken the #1 spot, higher than it had been in 1880. The others, in order, are: Isabella, Emily, Madison, Ava, Olivia, Sophia, Abigail, Elizabeth (9), and Chloe. Sarah was #20, being the only other name besides Elizabeth that remained in the top twenty on all three charts.
If you write historicals, these charts are great to use for minor and secondary characters as well. If you’ve chosen a name for your heroine that’s a bit unusual, you can surround her with “ordinary” characters to provide the flavor of the time period, while enhancing her uniqueness.
Names can also send “subliminal” messages to your reader. I wrote my short story, “A NIGHT FOR MIRACLES,” (release date Dec. 2, 2009) about a couple that meet under odd circumstances and experience their own miracle on Christmas Eve. Halfway through the story, I realized what I’d done and the significance of the characters’ names.
In this excerpt, widow Angela Bentley has taken in a wounded stranger and the three children who are with him on a cold, snowy night. Here’s what happens:
FROM “A NIGHT FOR MIRACLES”:
Angela placed the whiskey-damp cloth against the jagged wound. The man flinched, but held himself hard against the pain. Finally, he opened his eyes. She looked into his sun-bronzed face, his deep blue gaze burning with a startling, compelling intensity as he watched her. He moistened his lips, reminding Angela that she should give him a drink. She laid the cloth in a bowl and turned to pour the water into the cup she’d brought.
He spoke first. “What…what’s your name?” His voice was raspy with pain, but held an underlying tone of gentleness. As if he were apologizing for putting her to this trouble, she thought. The sound of it comforted her. She didn’t know why, and she didn’t want to think about it. He’d be leaving soon.
“Angela.” She lifted his head and gently pressed the metal cup to his lips. “Angela Bentley.”
He took two deep swallows of the water. “Angel,” he said, as she drew the cup away and set it on the nightstand. “It fits.”
She looked down, unsure of the compliment and suddenly nervous. She walked to the low oak chest to retrieve the bandaging and dishpan. “And you are…”
“Nick Dalton, ma’am.” His eyes slid shut as she whirled to face him. A cynical smile touched his lips. “I see…you’ve heard of me.”
A killer. A gunfighter. A ruthless mercenary. What was he doing with these children? She’d heard of him, all right, bits and pieces, whispers at the back fence. Gossip, mainly. And the stories consisted of such variation there was no telling what was true and what wasn’t.
She’d heard. She just hadn’t expected him to be so handsome. Hadn’t expected to see kindness in his eyes. Hadn’t expected to have him show up on her doorstep carrying a piece of lead in him, and with three children in tow. She forced herself to respond through stiff lips. “Heard of you? Who hasn’t?”
He met her challenging stare. “I mean you no harm.”
She remained silent, and he closed his eyes once more. His hands rested on the edge of the sheet, and Angela noticed the traces of blood on his left thumb and index finger. He’d tried to stem the blood flow from his right side as he rode. “I’m only human, it seems, after all,” he muttered huskily. “Not a legend tonight. Just a man.”
He was too badly injured to be a threat, and somehow, looking into his face, she found herself trusting him despite his fearsome reputation. She kept her expression blank and approached the bed with the dishpan and the bandaging tucked beneath her arm. She fought off the wave of compassion that threatened to engulf her. It was too dangerous. When she spoke, her tone was curt. “A soldier of fortune, from what I hear.”
He gave a faint smile. “Things aren’t always what they seem, Miss Bentley.”
I hope you have enjoyed this look into A NIGHT FOR MIRACLES. Thanks for reading! Please leave a comment!
Cheryl
We are seeing our heroines from a different perspective. They are…us. So, naming them might not be as important in our minds, since secretly, we are them. (No, we can’t use our own name!)
The various heroines of our stories, while different in some respects, still retain qualities of ourselves that we’ve endowed them with. If you look at the heroines you’ve created, though they come from different places and circumstances and have different views of the world, there are some basic things about them that don’t change.
There are at least three basic considerations for naming our heroines, apart from the obvious ones we covered when we talked about naming our guys (time period, setting, etc.)
The first one is, understanding the heroine and her motives.
Let’s look a minute at how a part of ourselves creep into our heroines’ lives, no matter what sub-genre we write. I always think of two examples that stand out in my own life experience that are easy to show.
Growing up in the 1960’s, women had three basic career opportunities: teacher, secretary, nurse. Those limitations didn’t matter, because I wanted to be a nurse ever since I could recall. But because my parents discouraged me from that field, I never pursued it—except in my writing.
At some point, in every story I write, that aspect of myself comes through in my heroine. There is always a need for her to use her nursing skills, and it’s usually to take care of the wounded hero. (In a Cheryl Pierson story, the hero will always be hurt somewhere along the way. Much like the guys with the red shirts on Star Trek know they wont be beaming back to the Enterprise from the planet’s surface, my heroes always have to figure they’re going to need some kind of medical care to survive my story.)
The second example is the fact that, being a child of an alcoholic father, I do not like surprises. I want to know that things will be steady, stable and secure. But what can be certain in a tale of romance? Nothing! Just as the hero of my stories is going to be physically in jeopardy at some point, the heroine will always have to make a decision— a very hard decision—as to whether she will give up everything that she’s built her life around for the hero. Will she take a chance on love? In the end, of course, it’s always worth the gamble. But, because I am not a risk-taker in real life, my heroines carry that part of me, for the most part, with them—until they have to make a hard choice as to whether or not to risk everything for the love of the hero.
The second consideration is, that we must like the heroine.
She is us! Have you ever started writing a story after carefully picking names for your hero and heroine, only to discover you really don’t like the character herself; or maybe, when you write the name of the character, you feel your lip starting to curl? Is it the name itself you don’t like after repetitive use, or is it the character you’ve created? Either way, there’s a problem. Stop and consider exactly what it is about that character/name you have started to dislike. Remember, the heroine is part of you. If you’re hitting a rough spot in real life, it could be you are injecting some of those qualities into your character unwittingly. There may be nothing wrong with the name you’ve selected…it could just be your heroine has taken an unforeseen character turn that you aren’t crazy about.
The third consideration is that we have to give her a name that reflects her inner strengths but shows her softer side.
This is not a dilemma for male characters. We don’t want to see a soft side—at least, not in this naming respect.
I try to find a name for my heroines that can be shortened to a pet name or nickname by the hero. (Very handy when trying to show the closeness between them, especially during those more intimate times.)
I always laugh when I think about having this conversation with another writer friend of mine, Helen Polaski. She and I were talking one day about this naming of characters, and I used the example of one of my favorite romances of all time, “Stormfire” by Christine Monson. The heroine’s name is Catherine, but the hero, at one point, calls her “Kitten.” Later, he calls her “Kit”—which I absolutely love, because I knew, even though “Kit” was short for Catherine, that he and I both were thinking of the time he’d called her “Kitten”—and so was she! Was “Kit” a short version of Catherine for him, or was he always thinking of her now as “Kitten”? Helen, with her dry northern humor, replied, “Well, I guess I’m out of luck with my name. The hero would be saying, ‘Oh, Hel…’”
One final consideration is the way your characters’ names go together; the way they sound and “fit.” Does the heroine’s name work well not only with the hero’s first name, but his last name, too? In most cases, eventually his last name will become hers. Last names are a ‘whole ’nother’ blog!
In 1880, the top ten female names were, in order: Mary, Anna, Emma, Elizabeth (4), Minnie, Margaret, Ida, Alice, Bertha, and Sarah (10).
By 1980, they’d changed drastically: Jennifer, Amanda, Jessica, Melissa, Sarah (5), Heather, Nicole, Amy, Elizabeth (9) and Michelle.
Twenty-eight years later, in 2008, there seemed to be a resurgence toward the “older” names: Emma, which was completely out of the top twenty in 1980, had resurfaced and taken the #1 spot, higher than it had been in 1880. The others, in order, are: Isabella, Emily, Madison, Ava, Olivia, Sophia, Abigail, Elizabeth (9), and Chloe. Sarah was #20, being the only other name besides Elizabeth that remained in the top twenty on all three charts.
If you write historicals, these charts are great to use for minor and secondary characters as well. If you’ve chosen a name for your heroine that’s a bit unusual, you can surround her with “ordinary” characters to provide the flavor of the time period, while enhancing her uniqueness.
Names can also send “subliminal” messages to your reader. I wrote my short story, “A NIGHT FOR MIRACLES,” (release date Dec. 2, 2009) about a couple that meet under odd circumstances and experience their own miracle on Christmas Eve. Halfway through the story, I realized what I’d done and the significance of the characters’ names.
In this excerpt, widow Angela Bentley has taken in a wounded stranger and the three children who are with him on a cold, snowy night. Here’s what happens:
FROM “A NIGHT FOR MIRACLES”:
Angela placed the whiskey-damp cloth against the jagged wound. The man flinched, but held himself hard against the pain. Finally, he opened his eyes. She looked into his sun-bronzed face, his deep blue gaze burning with a startling, compelling intensity as he watched her. He moistened his lips, reminding Angela that she should give him a drink. She laid the cloth in a bowl and turned to pour the water into the cup she’d brought.
He spoke first. “What…what’s your name?” His voice was raspy with pain, but held an underlying tone of gentleness. As if he were apologizing for putting her to this trouble, she thought. The sound of it comforted her. She didn’t know why, and she didn’t want to think about it. He’d be leaving soon.
“Angela.” She lifted his head and gently pressed the metal cup to his lips. “Angela Bentley.”
He took two deep swallows of the water. “Angel,” he said, as she drew the cup away and set it on the nightstand. “It fits.”
She looked down, unsure of the compliment and suddenly nervous. She walked to the low oak chest to retrieve the bandaging and dishpan. “And you are…”
“Nick Dalton, ma’am.” His eyes slid shut as she whirled to face him. A cynical smile touched his lips. “I see…you’ve heard of me.”
A killer. A gunfighter. A ruthless mercenary. What was he doing with these children? She’d heard of him, all right, bits and pieces, whispers at the back fence. Gossip, mainly. And the stories consisted of such variation there was no telling what was true and what wasn’t.
She’d heard. She just hadn’t expected him to be so handsome. Hadn’t expected to see kindness in his eyes. Hadn’t expected to have him show up on her doorstep carrying a piece of lead in him, and with three children in tow. She forced herself to respond through stiff lips. “Heard of you? Who hasn’t?”
He met her challenging stare. “I mean you no harm.”
She remained silent, and he closed his eyes once more. His hands rested on the edge of the sheet, and Angela noticed the traces of blood on his left thumb and index finger. He’d tried to stem the blood flow from his right side as he rode. “I’m only human, it seems, after all,” he muttered huskily. “Not a legend tonight. Just a man.”
He was too badly injured to be a threat, and somehow, looking into his face, she found herself trusting him despite his fearsome reputation. She kept her expression blank and approached the bed with the dishpan and the bandaging tucked beneath her arm. She fought off the wave of compassion that threatened to engulf her. It was too dangerous. When she spoke, her tone was curt. “A soldier of fortune, from what I hear.”
He gave a faint smile. “Things aren’t always what they seem, Miss Bentley.”
I hope you have enjoyed this look into A NIGHT FOR MIRACLES. Thanks for reading! Please leave a comment!
Cheryl
Thursday, June 18, 2009
THE NAME GAME--NAMING OUR MEN
I am a collector of names. Have been, ever since I was a kid. Probably because I always wished for a different one, myself. Mine wasn’t really exotic, but it was…different. Cheryl. My parents decided on the pronunciation of “Chair-yl” rather than the more common way of saying it. The way a million other people sad it…with a “SH” sound, “Sheryl,” rather than the hard “CH” sound.
So when I began writing, I knew my characters had to have ‘good’ names—names that fit. Names that weren’t too strange, but not too common. Names that were appropriate for the time period, the setting, and the culture.
The hero, of course, had to have a name that was also something that could be whispered by the heroine in the throes of passion, yet something that would be tough enough on the villain’s lips to strike a modicum of fear in his heart, just by uttering it.
Because I was writing historical western romance, I decided to pull up a chart that would give me an accurate “slice of life”—possible names for my heroes. According to US Social Security records, the top ten names for men in 1880 were: John, William, James, Charles, George, Frank, Joseph, Thomas, Henry, and Robert.
Okay, I could maybe work with the top four. In fact, the first book I ever wrote was about a gunslinger of this time period called ‘Johnny Starr.’
And William could be shortened to ‘Will’—still masculine; but never ‘Willie.’ James—very masculine, and unwittingly, calls up the rest of the line—‘Bond. James Bond.’ At least, it does for me. I could even go with Jamie. Charles is pushing it. George, Frank, and Joe are names I have and would use for a minor character, but I’d never use those for my hero. They’re somehow just too ordinary. Thomas? Again, a great secondary character name, but not a show-stopper. Henry…eh. And Robert is just ‘okay.’
I fast-forwarded a hundred years to 1980. Here are the top 10: Michael, Christopher, Jason, David, James, Matthew, Joshua, John, Robert, and Joseph. Four of the same names were there, though not in the same poll position. By 2008, only William remained in the top 10. John had fallen to #20, James to #17, Joseph to #13. The others had been replaced, not all by modern names, but most in the top 10 were surprisingly “old fashioned.”
2008: Jacob, Michael, Ethan, Joshua, Daniel, Alexander, Anthony, William, Christopher, Matthew.
This told me something. If you aren’t too wild with the names you choose, you have quite a lot of choices! We know that Jacob, Michael, Joshua, Daniel, and Matthew were Biblical names. Just because they weren’t on the “top 10” list in 1880 doesn’t mean they weren’t being used—a lot!
Another source of names for that time period is family records. If you go back through old family documents, it’s amazing to find some of the odd names that cropped up.
Still maybe not ‘protagonist’ material, but your secondary characters could benefit. And who knows? You may find the perfect ‘hero’ name!
No matter what you choose, remember these rules, too:
1. Sound and compatibility—Say your character’s name aloud. Does the first name go well with the last name you’re using? Be careful about running the name together—“Alan Nickerson” or “Jed Dooly” aren’t good choices. Avoid rhyming names such as “Wayne Payne”—and try to stay away from cutesy names that might make your hero the focus of ridicule.
2. Uniqueness—I’m sure my parents were only trying to be ‘unique’ by pronouncing my name differently than the other 99.9% of the people in the world would automatically say it, but you don’t want your hero to have such an odd name that readers trip over it every time they come to it. Louis L’Amour was a master at coming up with ‘different’ names that were simple. Hondo Lane, Ring Sackett, Shalako, Conagher…and the list goes on.
3. Genealogy—Does it play into your characters’ storyline? If so, you may want to come up with a neat twist somehow on a common name. In my first manuscript, the gunfighter, Johnny Starr, is named for his father, but the names are reversed. His father was Thomas Jonathan Brandon. He is known as Thomas in the story. Johnny was named Jonathan Thomas Brandon. He goes by Johnny. This keeps a theme alive in my story of the ‘fathers and sons’ of this family, and their relationships. It weighs heavily, because Thomas is dying, but Johnny doesn’t know it. They’ve been estranged for many years.
When Johnny’s own son is born, his wife, Katie, changes the name they’ve decided on just before the birth. She makes Johnny promise to name him after himself and his father, Thomas Jonathan, bringing the circle around once more, and also completing the forgiveness between Johnny and his dying father.
4. Meaning—This might somehow play into your story and is good to keep track of. What do your characters’ names mean? This is a great tool to have at your disposal when you are writing—it can be a great conversation piece somewhere, or explain why your villain is so evil.
5. Nicknames and initials—this can be more important than you think. You may need to have your hero sign something or initial something. Don’t make him be embarrassed to write his initials and don’t give him a name that might be shortened to an embarrassing nickname.
In my book, Fire Eyes, the protagonist has an odd name—Kaedon Turner. I gave him an unusual first name to go with a common last name. I learned later that Caden, shortened to Cade, though not common for the time was not unheard of. Kaedon, shortened to Kaed, was just a different variation. It sets him apart from the other marshals, and emphasizes his unique past in a subtle way.
Below are some excerpts from Fire Eyes, available now through TWRP, Amazon, and Barnes and Noble. I hope you enjoy!
EXCERPTS FROM FIRE EYES:
Marshal Kaed Turner has just been delivered to Jessica’s doorstep, wounded and unconscious by the Choctaw Indians. This is part of their first conversation, Kaed’s introduction.
“Just pull.” Her patient moistened his lips. “Straight up. That’s how it went in.”
She wanted to weep at the steel in his voice, wanted to comfort him, to tell him she’d make it quick. But, of course, quick would never be fast enough to be painless. And how could she offer comfort when she didn’t even know what to call him, other than Turner?
“You waitin’ on a…invitation?” A faint smile touched his battered mouth. “I’m fresh out.”
Jessica reached for the tin star. Her fingers closed around the uneven edges of it. No. She couldn’t wait any longer. “What’s your name?” Her voice came out jagged, like the metal she touched.
His bruised eyes slitted as he studied her a moment. “Turner. Kaedon Turner.”
Jessica sighed. “Well, Kaedon Turner, you’ve probably been a lot better places in your life than this. Take a deep breath and try not to move.”
He gave a wry chuckle, letting his eyes drift completely closed. “Do it fast. I’ll be okay.”
She nodded, even though she knew he couldn’t see her. “Ready?”
“Go ahead.”
*******
From Kaed’s POV—Finding out his “angel’s” name!
“I need to stop the bleeding. You were lucky.”
“One lucky sonofabitch.”
“I meant, because it went all the way through. So we don’t have to…to dig it out.” There was that hesitation again, but he already knew what it was she didn’t want to have to say to him. He said it instead.
“All we have to do is burn it.”
She let her breath out in a rush, as if she’d been holding it, dreading just how she was going to tell him. “Right. Sounds like the voice of experience.”
“Yeah.”
She touched his good arm and he reached up for her, his warm, bronze hand swallowing her smaller one. Her fingers were cold, and he could tell she was afraid, no matter how indifferent she tried to act.
“You’ve got one on me,” he muttered.
“What’s that?”
“Your name. Or, do I just call you angel?”
He felt the smile again, knew he had embarrassed her a little, but had pleased her as well.
“Jessica Monroe, at your service, Mr. Turner.”
“Don’t go all formal on me.” He paused, collecting his scattering, hard-to-hold thoughts. “I like Kaed better.”
“Better than Mr. Turner?”
He opened his eyes a crack and watched as she gave him a measuring look, her cinnamon gaze holding his probing stare for a moment. “What you’re doin’ for me warrants a little more intimacy, don’t’cha think, Jessica?”
She glanced back down at the seeping wound, worrying her lower lip between even, white teeth. Her auburn hair did its best to escape its bun.
Kaed’s thoughts jumped and swirled as he tried to focus on her, wondering disjointedly how she’d look if she let her hair tumble free and unbound. And her eyes. Beautiful. A man could get lost in the secrets of her eyes.
Maybe he should’ve used a word other than intimacy.
So when I began writing, I knew my characters had to have ‘good’ names—names that fit. Names that weren’t too strange, but not too common. Names that were appropriate for the time period, the setting, and the culture.
The hero, of course, had to have a name that was also something that could be whispered by the heroine in the throes of passion, yet something that would be tough enough on the villain’s lips to strike a modicum of fear in his heart, just by uttering it.
Because I was writing historical western romance, I decided to pull up a chart that would give me an accurate “slice of life”—possible names for my heroes. According to US Social Security records, the top ten names for men in 1880 were: John, William, James, Charles, George, Frank, Joseph, Thomas, Henry, and Robert.
Okay, I could maybe work with the top four. In fact, the first book I ever wrote was about a gunslinger of this time period called ‘Johnny Starr.’
And William could be shortened to ‘Will’—still masculine; but never ‘Willie.’ James—very masculine, and unwittingly, calls up the rest of the line—‘Bond. James Bond.’ At least, it does for me. I could even go with Jamie. Charles is pushing it. George, Frank, and Joe are names I have and would use for a minor character, but I’d never use those for my hero. They’re somehow just too ordinary. Thomas? Again, a great secondary character name, but not a show-stopper. Henry…eh. And Robert is just ‘okay.’
I fast-forwarded a hundred years to 1980. Here are the top 10: Michael, Christopher, Jason, David, James, Matthew, Joshua, John, Robert, and Joseph. Four of the same names were there, though not in the same poll position. By 2008, only William remained in the top 10. John had fallen to #20, James to #17, Joseph to #13. The others had been replaced, not all by modern names, but most in the top 10 were surprisingly “old fashioned.”
2008: Jacob, Michael, Ethan, Joshua, Daniel, Alexander, Anthony, William, Christopher, Matthew.
This told me something. If you aren’t too wild with the names you choose, you have quite a lot of choices! We know that Jacob, Michael, Joshua, Daniel, and Matthew were Biblical names. Just because they weren’t on the “top 10” list in 1880 doesn’t mean they weren’t being used—a lot!
Another source of names for that time period is family records. If you go back through old family documents, it’s amazing to find some of the odd names that cropped up.
Still maybe not ‘protagonist’ material, but your secondary characters could benefit. And who knows? You may find the perfect ‘hero’ name!
No matter what you choose, remember these rules, too:
1. Sound and compatibility—Say your character’s name aloud. Does the first name go well with the last name you’re using? Be careful about running the name together—“Alan Nickerson” or “Jed Dooly” aren’t good choices. Avoid rhyming names such as “Wayne Payne”—and try to stay away from cutesy names that might make your hero the focus of ridicule.
2. Uniqueness—I’m sure my parents were only trying to be ‘unique’ by pronouncing my name differently than the other 99.9% of the people in the world would automatically say it, but you don’t want your hero to have such an odd name that readers trip over it every time they come to it. Louis L’Amour was a master at coming up with ‘different’ names that were simple. Hondo Lane, Ring Sackett, Shalako, Conagher…and the list goes on.
3. Genealogy—Does it play into your characters’ storyline? If so, you may want to come up with a neat twist somehow on a common name. In my first manuscript, the gunfighter, Johnny Starr, is named for his father, but the names are reversed. His father was Thomas Jonathan Brandon. He is known as Thomas in the story. Johnny was named Jonathan Thomas Brandon. He goes by Johnny. This keeps a theme alive in my story of the ‘fathers and sons’ of this family, and their relationships. It weighs heavily, because Thomas is dying, but Johnny doesn’t know it. They’ve been estranged for many years.
When Johnny’s own son is born, his wife, Katie, changes the name they’ve decided on just before the birth. She makes Johnny promise to name him after himself and his father, Thomas Jonathan, bringing the circle around once more, and also completing the forgiveness between Johnny and his dying father.
4. Meaning—This might somehow play into your story and is good to keep track of. What do your characters’ names mean? This is a great tool to have at your disposal when you are writing—it can be a great conversation piece somewhere, or explain why your villain is so evil.
5. Nicknames and initials—this can be more important than you think. You may need to have your hero sign something or initial something. Don’t make him be embarrassed to write his initials and don’t give him a name that might be shortened to an embarrassing nickname.
In my book, Fire Eyes, the protagonist has an odd name—Kaedon Turner. I gave him an unusual first name to go with a common last name. I learned later that Caden, shortened to Cade, though not common for the time was not unheard of. Kaedon, shortened to Kaed, was just a different variation. It sets him apart from the other marshals, and emphasizes his unique past in a subtle way.
Below are some excerpts from Fire Eyes, available now through TWRP, Amazon, and Barnes and Noble. I hope you enjoy!
EXCERPTS FROM FIRE EYES:
Marshal Kaed Turner has just been delivered to Jessica’s doorstep, wounded and unconscious by the Choctaw Indians. This is part of their first conversation, Kaed’s introduction.
“Just pull.” Her patient moistened his lips. “Straight up. That’s how it went in.”
She wanted to weep at the steel in his voice, wanted to comfort him, to tell him she’d make it quick. But, of course, quick would never be fast enough to be painless. And how could she offer comfort when she didn’t even know what to call him, other than Turner?
“You waitin’ on a…invitation?” A faint smile touched his battered mouth. “I’m fresh out.”
Jessica reached for the tin star. Her fingers closed around the uneven edges of it. No. She couldn’t wait any longer. “What’s your name?” Her voice came out jagged, like the metal she touched.
His bruised eyes slitted as he studied her a moment. “Turner. Kaedon Turner.”
Jessica sighed. “Well, Kaedon Turner, you’ve probably been a lot better places in your life than this. Take a deep breath and try not to move.”
He gave a wry chuckle, letting his eyes drift completely closed. “Do it fast. I’ll be okay.”
She nodded, even though she knew he couldn’t see her. “Ready?”
“Go ahead.”
*******
From Kaed’s POV—Finding out his “angel’s” name!
“I need to stop the bleeding. You were lucky.”
“One lucky sonofabitch.”
“I meant, because it went all the way through. So we don’t have to…to dig it out.” There was that hesitation again, but he already knew what it was she didn’t want to have to say to him. He said it instead.
“All we have to do is burn it.”
She let her breath out in a rush, as if she’d been holding it, dreading just how she was going to tell him. “Right. Sounds like the voice of experience.”
“Yeah.”
She touched his good arm and he reached up for her, his warm, bronze hand swallowing her smaller one. Her fingers were cold, and he could tell she was afraid, no matter how indifferent she tried to act.
“You’ve got one on me,” he muttered.
“What’s that?”
“Your name. Or, do I just call you angel?”
He felt the smile again, knew he had embarrassed her a little, but had pleased her as well.
“Jessica Monroe, at your service, Mr. Turner.”
“Don’t go all formal on me.” He paused, collecting his scattering, hard-to-hold thoughts. “I like Kaed better.”
“Better than Mr. Turner?”
He opened his eyes a crack and watched as she gave him a measuring look, her cinnamon gaze holding his probing stare for a moment. “What you’re doin’ for me warrants a little more intimacy, don’t’cha think, Jessica?”
She glanced back down at the seeping wound, worrying her lower lip between even, white teeth. Her auburn hair did its best to escape its bun.
Kaed’s thoughts jumped and swirled as he tried to focus on her, wondering disjointedly how she’d look if she let her hair tumble free and unbound. And her eyes. Beautiful. A man could get lost in the secrets of her eyes.
Maybe he should’ve used a word other than intimacy.
Wednesday, June 10, 2009
TAMAHA TALES
I was writing another blog about what to do with our ideas once we get them when it dawned on me that I should talk about Tamaha, Oklahoma for my Cheryl Pierson Books blog today.
Though there’s very little to say about the actual town of Tamaha as it exists today, I used it in my story, Fire Eyes, due for release on May 29. (SEE FOLLOWING EXCERPT)
There’s an odd thing that happened that made me include Tamaha in my book. I’d been working on it, and had come to the part where the villain and his gang needed to reference a landmark. But which one? I try to stay as historically accurate in my writing as possible, and this story takes place in the eastern part of the state, toward the Arkansas/Oklahoma border. I must admit, I’m not as familiar with that part of the state as I am with the central part, since that’s where I was born and raised. A lot of these smaller towns don’t even dot the map, and I had never heard of Tamaha.
Until one day in May, 2005. I’d just spoken with a lifelong friend, DaNel Jennings, who now lives in a town in that eastern area of the state. In the course of the conversation, she mentioned that she and her husband were doing some genealogical research and she had learned she had some relatives buried in a small cemetery in Tamaha. Now, the intriguing part of this was that her relatives bore the same last name as my maiden name, “Moss.”
“Wouldn’t it be funny if we really WERE related?” she asked. We’d always secretly hoped we were, and pretended that we were, when we were kids.
“Yes,” I responded with a laugh, “but where in the HECK is Tamaha?” (As if I would know.) She began trying to tell me where it was, and I said, “Never mind. It’s a good thing Jeff knows where he’s going. Let me know what you find.”
I hung up, wistfully wishing that I could go with her—but that was a three-hour drive and they were leaving the next day. No way I could take off and drive down there on the spur of the moment, with family obligations.
A couple of hours later, my sister Karen called. “Cheryl, I need you to come down this weekend,” she said. I was really intrigued, because she is my “much older” sister—10 years older—and never much “needed” me for anything before.
“What’s going on?”
“I promised Mr. Borin I would take him to visit the graves of his parents and siblings for Memorial Day, and two of his brothers are buried in a cemetery in Tamaha—”
I never heard the rest of her sentence. I was sure I had misunderstood. “Where?”
“Tamaha. And the others—”
I interrupted her. “Wait, I have to tell you something.” I couldn’t believe it. I’d never heard of this place before, and now, within the space of 2 hours, two people who were very close to me had told me they were going to be going to the cemetery there!
Chills raced through my body. This was no mere “coincidence.” I promised her I would be there—no matter what—Friday afternoon. We would be going on Saturday morning.
I would never have found the place on my own. I doubt that Mapquest even has it on their site. But Mr. Borin, an older gentleman my sister had befriended in years past, knew exactly where to go. Once we got there, I stepped out and found the headstones for the “Moss” family. It was amazing to think that my best friend, DaNel, whom I had not seen in over a year, had been standing where I was just a few days earlier—a place neither of us had been before. There was an incredible sense of connection.
As the three of us, Karen, Mr. Borin, and I stood in the quiet peacefulness of the old cemetery, a man made his way toward us. “Can I help you?” he asked. We explained why we were there. “Let me show you the historical side of Tamaha while you’re here,” he said cheerfully.
The cemetery is on a bluff overlooking the Arkansas River. “Right down there is where the J.R. Williams was sunk. She was a Confederate ship, but the Union seized her and changed the name to the J.R. Williams. But Stand Watie and his men seized her back.”(June 15, 1864) He chuckled at the thought.
“Come on, I’ll show you the largest black oak tree in Oklahoma—and the oldest.” Sure enough, it stood towering over one of the first buildings of the settlement of Tamaha, dating back to the 1800’s.
Next, we visited the town jail, the oldest jail in Oklahoma, built in 1886. We were able to walk right into it and take pictures. “We’re trying to get money up to preserve it,” he said. It stood in the middle of an overgrown field. “Watch out for snakes, hon,” he told me.
When we left, I knew I had my landmarks that I needed for my book. I had seen it, and my imagination took over. It was the “jog” I needed to get on with the writing, but I will never believe for one minute that it was coincidence.
Have any of you ever experienced anything like this? Some kind of remarkable occurrence that has affected your writing in some way? Share it, if you have—I know I can’t be the only one!
Below is an excerpt from FIRE EYES. I hope you enjoy it!
EXCERPT FROM FIRE EYES:
THE SET UP: A stranger has shown up at Jessica’s door in the evening. She is reluctant to let him inside, even though good manners would dictate that she find him a meal and a place to bed down. There is something about him she doesn’t like—and with good reason, as we find out.
“Evenin’, ma’am.”
The stranger looked down the business end of Jessica’s Henry repeater. It was cocked and ready for action.
She drew a deep breath, trying to calm her nerves. She stood just inside the cabin door, the muzzle of the rifle gleaming in the lamplight that spilled around her from the interior.
He raised his hands and gave her a sheepish grin. “Don’t mean to startle you. Just hopin’ for a meal. Settlers are few and far between in these here parts.”
“Where’s your horse?” She didn’t lower the gun.
“Well, funny thing. I kinda hate to admit it.” He rubbed the back of his neck and looked away. “I, uh, lost him. Playin’ poker.”
“Where?”
“Over to Tamaha.”
“You’re quite a ways from Tamaha,” she said. “Even farther from where I expect you call home.”
He gave a slow, white grin. “More recently, I hail from the Republic of Texas.”
Jessica raised her chin a notch. It was almost as if this man invited dissension. She disliked the cool, unperturbed way he said it. The Republic of Texas. “Texas is a state, Mister. Has been for over twenty years.”
“Well, now,” he said, placing his booted foot on the bottom porch step. “I guess that all depends on who you’re talkin’ to.”
Her eyes narrowed, and she stepped back to shut the door. “I think you better—”
“Ma’am, I’m awful hungry. I’d be glad for any crumb you could spare.”
“What did you say your name was?” Her voice shook, and she cleared her throat to cover her nervousness. Most people had better manners than to show up right at dark.
“I didn’t. But, it’s Freeman. Andy Freeman.”
“Are you related to Dave Freeman?”
“He’s my brother.” He gave her a sincere look. “Look, ma’am, I’d sure feel a heap better talkin’ to you if I wasn’t lookin’ at you through that repeater. I been lookin’ for Dave.” There was an excited hopefulness in his tone. “You seen him? Ma, she sent me up here after him. She’s just a-hankerin’ for news of him. He ain’t real good about letter-writin’.”
Jessica sighed and lowered the rifle. “Come on in, Mr. Freeman. I’ll see what I can find for you to eat, and give you what news I have of your brother.”
“Thank you, Ma’am. I sure do appreciate your hospitality.”
Though there’s very little to say about the actual town of Tamaha as it exists today, I used it in my story, Fire Eyes, due for release on May 29. (SEE FOLLOWING EXCERPT)
There’s an odd thing that happened that made me include Tamaha in my book. I’d been working on it, and had come to the part where the villain and his gang needed to reference a landmark. But which one? I try to stay as historically accurate in my writing as possible, and this story takes place in the eastern part of the state, toward the Arkansas/Oklahoma border. I must admit, I’m not as familiar with that part of the state as I am with the central part, since that’s where I was born and raised. A lot of these smaller towns don’t even dot the map, and I had never heard of Tamaha.
Until one day in May, 2005. I’d just spoken with a lifelong friend, DaNel Jennings, who now lives in a town in that eastern area of the state. In the course of the conversation, she mentioned that she and her husband were doing some genealogical research and she had learned she had some relatives buried in a small cemetery in Tamaha. Now, the intriguing part of this was that her relatives bore the same last name as my maiden name, “Moss.”
“Wouldn’t it be funny if we really WERE related?” she asked. We’d always secretly hoped we were, and pretended that we were, when we were kids.
“Yes,” I responded with a laugh, “but where in the HECK is Tamaha?” (As if I would know.) She began trying to tell me where it was, and I said, “Never mind. It’s a good thing Jeff knows where he’s going. Let me know what you find.”
I hung up, wistfully wishing that I could go with her—but that was a three-hour drive and they were leaving the next day. No way I could take off and drive down there on the spur of the moment, with family obligations.
A couple of hours later, my sister Karen called. “Cheryl, I need you to come down this weekend,” she said. I was really intrigued, because she is my “much older” sister—10 years older—and never much “needed” me for anything before.
“What’s going on?”
“I promised Mr. Borin I would take him to visit the graves of his parents and siblings for Memorial Day, and two of his brothers are buried in a cemetery in Tamaha—”
I never heard the rest of her sentence. I was sure I had misunderstood. “Where?”
“Tamaha. And the others—”
I interrupted her. “Wait, I have to tell you something.” I couldn’t believe it. I’d never heard of this place before, and now, within the space of 2 hours, two people who were very close to me had told me they were going to be going to the cemetery there!
Chills raced through my body. This was no mere “coincidence.” I promised her I would be there—no matter what—Friday afternoon. We would be going on Saturday morning.
I would never have found the place on my own. I doubt that Mapquest even has it on their site. But Mr. Borin, an older gentleman my sister had befriended in years past, knew exactly where to go. Once we got there, I stepped out and found the headstones for the “Moss” family. It was amazing to think that my best friend, DaNel, whom I had not seen in over a year, had been standing where I was just a few days earlier—a place neither of us had been before. There was an incredible sense of connection.
As the three of us, Karen, Mr. Borin, and I stood in the quiet peacefulness of the old cemetery, a man made his way toward us. “Can I help you?” he asked. We explained why we were there. “Let me show you the historical side of Tamaha while you’re here,” he said cheerfully.
The cemetery is on a bluff overlooking the Arkansas River. “Right down there is where the J.R. Williams was sunk. She was a Confederate ship, but the Union seized her and changed the name to the J.R. Williams. But Stand Watie and his men seized her back.”(June 15, 1864) He chuckled at the thought.
“Come on, I’ll show you the largest black oak tree in Oklahoma—and the oldest.” Sure enough, it stood towering over one of the first buildings of the settlement of Tamaha, dating back to the 1800’s.
Next, we visited the town jail, the oldest jail in Oklahoma, built in 1886. We were able to walk right into it and take pictures. “We’re trying to get money up to preserve it,” he said. It stood in the middle of an overgrown field. “Watch out for snakes, hon,” he told me.
When we left, I knew I had my landmarks that I needed for my book. I had seen it, and my imagination took over. It was the “jog” I needed to get on with the writing, but I will never believe for one minute that it was coincidence.
Have any of you ever experienced anything like this? Some kind of remarkable occurrence that has affected your writing in some way? Share it, if you have—I know I can’t be the only one!
Below is an excerpt from FIRE EYES. I hope you enjoy it!
EXCERPT FROM FIRE EYES:
THE SET UP: A stranger has shown up at Jessica’s door in the evening. She is reluctant to let him inside, even though good manners would dictate that she find him a meal and a place to bed down. There is something about him she doesn’t like—and with good reason, as we find out.
“Evenin’, ma’am.”
The stranger looked down the business end of Jessica’s Henry repeater. It was cocked and ready for action.
She drew a deep breath, trying to calm her nerves. She stood just inside the cabin door, the muzzle of the rifle gleaming in the lamplight that spilled around her from the interior.
He raised his hands and gave her a sheepish grin. “Don’t mean to startle you. Just hopin’ for a meal. Settlers are few and far between in these here parts.”
“Where’s your horse?” She didn’t lower the gun.
“Well, funny thing. I kinda hate to admit it.” He rubbed the back of his neck and looked away. “I, uh, lost him. Playin’ poker.”
“Where?”
“Over to Tamaha.”
“You’re quite a ways from Tamaha,” she said. “Even farther from where I expect you call home.”
He gave a slow, white grin. “More recently, I hail from the Republic of Texas.”
Jessica raised her chin a notch. It was almost as if this man invited dissension. She disliked the cool, unperturbed way he said it. The Republic of Texas. “Texas is a state, Mister. Has been for over twenty years.”
“Well, now,” he said, placing his booted foot on the bottom porch step. “I guess that all depends on who you’re talkin’ to.”
Her eyes narrowed, and she stepped back to shut the door. “I think you better—”
“Ma’am, I’m awful hungry. I’d be glad for any crumb you could spare.”
“What did you say your name was?” Her voice shook, and she cleared her throat to cover her nervousness. Most people had better manners than to show up right at dark.
“I didn’t. But, it’s Freeman. Andy Freeman.”
“Are you related to Dave Freeman?”
“He’s my brother.” He gave her a sincere look. “Look, ma’am, I’d sure feel a heap better talkin’ to you if I wasn’t lookin’ at you through that repeater. I been lookin’ for Dave.” There was an excited hopefulness in his tone. “You seen him? Ma, she sent me up here after him. She’s just a-hankerin’ for news of him. He ain’t real good about letter-writin’.”
Jessica sighed and lowered the rifle. “Come on in, Mr. Freeman. I’ll see what I can find for you to eat, and give you what news I have of your brother.”
“Thank you, Ma’am. I sure do appreciate your hospitality.”
Wednesday, June 3, 2009
INTRODUCING UNFORGETTABLE CHARACTERS--WITH FLAIR
Last month, we talked about where our writing ideas come from: Dreams, historical events, poetry or movies, or even from our own life experiences, to name a few. We looked at how our characters can be drawn from people we've known in our lives, whether we admire or despise them.
Characters, we said, can also come from unusual places--such as song lyrics, and can be based upon historical figures of the past. Characters can be born in our own imaginations completely--not based upon any actual person we ever knew or studied in a history book. If you write futuristic stories, your alien creatures must be created entirely within your own flights of fancy. If paranormal writing is your bailiwick, you must create your otherworldly characters from legends, lore, and once again, your own imaginings.
Let's look at what makes up a character's basic framework, beginning with the external elements. These will include all the components that have made our character who he or she is, from the most elementary choices of physical appearance to the limits of cultural and societal dictates that have been imposed upon the character.
One good option is to design your own "character chart" for each character, assigning basics such as hair and eye color, and delving into as much detail as you want. Age, birthday, even astrological signs can be included. Did your character lose a parent? Is he an only child, or the eldest of ten children? Every detail you can assign is like the stroke of a paintbrush. You are an artist, creating the picture of this person for your reader. If you don't allow us to see the details of the character, we can't know them deep down. We learn through your description, your inference, or through the observations of your other characters.
This leads us to the internal process of your characters' lives. Again, as in the physical description, you must delve into the characters' minds and decide what you will allow your readers to know. Your characters' emotions, reactions, yearnings, and thoughts are all an integral part of developing them into people we are going to remember. Will we like them? Empathize with them? Root against the villain? Most importantly, will we care--one way or the other?
Defining your characters' motives and feelings must be detailed, leaving nothing to assumption. This is a key element in creating believability.
But physical and emotional character creation is only a part of the whole "ball of wax." Your characters have to have a world to live in--a plot to carry out. These components include the conflict (what makes the story exciting and why do we care?) and the point of view. Point of view (POV) is extremely important, because this is the character who will be telling the story. The setting can be a huge factor as well, at times, becoming a character in its own right.
How do you introduce your characters with enough flair to make them interesting and to make your reader emotionally invested in them?
Think about books you've read with memorable character introductions. Can anyone forget their first glimpse of fiery Scarlett O'Hara? Or of the handsome scoundrel, Rhett Butler? Grab a copy of "Gone With the Wind" and study the way Margaret Mitchell introduces her characters. Her physical descriptions are matchless. Interestingly enough, she doesn't delve into deep point of view as much as she lets us learn things about the characters through their dialogue and what others say/think about them.
Another example of an unforgettable character entrance is Jack Schaefer's "Shane." Written in the late 1940's, it remains a classic today. This is an example of how very important the viewpoint character can be. Though the story is about Shane, a mystery man who shows up and helps the homesteaders out of a jam against the most powerful landowner in the valley, seeing it through the eyes of young Bobby Starett gives us a poignant understanding of the other characters--Shane in particular. Telling the story through Bobby lets the tension build to a climax that would be unattainable through any other character's "voice."
Another way of introducing a character is through dialogue. Giving the reader a titillating bit of conversation that leads us to
a) the storyline, or
b) discovery about the character's personality or circumstances
is a sure-fire way to garner interest in the character who delivers the line.
Circumstances can also be the means to provide the introduction of a character who is unforgettable. In Thomas Eidson's "St. Agnes' Stand", the main character, Nat Swanson, is in a dire predicament. He's been shot, and is being pursued by two men whose friend he killed in avenging a woman's honor--a woman he barely knew. He just wants to be left alone, to make it to California where a ranch he won with the turn of a card awaits--along with a new life. However, he comes upon a group of orphans and nuns who are sure to be captured and killed by a band of Apaches if he doesn't intervene--and he can't walk away. Again, he steps in to do the right thing--and it may be the death of him.
I hope this has given you a few ideas as to the different ways we have of introducing unforgettable characters--with flair!
If you haven't read these books, I highly recommend them. I teach fiction writing classes in Oklahoma City, and have a fabulous reading list I use in those classes if anyone is interested.
Below is an excerpt from my new release, FIRE EYES, when the heroine "meets" the hero for the first time. Here's what happens.
FROM FIRE EYES:
The man’s warm blood trickled across Jessica Monroe’s bare feet. The band of Choctaws had ridden up into her yard moments ago and slid him off a horse onto her front porch. She forced herself to stand still while Standing Bear spoke. Too much movement would appear rude.
“Will you care for him, Fire Eyes?” The direct question took her off guard. The Indians had insisted on giving her a name—Fire Eyes. They had brought her, on two occasions now, wounded men to care for. The last one had died.
Still, they saw her as a healer. Sometimes she felt they were trying to include her in their civilization now that she was virtually alone. But their infrequent visitation was a small price to pay them to leave her in peace. Relatively speaking. She gave an inward sigh, wondering if she would ever feel truly at peace in the world again. Nonetheless, she would care for the injured man. What other choice did she have?
She nodded. “Yes, Standing Bear. I’ll do what I can for him.” She looked down as the unconscious stranger rolled onto his back, even farther across her feet. He was tall and broad-shouldered, and his dark hair was matted with blood, his face bruised and swollen from the beating he’d taken. The late afternoon sun glinted across the metal badge pinned on the tattered remains of his shirt. A lawman. She stepped back.
Standing Bear made a motion, and four of the eight warriors accompanying him jumped to the ground and approached the wooden porch where Jessica stood.
She took another step back, her heart pounding in her throat even as her mind directed her to be calm. They meant her no harm. Ignoring her, they lifted the beaten, bleeding lawman, and carried him through her doorway straight to her bed.
“Not—” Jessica began.
They roughly deposited him right in the middle of the white and blue quilt Jessica’s grandmother had made for her as a wedding gift.
One of the braves gave her a harsh look, and she forced a smile. “Fine. That’s just fine.”
The muscular, bare-chested Choctaws brushed past her as they came back across the threshold. Jessica looked up once more at the chief, and could have sworn, for a moment, she saw amusement in his coal-black eyes.
“Marshal Turner is a friend.” He nodded toward the front door. “He will not harm you, Fire Eyes. He can be trusted.” Standing Bear paused. “We will not harm you, either.” His gaze flicked over her, and she knew he had seen her momentary fear.
“I-I know, Sir.” Jessica’s feet were sticky with the lawman’s drying blood. “You’ve been good to me—” She hesitated. “I just get anxious sometimes.” Her gaze drifted past him to the two warriors who were returning from the barn where they had stabled the marshal’s horse. One of them carried Turner’s saddlebags, which he laid at her bloody feet before swinging onto his own mount’s back.
Standing Bear nodded, turning his horse to go. “We will come again in three days. Do not allow him to die.” He said it imperiously, as if by his command, it would be so, and the man would live, regardless of his injuries.
Jessica’s mouth tightened in silent rebellion as, without a backward glance, the warriors melted into the nearby trees.
What had she done?
Characters, we said, can also come from unusual places--such as song lyrics, and can be based upon historical figures of the past. Characters can be born in our own imaginations completely--not based upon any actual person we ever knew or studied in a history book. If you write futuristic stories, your alien creatures must be created entirely within your own flights of fancy. If paranormal writing is your bailiwick, you must create your otherworldly characters from legends, lore, and once again, your own imaginings.
Let's look at what makes up a character's basic framework, beginning with the external elements. These will include all the components that have made our character who he or she is, from the most elementary choices of physical appearance to the limits of cultural and societal dictates that have been imposed upon the character.
One good option is to design your own "character chart" for each character, assigning basics such as hair and eye color, and delving into as much detail as you want. Age, birthday, even astrological signs can be included. Did your character lose a parent? Is he an only child, or the eldest of ten children? Every detail you can assign is like the stroke of a paintbrush. You are an artist, creating the picture of this person for your reader. If you don't allow us to see the details of the character, we can't know them deep down. We learn through your description, your inference, or through the observations of your other characters.
This leads us to the internal process of your characters' lives. Again, as in the physical description, you must delve into the characters' minds and decide what you will allow your readers to know. Your characters' emotions, reactions, yearnings, and thoughts are all an integral part of developing them into people we are going to remember. Will we like them? Empathize with them? Root against the villain? Most importantly, will we care--one way or the other?
Defining your characters' motives and feelings must be detailed, leaving nothing to assumption. This is a key element in creating believability.
But physical and emotional character creation is only a part of the whole "ball of wax." Your characters have to have a world to live in--a plot to carry out. These components include the conflict (what makes the story exciting and why do we care?) and the point of view. Point of view (POV) is extremely important, because this is the character who will be telling the story. The setting can be a huge factor as well, at times, becoming a character in its own right.
How do you introduce your characters with enough flair to make them interesting and to make your reader emotionally invested in them?
Think about books you've read with memorable character introductions. Can anyone forget their first glimpse of fiery Scarlett O'Hara? Or of the handsome scoundrel, Rhett Butler? Grab a copy of "Gone With the Wind" and study the way Margaret Mitchell introduces her characters. Her physical descriptions are matchless. Interestingly enough, she doesn't delve into deep point of view as much as she lets us learn things about the characters through their dialogue and what others say/think about them.
Another example of an unforgettable character entrance is Jack Schaefer's "Shane." Written in the late 1940's, it remains a classic today. This is an example of how very important the viewpoint character can be. Though the story is about Shane, a mystery man who shows up and helps the homesteaders out of a jam against the most powerful landowner in the valley, seeing it through the eyes of young Bobby Starett gives us a poignant understanding of the other characters--Shane in particular. Telling the story through Bobby lets the tension build to a climax that would be unattainable through any other character's "voice."
Another way of introducing a character is through dialogue. Giving the reader a titillating bit of conversation that leads us to
a) the storyline, or
b) discovery about the character's personality or circumstances
is a sure-fire way to garner interest in the character who delivers the line.
Circumstances can also be the means to provide the introduction of a character who is unforgettable. In Thomas Eidson's "St. Agnes' Stand", the main character, Nat Swanson, is in a dire predicament. He's been shot, and is being pursued by two men whose friend he killed in avenging a woman's honor--a woman he barely knew. He just wants to be left alone, to make it to California where a ranch he won with the turn of a card awaits--along with a new life. However, he comes upon a group of orphans and nuns who are sure to be captured and killed by a band of Apaches if he doesn't intervene--and he can't walk away. Again, he steps in to do the right thing--and it may be the death of him.
I hope this has given you a few ideas as to the different ways we have of introducing unforgettable characters--with flair!
If you haven't read these books, I highly recommend them. I teach fiction writing classes in Oklahoma City, and have a fabulous reading list I use in those classes if anyone is interested.
Below is an excerpt from my new release, FIRE EYES, when the heroine "meets" the hero for the first time. Here's what happens.
FROM FIRE EYES:
The man’s warm blood trickled across Jessica Monroe’s bare feet. The band of Choctaws had ridden up into her yard moments ago and slid him off a horse onto her front porch. She forced herself to stand still while Standing Bear spoke. Too much movement would appear rude.
“Will you care for him, Fire Eyes?” The direct question took her off guard. The Indians had insisted on giving her a name—Fire Eyes. They had brought her, on two occasions now, wounded men to care for. The last one had died.
Still, they saw her as a healer. Sometimes she felt they were trying to include her in their civilization now that she was virtually alone. But their infrequent visitation was a small price to pay them to leave her in peace. Relatively speaking. She gave an inward sigh, wondering if she would ever feel truly at peace in the world again. Nonetheless, she would care for the injured man. What other choice did she have?
She nodded. “Yes, Standing Bear. I’ll do what I can for him.” She looked down as the unconscious stranger rolled onto his back, even farther across her feet. He was tall and broad-shouldered, and his dark hair was matted with blood, his face bruised and swollen from the beating he’d taken. The late afternoon sun glinted across the metal badge pinned on the tattered remains of his shirt. A lawman. She stepped back.
Standing Bear made a motion, and four of the eight warriors accompanying him jumped to the ground and approached the wooden porch where Jessica stood.
She took another step back, her heart pounding in her throat even as her mind directed her to be calm. They meant her no harm. Ignoring her, they lifted the beaten, bleeding lawman, and carried him through her doorway straight to her bed.
“Not—” Jessica began.
They roughly deposited him right in the middle of the white and blue quilt Jessica’s grandmother had made for her as a wedding gift.
One of the braves gave her a harsh look, and she forced a smile. “Fine. That’s just fine.”
The muscular, bare-chested Choctaws brushed past her as they came back across the threshold. Jessica looked up once more at the chief, and could have sworn, for a moment, she saw amusement in his coal-black eyes.
“Marshal Turner is a friend.” He nodded toward the front door. “He will not harm you, Fire Eyes. He can be trusted.” Standing Bear paused. “We will not harm you, either.” His gaze flicked over her, and she knew he had seen her momentary fear.
“I-I know, Sir.” Jessica’s feet were sticky with the lawman’s drying blood. “You’ve been good to me—” She hesitated. “I just get anxious sometimes.” Her gaze drifted past him to the two warriors who were returning from the barn where they had stabled the marshal’s horse. One of them carried Turner’s saddlebags, which he laid at her bloody feet before swinging onto his own mount’s back.
Standing Bear nodded, turning his horse to go. “We will come again in three days. Do not allow him to die.” He said it imperiously, as if by his command, it would be so, and the man would live, regardless of his injuries.
Jessica’s mouth tightened in silent rebellion as, without a backward glance, the warriors melted into the nearby trees.
What had she done?
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