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Welcome to Game On! A wacky, wonderful mystery tour of why characters behave -and misbehave - and how they create conflict in your fiction. In this blog series, we will explore psychological motivations, needs and wants and how they create obstacles for your characters, thematic arguments for your story, a goal for your protagonist and antagonist and, hopefully, help explain why all of your characters do what they do.
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By: Diana Hurwitz,
on 7/1/2016
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We continue our evaluation of character reactions to stress. The higher the stress level, the more extreme their position becomes on the behvioral spectrum. You can give them a problem where their approach works and they gain ground, or they fail utterly which causes them to lose ground.
9. Joss
Joss is a man of action and few words. He may never talk about the problem or what needs to be done about it. Stress can make him impulsive. He may attempt things that were better left alone. He may drag in a few other maverick loners like himself. They may drive each other to ridiculous lengths.
10. Kelly
Kelly is a one-man show. He’s wild and crazy. Stress makes him more impulsive than usual. He has no trouble confronting people or tasks. His efforts won’t be focused and the results are iffy. He will probably charm someone else into taking a hit for him.
11. Greer
Greer is a quiet, elusive kind of guy. He isn’t very social to begin with. As long as people leave him alone, he really doesn’t care what they do. When they dump problems in his lap, he becomes resentful and withdraws. He may be forced to tackle the problem in his careful, logical way, but whoever caused it will pay the price for disturbing his peace.
12. Taylor
Taylor thrives on being social and gaining cooperation. He becomes rigid and irritable when stressed. If someone provokes him, he will hold tight to his goal and snap at everyone he dragoons into helping him. He is good at getting people to do what he wants them to. His opponent will feel the sting.
13. Cam
Cam isn’t terribly social. As long as people leave his lofty logical fortress alone, he ignores them. Attack him and he freezes in amazement. He leaves other people alone. Why would they go after him? He calmly sets about destroying his attacker in his creative, methodical way. He won’t broadcast his success or ask for help. He’ll just take quiet satisfaction in his work. 14. Morgan
Morgan is erratic in nature. He’s a rolling stone that gathers no moss. He isn’t interested in fighting unless someone brings the fight to him. When stressed, he becomes scattered. He’ll find it hard to focus, but his scattershot approach may have many undesirable consequences for his enemy.15. Lee
Lee is lethal. He is used to getting his way and cuts down anyone brave enough to confront him. He isn’t a touchy-feely, let’s be a team kind of guy. He is good at dragooning others into carrying out his wishes. He becomes hypercritical when stressed and snipes and cracks the whip. His enemies should just move out of the way.
16. River
River is a pacifist. He wants what is best for everyone. He isn’t interested in fighting unless someone brings the war to him. He becomes critical and self-absorbed when stressed. His strength lies in his uncanny intuition. He will figure out his opponent’s weakness in a heartbeat and use it to his advantage.
The more stressed your character feels, the more anxious your reader feels in response. Turning up the heat on your characters makes the reader eager to see the stress relieved. That keeps them turning pages.
For more about how to craft characters, pick up a copy of Story Building Blocks II: Crafting Believable Conflict, available in paperback and E-book and Story Building Blocks: Build A Cast Workbook, available in paperback and E-book.
By: Diana Hurwitz,
on 7/1/2016
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We continue our evaluation of character reactions to stress. The higher the stress level, the more extreme their position becomes on the behvioral spectrum. You can give them a problem where their approach works and they gain ground, or they fail utterly which causes them to lose ground.
9. Joss
Joss is a man of action and few words. He may never talk about the problem or what needs to be done about it. Stress can make him impulsive. He may attempt things that were better left alone. He may drag in a few other maverick loners like himself. They may drive each other to ridiculous lengths.10. Kelly
Kelly is a one-man show. He’s wild and crazy. Stress makes him more impulsive than usual. He has no trouble confronting people or tasks. His efforts won’t be focused and the results are iffy. He will probably charm someone else into taking a hit for him.
11. Greer
Greer is a quiet, elusive kind of guy. He isn’t very social to begin with. As long as people leave him alone, he really doesn’t care what they do. When they dump problems in his lap, he becomes resentful and withdraws. He may be forced to tackle the problem in his careful, logical way, but whoever caused it will pay the price for disturbing his peace.
12. Taylor
Taylor thrives on being social and gaining cooperation. He becomes rigid and irritable when stressed. If someone provokes him, he will hold tight to his goal and snap at everyone he dragoons into helping him. He is good at getting people to do what he wants them to. His opponent will feel the sting.13. Cam
Cam isn’t terribly social. As long as people leave his lofty logical fortress alone, he ignores them. Attack him and he freezes in amazement. He leaves other people alone. Why would they go after him? He calmly sets about destroying his attacker in his creative, methodical way. He won’t broadcast his success or ask for help. He’ll just take quiet satisfaction in his work. 14. Morgan
Morgan is erratic in nature. He’s a rolling stone that gathers no moss. He isn’t interested in fighting unless someone brings the fight to him. When stressed, he becomes scattered. He’ll find it hard to focus, but his scattershot approach may have many undesirable consequences for his enemy.15. Lee
Lee is lethal. He is used to getting his way and cuts down anyone brave enough to confront him. He isn’t a touchy-feely, let’s be a team kind of guy. He is good at dragooning others into carrying out his wishes. He becomes hypercritical when stressed and snipes and cracks the whip. His enemies should just move out of the way.
16. River
River is a pacifist. He wants what is best for everyone. He isn’t interested in fighting unless someone brings the war to him. He becomes critical and self-absorbed when stressed. His strength lies in his uncanny intuition. He will figure out his opponent’s weakness in a heartbeat and use it to his advantage.
The more stressed your character feels, the more anxious your reader feels in response. Turning up the heat on your characters makes the reader eager to see the stress relieved. That keeps them turning pages.
For more about how to craft characters, pick up a copy of Story Building Blocks II: Crafting Believable Conflict, available in paperback and E-book and Story Building Blocks: Build A Cast Workbook, available in paperback and E-book.
By: Diana Hurwitz,
on 7/1/2016
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We continue our evaluation of character reactions to stress. The higher the stress level, the more extreme their position becomes on the behvioral spectrum. You can give them a problem where their approach works and they gain ground, or they fail utterly which causes them to lose ground.
9. Joss
Joss is a man of action and few words. He may never talk about the problem or what needs to be done about it. Stress can make him impulsive. He may attempt things that were better left alone. He may drag in a few other maverick loners like himself. They may drive each other to ridiculous lengths.
10. Kelly
Kelly is a one-man show. He’s wild and crazy. Stress makes him more impulsive than usual. He has no trouble confronting people or tasks. His efforts won’t be focused and the results are iffy. He will probably charm someone else into taking a hit for him.
11. Greer
Greer is a quiet, elusive kind of guy. He isn’t very social to begin with. As long as people leave him alone, he really doesn’t care what they do. When they dump problems in his lap, he becomes resentful and withdraws. He may be forced to tackle the problem in his careful, logical way, but whoever caused it will pay the price for disturbing his peace.
12. Taylor
Taylor thrives on being social and gaining cooperation. He becomes rigid and irritable when stressed. If someone provokes him, he will hold tight to his goal and snap at everyone he dragoons into helping him. He is good at getting people to do what he wants them to. His opponent will feel the sting.
13. Cam
Cam isn’t terribly social. As long as people leave his lofty logical fortress alone, he ignores them. Attack him and he freezes in amazement. He leaves other people alone. Why would they go after him? He calmly sets about destroying his attacker in his creative, methodical way. He won’t broadcast his success or ask for help. He’ll just take quiet satisfaction in his work. 14. Morgan
Morgan is erratic in nature. He’s a rolling stone that gathers no moss. He isn’t interested in fighting unless someone brings the fight to him. When stressed, he becomes scattered. He’ll find it hard to focus, but his scattershot approach may have many undesirable consequences for his enemy.15. Lee
Lee is lethal. He is used to getting his way and cuts down anyone brave enough to confront him. He isn’t a touchy-feely, let’s be a team kind of guy. He is good at dragooning others into carrying out his wishes. He becomes hypercritical when stressed and snipes and cracks the whip. His enemies should just move out of the way.
16. River
River is a pacifist. He wants what is best for everyone. He isn’t interested in fighting unless someone brings the war to him. He becomes critical and self-absorbed when stressed. His strength lies in his uncanny intuition. He will figure out his opponent’s weakness in a heartbeat and use it to his advantage.
The more stressed your character feels, the more anxious your reader feels in response. Turning up the heat on your characters makes the reader eager to see the stress relieved. That keeps them turning pages.
For more about how to craft characters, pick up a copy of Story Building Blocks II: Crafting Believable Conflict, available in paperback and E-book and Story Building Blocks: Build A Cast Workbook, available in paperback and E-book.
By: Diana Hurwitz,
on 6/8/2016
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Deadlines and obstacles encourage some of your characters to push harder and some of them to fall apart. How your character reacts under stress is critical to any plot with tension.
Stress can be from a mild annoyance, such as delayed traffic. It can stem from a direct, perhaps mortal, threat.
Whether the stimulus is mild or monstrous, your characters react initially based on their natural tendency. Circumstances can force them to move past this innate response, but their initial reaction tends to be true to their nature.
SBB II introduced sixteen mannequins. Each character has a natural tendency to deal with things in a specific way. Natural tendencies can be shifted by life events from balanced to severely unbalanced.
Let's see how our character mannequins handle stress. Remember each mannequin has a male, female, androgynous, and transgender counterpart. I use he to avoid the plural they.
1. Wynn
Wynn is the responsible, practical type who thrives on order and plans. It doesn’t take much to upset his apple cart. His natural inclination is to withdraw and avoid conflict. He becomes rigid in the face of opposition or criticism. He shuts down and turns away. Getting him to face the threat will be a challenge. The motivation level needs to be high.
2. Francis
Francis is responsible, practical, and thrives on order and plans. He becomes controlling when anxious. He has no problem confronting other people and believes he is always right. He annoys some and infuriates others (ruining any chance he had of cooperation) when he takes over the efforts to solve the scene or overall story goal. However, less decisive characters might look up to Francis at a time of crisis, putting their faith in someone who at least has an idea.
3. Nevada
Nevada is responsible, practical, and thrives on order and plans. His natural inclination is to gather consensus and get people to cooperate. He becomes hypercritical and controlling when things don’t go his way and people refuse to work together. He irritates some of the people he attempts to corral while convincing them to do what he wants. The less they cooperate, the more livid Nevada grows. He’s trying to save you! Why won’t you listen? If the person doesn't want or need Nevada to save him, the conflict heats up.
4. Arden
Arden works hard and is a stand-up kind of guy. He likes being in control. He becomes hypercritical and controlling when stressed. The more he imposes his will, the harder others will resist him, which feeds the cycle. He will offer more criticism and impose more limitations. His method may be needed, but often is not appreciated.
5. Blair
Blair is responsible and practical, but highly emotional. His natural inclination is to become passive and withdrawn when anxious. Getting him out the door to take the necessary action requires a very seductive carrot, or a very large stick. He sneers and turns subversive in the face of opposition. His opponent may not know that Blair is actively working against him in the background.
6. Dallas
Dallas is fanciful and free-flowing. He hates being restricted and limited. His natural inclination is to become passive-aggressive when stressed. Rather than openly confront people, he hides in the shadows and conducts sneak attacks. He may present a very cooperative front while secretly undermining his foe.
7. Hadley
Hadley is fun and freedom loving. He is practical but hates being limited in any way. He becomes excessively impulsive under pressure. His erratic nature makes him scatter when he needs to focus. He may get lucky and hit the target as he shoots up the room, or not.
8. Shelby
Shelby is a live and let live kind of guy. He’s guarded. He becomes highly emotional and critical when stressed. He vents and rages. He finds it difficult to stay calm and work his way through the problem. He isn't looking for reassurance. He wants someone to agree with him. "Yes, it's awful. Now let's go do this." He may need someone to force him to focus on what needs to be done.
Next week, we will complete our exploration of how our mannequins react to stress. For more about how to craft characters, pick up a copy of Story Building Blocks II: Crafting Believable Conflict, available in paperback and E-book and Story Building Blocks: Build A Cast Workbook, available in paperback and E-book.
By: Diana Hurwitz,
on 5/26/2016
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Last week, we discussed how to find your writing tribe. Once you find them, it is time to lay down the ground rules.
1.Decide what type of feedback/group you truly want and need.
Are you all at the same level of beginner, intermediate, or expert? Sometimes a mix is good, but sometimes it causes aggravation. If you need help growing your craft, find a mentoring group. If you just want to be encouraged, find a nurturing group. Are you able and prepared to exchange high-level analysis, editing, proofreading, etc.? Find a master class group.
2. You must be willing to commit to it as if it were a job.
Uneven groups foment resentment. It is bad for the group when some people submit and critique and others don't. Members who don't show up are disruptive. Everyone has "life" events that intrude, but you should try to schedule a time and place and hold it sacred.
3. Make rules and stick to them.
Decide how often you will meet, where or how you meet (in person, online groups, Skype, etc.), how many pages are submitted, the type of feedback you need for each submission, and the format of the feedback (written notes, verbal exchange, notations in Word for Windows, or a combination). Some may be at the final draft stage, others at the first draft.
4. Assign a "clock watcher." It is best to divide your time up evenly so no one gets left out or feels their work has not received equal attention. Make it someone's job to keep time.
5. Assign a "temperature taker." This person keeps everyone on topic and keeps the discussion from becoming heated. Hurt feelings can fester and destroy a group quickly. Make it someone's job to keep the flow positive. It is best to confront any negative interaction right away.
6. Check your ego at the door. If you can't handle constructive criticism, then this is not the venue for you. Everyone will have a different take on your work. They will catch different things. They will have opinions. You do not have to respond to or adapt to them. Say thank you and move on. But if more than one person says the the same thing, you should listen a little closer.
7. No gossiping about each other. Period. No trolling members you don't like.
8. Don't make assumptions. You are fiction writers. Don't assume anything is autobiographical.
9. What happens in the group stays in the group. You should not discuss the other members, their work, their critiques, etc. with other people unless you have their permission. To do so is a violation of trust.
10. If you have a problem member, address the topic openly amongst everyone. Give them a chance to fix things (i.e. not submitting, critiquing, attending) with a deadline. Enforce the rules. If you decide to make exceptions because of special circumstances, make sure everyone agrees.
By: Diana Hurwitz,
on 5/19/2016
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As writer, especially one just beginning the journey, it is important to find your tribe.
If you leave your writer cave and venture out, there are several places you can go to meet like minds.
1. Book events in your community such as literary festivals, book sales, and author's luncheons.
Printers Row Literary Festival in Chicago, Illinois.
The Augusta Literary Festival, Augusta, GA.
The Tucson Festival of Books, University of Arizona campus, Tucson, Arizona.
Virginia Festival of the Book in Charlottesville, Virginia,
North Texas Book Festival, Denton, Texas.
Word of South Festival of Literature and Music in Tallahassee, Florida.
SC Book Festival at theColumbia Metropolitan Convention Center in Columbia, South Carolina.
2. Local books stores have author events and sometimes have notice boards for people looking for critique partners.
3. Local writing classes and workshops are great places to find your tribe.
4. If you have the means, don't be afraid to travel to workshops. You may even meet someone from your locale. I did.
MWA-U 2.0, Mystery Writers of America, Boston, Massachusettes.
Sleuthfest annual conference for mystery, suspense, and thriller writers, Deerfield Beach, Florida.
5. Libraries often have classes or community writing events. They may have a notice board where writers post ads looking for critique partners.
6. Check out local colleges. You don't have to take classes there, but they may have other budding authors looking for their tribe.
If you prefer to stay in your jammies, you can look for your tribe online.
7. Join social media groups for your genre or writing in general. Interact, don't just observe. There are pages for all of the main genres on Facebook. Many have their own websites you can follow.
On Facebook there are open and closed groups. You can ask to be added to a closed group. None of these sites like to be spammed with book promotions. Join the community, interact, and make connections. You can find hundreds of local, national, and subgenre groups using the Search function on Facebook. Your Facebook avatar should be a photo of you or your book, not blank.
Do not post your work in progress on groups that are not designed for critiquing. Unsolicited pleas for input are a huge turnoff in writing communities.
Build a reputation as someone who is helpful and supportive. Don't give in to the urge to criticize or deride other authors, no matter how much you dislike their work.
Romance Writers of America
Mystery Writers of America
International Thriller Writers
Horror Writers Association
Historical Novel Society
Fantasy Writers
8. Take online workshops. You are often assigned to a critique group.
Gotham Online Writing Workshops
Writer's Digest Online Writing Workshops (they often do local workshops as well).
Ten Universities offering online writing workshops such as MIT and Purdue.
Stanford University
The Crafty Writer
9. Post your work in online critique forums. You may meet other writers in your genre who are interested in finding critique partners.
10. Fan fiction sites are a place to meet other writers who share your passion.
Here are links to more resources on how to find your tribe:
The Write Life: 40 Places to Find a Critique Partner
Writer's Digest: Find the Right Online Critique Group
Inked Voices: a source for small, private writing groups
Jane Friedman: How to Find the Right Critique Group
Writing World: a critique and discussion group
Jodie Renner has complied a list of workshops and festivals for 2015 and 2016.
Whether virtual or in person, there is nothing more exciting than finding your tribe to keep you motivated, improve your skills, and grow your audience when you have a book to promote.
Join Story Building Blocks on Facebook and Pinterest for more tips and tricks.
By: Diana Hurwitz,
on 5/13/2016
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For the past few weeks, we have looked at how temperaments affect writing styles. Let's take a tongue-in-cheek look at critique groups.
I’ve had the pleasure, at least the adventure, of participating in several writing groups throughout my career. Not all are what they should be. Of the ones I’ve experienced, I divide them up into five categories:
1. The “I Want To Be A Writer” group. This group of people has often considered writing a book. They meet to talk about their dream of writing like Stephen King. They can be very lovely social gatherings amidst witty, wordy people, but you won’t learn much about craft and probably won’t actually complete anything. The feedback is usually nonexistent because there is really nothing to critique yet.
2. The “I Want To Be Praised” group. This group contains people who are actively trying to write their magnum opus. They come together to egg each other on to write like Stephen King. They are typically light in the craft department and very full of the cheerleader-ish “you-go-girl” moments. You will leave eager to sit down and write, but will have no insight into what you are aiming for. The feedback is usually lacking in solid craft advice.
3. The “I’m A Writer and You’re Not” group. This group contains someone or “ones” who is/are an officially published author(s) who want/s to teach others what they have learned about writing from Stephen King. These can be very uplifting or very damaging depending on the egos at stake. You might walk away with some sound advice or with your manuscript in shreds. It depends on the level of nature versus nurture. The feedback is usually lopsided.
4. The “We All Write and Don’t Need Advice” group. This is where everyone in the group is convinced that he or she is the best thing since Stephen King and does not need your feedback but enjoys “sharing”. This can be a fun group. Doesn’t do much to grow your craft, but it can be hilarious. The feedback can be useful but is typically completely ignored.
5. Finally we come to my personal favorite, and one I subscribe to, “The Master Class Group.” Everyone is there to learn and grow their fiction into the best thing since Stephen King. All of the members can write and critique like professional editors. You leave feeling good about your work and with your manuscript polished and spit-shined like a pair of expensive leather shoes. The feedback is equal and honest without being catty or cruel. Egos are checked at the door and everyone makes sure to offer their advice in a palatable way.
I am lucky to have a group that not only challenges my plot, my characters, and my prose, they also help me fix it!
Not everyone needs or wants the same kind of group. My needs changed with my experience. My advice is to avoid the ones that aren’t serving your needs and to seek out ones that do. And if you are very, very lucky, you find a Master Class.
If you are interested in serious conversations and information on craft, come and hang out with me at Story Building Blocks on Facebook.
Next week, we will take a serious look at how to find your "writing tribe."
By: Diana Hurwitz,
on 5/6/2016
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Most writers are introverts. That’s just the nature of the beast. Writers spend a lot of time alone and palely loitering over their pads of paper or keyboards.
Introversion is not shyness or social anxiety. Those are fear-based psychological conditions.
I suspect there are more introverted editors, because they are usually confined in a cubicle or freelancing at home. Editing is tedious, lonely work.
It’s easy to tell whos's who at writing conferences. Introverted Jane tends to hang with the people she knows. She scans the crowd looking for familiar faces, or brings her buddies with her. She meets internal resistance when asked to pitch or take the microphone. That doesn’t mean she isn’t interesting or a witty conversationalist.
Once the ice has been chipped, she is eager to talk about what she loves most: writing and reading. She isn’t there to compete. She is there to absorb. She is interested in what other people are writing. She enjoys the individual exercises and lectures but struggles to share in public.
She attends the workshops to hone her craft. She enjoys meeting other introverted writers. It’s the self-promotion and exposing herself to public scrutiny that gives her ulcers. Jane may shun the bar after dinner, unless her friends go with her. Even then, she is likely to seek a table in a back corner. Jane leaves the conference drained and in need of a vacation. If she received negative feedback or criticism, she will ruminate in private or sound off to her trusted circle.
Extroverted writers are in the minority, mainly because they are not natively drawn to long periods of pondering and working in solitude. They tend to be sports or comedy writers, but can show up in any genre.
Dick writes for the recognition or impact. He wants to be the next J. K. Rowling. There are extroverted agents and marketing professionals present too.
Even if the agents, presenters, and editors are introverted, they are forced to schmooze and perform in an extroverted way. Extroverts thrive on it and are easy to spot. The introverted ones can be painfully awkward to watch.
Dick loves the limelight. He flits from table to table, introducing himself to perfect strangers. He hogs the microphone and loves publicly reading his work. He likes watching the other conference attendees. He likes talking about them as well as to them. He is more interested in who you know than what kind of writing you do. He is there to network and promote himself.
Dick finds it hard to focus on the individual exercises. He is easily bored and can be highly competitive. He likes the voting, the rah-rah, and the woo-woo. He likes winning. Dick is concerned about his image. He wants to fit in. He eagerly pitches his ideas to other people. He may never write them.
He is found networking at the bar after dinner long after dinner. Dick leaves the conference humming with energy. If he received negative feedback or criticism, he leaves fuming and vents to everyone about it.
The Dicks at the conference struggle with all the Janes. Extroverts tend to think introverts are boring loners. He couldn’t be more wrong, but that is his general impression. He thinks they are an unfriendly bunch, especially if they don’t eagerly embrace his overtures. He flits until he finds the extrovert’s table.
The Janes at the conference are annoyed by the Dicks. They think the extrovert tables are too loud and rude. They may very well discourage Dick from landing at their table. They will cross the room to avoid his.
Every writer must shore up his weak side. Jane is forced by the very nature of a conference to step outside her comfort zone. She is put on public display and forced to interact with people outside her inner circle. She must sell herself as well as her work. It feels slightly dangerous, but she is in good company.
Dick finds the conference slightly confining. He may not find an audience for his bubbling repartee. He may feel silenced or marginalized for the first time in his career. It isn’t a comfortable sensation. He may be rebuffed, left to bounce around the room like a loosed helium balloon.
Each needs to take pity on the other. They should spend a little time getting to know one another. Opposites can help each other grow. Dick can help Jane learn to network and put her best foot forward. Jane can help Dick learn the pesky details of craft. Both have something worthwhile to offer and to say. Getting Dick to sit down and Jane to speak up is the challenge.
Next week, we will continue to explore writer temperaments.
For more tips on how to craft believable characters, pick up a copy of Story Building Blocks II: Crafting Believable Conflict available in paperback and E-book, and Story Building Blocks: Build A Cast Workbook, also available in paperback and E-book.
By: Diana Hurwitz,
on 4/29/2016
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In addition to a writer's preferred method of approaching the task of writing, there is a spectrum they fall on when it comes to the types of feedback they prefer.
Dick belongs to the Sensing tribe. He wants the facts and only the facts. He isn’t interested in Jane’s theories or flights of fancy. He keeps it real. He bases his opinions on what he thinks he knows to be true and dismisses anything that counters it. Critiquing Dick's work is challenging because he has already made up his mind about it. He listens (or pretends to listen) then says, “Yes, but.” At the extreme end, Dick can be so fixed in his position, he isn’t willing to change things that aren’t working.
Dick is good at pointing out factual inconsistencies in your plot. His critique is practical. He may get lost in correcting grammar and lose sight of the heart of the piece. He isn’t open to experimentation and thinks writers should stick to what has already been done, whether it is poetry or novels. Sometimes his advice is relevant. Sometimes his advice wastes your time.
Jane belongs to the Intuitive tribe. She doesn’t care how you come up with the idea. She is only interested in whether the idea is intriguing. She loves stepping outside the box. She loves experimental work. Her critiques focus on the possibilities. She makes suggestions that ask you to expand or deepen your idea. Sometimes they work. Sometimes they don’t.
Jane isn't attached to her own opinion, so she is willing to change anything. She struggles when she receives conflicting advice. Asking her to revise her work can send her into a terminal loop of self-doubt or cause her to stall. At the extreme end, she can get so lost in exploring possibilities she never finishes.
There are far more Dicks than Janes in the writing world. There is a 70/30 split in the general population. They face off in workshops, classrooms, and critique groups. Agents or editors paired with their opposites guarantees conflict, misunderstandings, and hurt feelings.
Dick thinks Jane is undisciplined, unorganized, and erratic. He dismisses her advice as unrealistic and impractical. He resents her creative suggestions for how he could fix his plot. Sometimes Jane has a point. He should open his mind a little and consider the merit of the advice before dismissing it. Jane can offer a global perspective when Dick gets too lost in the details. She can help him avoid major plausibility plot holes. She can explain the emotional context.
Jane thinks Dick is plodding, boring, and too rigid. She dismisses his advice as short-sighted and simplistic. She should listen occasionally because Dick can help her fix speed bumps and cause and effect plot holes. His nitpicking can force her to make her work tighter when she has strayed too far from the point or added too much filler.
These opposites can help each other shore up their weak side. They may wish to strangle each other at times, but by working together they encourage each other be the best they can be.
Next week, we will continue to explore writer temperaments.
For more tips on how to craft believable characters, pick up a copy of Story Building Blocks II: Crafting Believable Conflict available in paperback and E-book, and Story Building Blocks: Build A Cast Workbook, also available in paperback and E-book.
By: Diana Hurwitz,
on 4/22/2016
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Every writer is as individual as a snowflake. Having said that, temperament plays a big part in the method to their madness. We will examine how writers can represent the extreme examples of their temperament. A writer's temperament can be a strength or a weakness. The more evenly balanced they are on the spectrum, the easier it is for them to be successful.
Both types can learn a lot from each other. So when choosing your writing tribe or attending classes or conferences, don't automatically dismiss someone completely different from you.
Jane is free form. Free form writers are affiliated with the Feeling tribe. She writes with an ear to the emotional content of the piece. Whether it is a poem or a novel, Jane goes for pleasing words and meandering flow. She sits down and lets whatever is in her heart pour onto the page. She doesn’t need to know where she is headed. In fact, she’d rather not know. She wants to explore and release the pent up longing in her soul. At worst, she can meander a really long time and go completely off track. At best, her approach results in something uniquely beautiful. She feels bludgeoned if her work is rejected because it is a piece of her heart.
Jane balks when asked to outline or learn structure, be it poetry or novel writing. She prefers free verse to sonnets. That doesn’t mean she can’t be taught how to construct a sonnet, or any of the other delicious sounding names for poem structure. It means her native preference is stream of consciousness. Oftentimes, when it comes to taming that stream or being asked to define it, she gets blocked or quits. She resists the idea of genre and category, though she wishes for the reader to be pleased by her words.
Jane grows as a writer by learning about story architecture. She may never sit down and come up with an outline. However, when she understands the crucial underpinnings of story, she is better able to channel it with her free-flowing approach. She can then bend and twist the structure in creative ways. Free form writers who refuse to embrace the concept of structure often struggle with the publishing game when it comes to story outlines, synopses, and marketing. At the extreme end, Jane may sit at her desk and scribble endlessly but no one ever sees her work. She may enjoy the process more than the outcome.
Dick is structured. Structured writers tend to belong to the Logical family. He likes knowing the plan before he begins. He is less anxious when he knows where the road ends and thinks through all the twists and turns along the way. He likes to consider all the contingencies. Dick can get so lost in the set up, he grows bored and never finishes the book.
Dick enthusiastically embraces structure. He likes having a road map to success. His work may be technically brilliant, but not entirely satisfying. It may lack depth. He is interested in writing well, not necessarily the emotional response of the reader. He struggles with impromptu writing prompts and thinks free verse is a bit suspect.
Dick balks when asked to reconsider a piece. It’s already done. He hit all the marks. What the heck is the agent’s or editor’s problem? They’re just too stupid to get it. Dick is good at handing in a logline, synopsis, and chapter outline. He falls apart when asked to change things. The idea of going back to the drawing board to start over gives him a migraine. He is irritated by the slow pace of the publishing process. He frets and waits anxiously by his in-box for news, especially when the process hit snags and delays.
There are slightly more Janes than Dicks in the writing world. They often bump heads in critique groups, workshops, and classrooms. Jane thinks Dick is too clinical, formal, and wastes too much time thinking and planning before writing. She is put off by his tactical approach. If Dick is her agent, she is frustrated by his demands to firm up her story structure and come up with a logline. Her feelings are hurt when she is asked to cut her darling bugaboos.
Dick thinks Jane is too wishy-washy, undisciplined, and stubbornly shortsighted when it comes to what the industry demands. He appreciates that her heart and soul went into the project, but that doesn’t move units. If Dick is her agent, he may find her work too artsy-fartsy for his taste. When he reads her work and gets to the end, he may state, “But what is the point? I don’t get it. There are lots of pages, but it doesn’t go anywhere.”
Both must push past his or her native inclination to grow and thrive in the business. If they understand their different approaches and are open to the critique, they can balance and aid each other,. Dick can help Jane see where her structure is weak. Jane can help Dick see where his work is soulless.
Next week, we will continue to explore the writer's temperaments.
For more tips on how to craft believable characters, pick up a copy of Story Building Blocks II: Crafting Believable Conflict available in paperback and E-book, and Story Building Blocks: Build A Cast Workbook, also available in paperback and E-book.
By: Diana Hurwitz,
on 4/14/2016
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Now that we have spent time honing our observation skills, let's take them for a test drive.
The following exercise is courtesy of best-selling writer Julie Hyzy, author of the highly enjoyable White House Chef Mysteries and the Manor House Mysteries available on Amazon.
At a workshop she gave at the annual Midwest Writer’s Workshop in Muncie, Indiana, we were asked to come up with five paragraphs composed of five sentences. Each paragraph should feature one sense: sight, sound, smell, taste, and touch.
In the workshop, I was riffing on an idea I had for a story about a couple, Ana and Rudi, who have been drifting apart when they go on a bus tour and end up solving a mystery.
1. Sight
We followed the ratty fleur de lis runner to room 113.
Rudi’s shoulders brushed the Hessian wallcovering.
The door fell open willingly.
Two twin-sized beds huddled together, close but not touching.
A small television was mounted to the wall, the only nod to modernity.
2. Sound
The lock squealed in protest but obeyed.
Birds ceased their chatter on the window sill, startled but not frightened.
Water drip-dropped from the tap in the bathroom.
Tired rumbled over the cobbled street below.
The ocean shushed them all.
3. Smell
The must and mold tickled my nose.
The armoire held the perfume of centuries: old roses and peat fires.
Rudi stripped and stepped into the shower, filling the room with herbal steam.
I sat on sheets smelling of bleach and waited my turn.
My clothes reeked of anxiety and sweat.
4. Taste
I filled a glass with water, wincing at the metallic tang.
I popped a stale Tic-tac.
It didn’t complete erase the acrid taste that comes from viewing a decomp.
I rooted through my sack for the peppermint mouthwash and swished.
Not enough. I searched for the squished remnants of a Reese’s cup and the comfort of chocolate and peanut butter.
5. Touch
The mattress was thinner and harder than a gym mat.
The comforter was a wisp and the pillows a mere suggestion.
The sheets were rough against my legs.
I fumbled for the remote, sticky from strangers’ hands.
I pushed the rubbery on button and waited. No service.
Then you choose what you consider the best of the five and combine them:
"We followed the ratty fleur de lis runner to room 113. The lock squealed in protest but obeyed. The armoire held the perfume of centuries: old roses and peat fires. I filled a glass with water, wincing at the metallic tang. I fumbled for the remote, sticky from strangers’ hands."
You can see the value of not always choosing the first detail that pops into your head. You can expand, tweak, and tighten it for your manuscript.
This exercise really helped me because I write a bare bone draft (dialogue and choreography) first, then feather in details, like adding a color wash to a pencil sketch. I sometimes struggle with what details to put in and which to leave out.
I hope this exercise helps you too.
For more information on scene writing visit http://www.dianahurwitz.com for free downloads and pick up a copy of Story Building Blocks: The Four Layers of Conflict available in e-book and print.
By: Diana Hurwitz,
on 4/8/2016
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Scene Writing Tips
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So far we have investigated a car, a house, and a coffee shop.
For our final exercise, we are going to walk or drive around a neighborhood (yours or someone else’s) and take notes. Look outside your window if you are feeling particularly lazy.
1) Who comes and goes?
2) What type of cars pass? How frequently?
3) How upscale or derelict is the neighborhood?
4) Do you see police cars on patrol or parked?
5) What do the houses say about the people who live there?
6) Which yards are well groomed, which ignored?
7) What do the mailboxes, paint choices, yard ornaments, and foliage say about the occupants?
8) How does a particular house make you feel: irritated, enchanted, worried?
9) What can you tell from the outside about the occupants?
10) Are there toys on the lawn or seasonal decorations? Are they elaborate or laughable?
11) Are the newspapers piled up?
12) Can you tell whether someone is home or not?
13) Do they have uncovered windows that allow you to see inside? During the day? During the night?
14) Do they have fences or pets?
15) Do they have sliding glass doors?
16) Does anyone sit on their front porch, back deck, or in lawn chairs in their garage?
17) Is there a lot of traffic or a little?
18) Are children playing outside or are children’s toys outside?
19) Is the neighborhood welcoming or spooky?
20) How easy is it to attract attention when walking through the neighborhood?
21) Do people look out and see you? Do they wave hello? Do they stay locked inside?
22) Is it one of those places where everyone is gone during the day? Does the dynamic change after 6?
23) Is it one of those places where everyone leaves after 6p.m.?
24) Is it close to a park, forest, or other greenspace?
25) Are there signs of wildlife?
Hopefully, these exercises have helped you look at your surroundings in a new way and you can better assist your characters with their detection.
Even if you don’t write mysteries, these exercises are a good way to hone your observational skills because every character lives, works, and plays somewhere!
For more information on scene writing visit http://www.dianahurwitz.com for free downloads and pick up a copy of Story Building Blocks: The Four Layers of Conflict available in e-book and print.
By: Diana Hurwitz,
on 3/31/2016
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We have snooped in a car and in a house. Today we will venture out into a public space.
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Scene Writing Tips
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Exercise 3: Go to a mall, restaurant, or coffee house. Watch the people around you. Take notes.
1) What they are wearing?
2) What do their mannerisms, posture, clothes, and accessories and accessories tell you about them?
3) Note down their identifying features: height, hair color, approximate age, etc. What do these details tell you about them?
4) Are they with someone? If so, who?
5) Are they having a conversation with someone or on their phone? Listen in. Take notes.
6) Pay attention to the rise and fall of their voices, accent, inflections, tone. Are they speaking casually, angry, or animated?
7) Look at occupants of the other tables. What does the body language tell you about their relationship? Are they drawn toward one another or positioned as far away as they can get?
Do they choose seats next to one another or across the table?
8) Do they appear happy to be there or upset?
9) Are they working, reading, writing, on a laptop or notebook?
10) What can you see from the angle of your position?
11) If in a cafe or restaurant, take note of the servers. What do they look like?
12) Do they appear relaxed, frazzled, friendly, or angry?
13) Where are the exits? How hard is it to get in and out?
14) Are there windows in the bathroom?
15) Is it busy or slow?
16) Is it tucked away in a remote corner or located in a busy strip mall or along a main street?
17) Would it be a good place for a secret rendezvous or the worst possible place to meet someone?
18) How hard is it to reach in terms of traffic and parking?
19) How easily could a person blend in?
20) Where are good places to hide to observe the room?
Next week, we will conclude our lessons in detection.
For more information on scene writing visit http://www.dianahurwitz.com for free downloads and pick up a copy of Story Building Blocks: The Four Layers of Conflict available in e-book and print.
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| Scene Writing Tips |
Last week, we observed someone’s vehicle. This week, we’ll scope out a house.
Exercise 2: Visit a friend or relative’s house (with their permission) or go through your own house. (It’s hard to be objective about your own house!)
Pick a room or several rooms.
1) Note what you see, smell, and hear.
2) What do the contents tell you about the owner: habits, likes, dislikes, and demographics?
3) What do you find in the cabinets, the drawers, on the tables, on the floor?
4) What is tucked away in closets or boxes or hidden from common view?
5) What do the items in the room tell you about the way that room is used and who uses it?
6) If they wanted to hide something, where are the best places to do so?
7) What are they trying to disguise or hide?
8) What are they proud of?
9) What do the items prominently displayed tell you about them?
10) How easy is it to get in and out? What are the points of egress: doors, windows, connecting rooms?
11) Do they have security systems or deadlocks? Do they lock their doors?
12) How is the room decorated? What does the decor say about the current owner or prior owners?
13) What items would a thief walk away with?
14) How hard would it be for someone to go in and out without being heard or seen?
15) Pay attention to line of sight. Stand in the middle of the room. How much of the house can you see?
Whether you examine your own room or someone else’s, learn to think like detective when you walk around. Too often we ignore what is right in front of our noses.
Next week, we’ll continue to hone our detecting skills.
For more information on scene writing visit http://www.dianahurwitz.com for free downloads and pick up a copy of Story Building Blocks: The Four Layers of Conflict available in e-book and print.
By: Diana Hurwitz,
on 3/18/2016
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| Scene Writing Tips |
Tweet this: Whatever genre you write, improving your powers of observation enables you to place yourself in the scene and write it from your character’s point of view.
Over the next few weeks, we will explore ways to hone your powers of observation.
Exercise 1: Sweet talk or bribe a friend or relative into letting you go through their car. Don't tear anything apart! (You can go through your own car, but it's harder to be objective.) Take notes. Take pictures if you like.
1) What do you see and smell?
2) What do you find under the seats, in the cushions, in the glove compartment, the little nooks and crannies?
3) What do the contents and state of the car tell you about the person who owns it?
4) What does the condition of the exterior tell you about the car's history?
5) What do the seat settings tell you about the driver?
6) What kind of passengers ride in it?
7) What does it tell you about the owner’s demographic or lifestyle?
8) What kind of license plate does it have?
9) Does it have city stickers or parking passes?
10) Does it have bumper stickers? What do they say about the owner? A lack of personal statements make a difference too!
Stretch your observation muscles wherever you go. You’ll be amazed at what you begin to notice.
Your stories and characters will be the richer for it.
Tune in next week for another lesson in detection. For more information on scene writing visit http://www.dianahurwitz.com for free downloads and pick up a copy of Story Building Blocks: The Four Layers of Conflict available in e-book and print.
By: Diana Hurwitz,
on 3/10/2016
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| WHO'S THE BOSS? |
I have to thank a friend for inspiring this one, though I’ll withhold names to protect the innocent. My friend, let’s call her Jane, works in an office where the boss’s wife comes in periodically to make sure things are done her way. She isn’t actually an employee, nor is she an expert in the business he conducts. She just likes to meddle and throw her weight around to feel powerful.
Tweet: Family run businesses can be an entirely different breed of viper’s nest. #storybuildingblocks #writingtips
Unlike the cogs in the corporate hierarchy that are easily removed and replaced, the family run business is full of emotional landmines.
If Dick’s father is the nominal head of the business, theoretically he should be in charge. But what if he isn’t?
What if Dick’s Mom wears the corporate pantsuit even though she doesn’t actually work there? It will cause aggravation if not outright abuse for all who work for them. It is a very uncomfortable work environment. The rules can be disregarded at whim and the hierarchy ignored when the untitled boss gets involved. The changes she makes are implemented without warning or consideration for those who actually have to show up and do the job every day. They are enforced even though they create headaches for those who have to perform the tasks.
Jane will go to the office every day primed with anxiety. When will the saboteur show up next and what impossible demands will she make? Because the reward system is illogically skewed, Jane won’t be certain that her hard work and dedication will be appreciated, so how hard should she try? Should she stay or go? Depends on her situation and how good the pay and benefits are. How much is Jane willing to sacrifice for material reward when every day feels like a swim in a shark tank? How much abuse is she willing to endure before she quits or pulls out a revolver?
How does the uncertainty affect the son Dick? How frustrated will he grow with his spineless father when he witnesses his mother’s torture of the employees? How firm can he get with his impossible mother? Will Dick grow and learn to stand up for himself against the female bully or will he repeat the enabling pattern?
What if Dick’s sister Sally also works at the firm? They have grown up being pitted against one another. Who is the favorite child for which parent? The dynamics shift depending on the answer. If Dick is Dad’s favorite and Sally is Mom’s favorite, then Dick has a real problem. His succession as head of the business isn’t assured. Mom may choose Sally to take over. If Sally is Dad’s favorite and Dick is Mom’s favorite, then Sally has a problem. She can have Dad wrapped tightly around her little finger, but if Mom wields the power and isn’t too fond of her simpering daughter, Sally is in a no-win situation. If the parents continually play out their antagonism toward one another through their son and daughter the waters get hurricane choppy. If Mom dies, then Dad is free from her oppression and the work environment can become an entirely different place. If Dad dies, and Mom takes over or the business is turned over to Sally instead of Dick, the situation can disintegrate further. If the siblings enter a turf war over it, the conflict heats to a boil.
How many employees will abandon ship? How many will stay? How can the company survive if the internal structure is unstable?
The addition of sibling and parent dynamics to any story situation raises the stakes and changes the playing field significantly.
The conflict could be a mild distraction while Dick is trying to save the planet or find the kidnapped girl.
The conflict could be the core of a literary tale of deadly dysfunction.
The conflict could be the source of an intense thriller or suspense.
The parent/child scenario could be a factor in a YA novel. The parents could be running a gas station, a major corporation, a village, a country, or a wolf pack.
In your story, who is the boss? Who are the powers that be? Who makes the ultimate decisions? The more dysfunctional the situation, the higher the story stakes.
For more on crafting conflict to create tension, pick up a copy of Story Building Blocks II: Crafting Believable Conflict available in paperback and E-book.
Tweet: In your story, it is highly suggested that your main character undergo some form of change by the end. #storybuildingblocks #writingtips
The change can be life-altering or subtle. It can be a change for the better or worse.
It is open for debate if antagonists or secondary characters undergo change of their own.
If one person shifts, it creates ripples in the people around them.
Dick is going along, minding his own business, when - Wham - life throws him a curve ball (i.e. the inciting incident) and his life will never be the same.
Along the way, as he battles obstacles to achieve the overall story goal, he undergoes some form of change: from arrogant to humble, naive to wise, weak to strong, cowardly to brave, misunderstood to understood, adolescent to adult.
These changes result in an up ending if they are positive.
If Dick changes for the worse, you have a down ending.
What makes Dick willing to change?
Depends on the story stakes, the types of obstacles he will face, and the genre you are writing in. The change may be subtle in a Literary tale and overt in a Fantasy tale.
Some endings are a little bit of both.
Dick can be compelled by an authority figure or social group to change, but he himself was not really motivated to change. For instance, he may be court ordered to do community service that opens his eyes to the plight of the underprivileged. He might be ordered by a commanding officer or boss to do something that transgresses his value system and he fights against the order, but eventually gives in because he isn’t willing to endure the price of the alternative. This results in an up-down ending.
Dick might change to escape criticism or banishment from people he cares about, a group he belongs to, or a corporation he has built. At his core, he may never agree to what is being asked of him, but he does it because he must to maintain the status quo or obtain the story goal, which also delivers an up-down ending. If he is being forced to do something healthy, this is an up ending. If he accepts things that are unhealthy, it is a down ending.
Jane may enter the story knowing that she needs to make a change: she needs to leave her unsatisfying job, leave her empty marriage, or stop selling narcotics because she has seen the needle and the damage done. The overall story problem makes the situation worse so that Jane has no choice but to change. This results in an up ending. If Jane knows that she has to make a change that is detrimental to her psyche, it results in a down ending.
Sally may change because she can no longer tolerate the situation she is in, the feelings she is carrying around, or the pain of the status quo. She must change because she simply cannot bear the alternative any more. She was near the breaking point and the inciting incident makes the choice unavoidable. This usually results in an up ending, unless the change she was contemplating was a bad one.
Just as the overall story arc has its ups and downs, so do scenes. A scene can have an up or down ending.
These undulations make the story ride enjoyable. They keep the reader wanting to know how it will all end. Characters that are static throughout a story are boring and hard to root for.
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| SBB Revision Tips |
For more tips on how to craft believable characters, pick up a copy of Story Building Blocks II: Crafting Believable Conflict available in paperback and E-book, and Story Building Blocks: Build A Cast Workbook, also available in paperback and E-book.
By: Diana Hurwitz,
on 2/27/2016
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| Casting Characters |
This week, we complete our exploration of the character mannequins presented in Story Building Blocks II and Build A Cast Workbook. Remember, each mannequin has a male, female, transgender, or androgynous counterpart.13. Cam
Cam wants to be admired for his intelligence and competence. His partner usually admires that about him, until he forgets he has a partner. Anyone who tried to control or demean him would be shown the door immediately. Cam isn’t looking for a permanent relationship, but honors his commitment once he is in one.
Cam is more focused on his inner world than the external one. He comes across as aloof. He is emotionally intense but guarded. His partner is shocked by how deeply he experiences emotion. His quiet confidence and reliability are appealing. He possesses keen insight into what makes people tick. He applies that information to his relationships. He thinks more than acts. He has a hard time reconciling the way things should be with the way they are. His distraction sometimes limits his awareness of his partner’s feelings, particularly if she doesn’t express them. He becomes overly structured or paralyzed when anxious. He may get so involved in his projects that he forgets his partner for a while. He avoids interpersonal conflict but loves to debate.
Cam does not need companionship enough to put up with abusive or unsatisfying relationships. He finds it easy to cut his losses and move on, having learned a valuable lesson.
He may not express his distress. He represses negative emotions until they reach a breaking point. He enjoys thinking about intimacy and ways to make it better. He is creative and intense. In a negative relationship, he thinks about sex more often than having it. He tends to show how he feels rather than talk about it. He offers loving affirmations and gifts if his partner desires them.
14. Morgan
Morgan wants to be admired for his intelligence and competence. That usually happens, at least until his behavior makes those traits questionable. He considers a relationship a low priority. He prefers variety to permanence. Only external compression forces him into a long-term commitment. His relationships are tenuous.
Morgan is easily bored. He needs a partner that constantly engages and challenges him. He might experiment with BDSM as long as he finds it fun. He treats his relationship like any other experiment by asking what works and what could be improved. His partner might not appreciate being “managed” in that way. He eagerly adopts new activities and plans, but drops them as quickly. He means well, but his love of debate grows tiring. He carelessly throws out comments about what he might do. His partner might take him seriously. His risk-taking could create trouble for both of them. While invested, he is attentive, eager to explore, and enthusiastic. He neglects the relationship when a project takes over, whether it is an assignment at work or his decision to renovate the house. He isn’t in touch with his feelings and may be oblivious to his partner’s. If his partner states a need, he creatively attempts to fill it. He is prone to forgetting.
Morgan walks away if bored or restricted. His partner grows tired of his need to play devil’s advocate instead of just focusing on what needs to be done. He is spontaneous and resists routine. He is open to trying new things. Sex is a physical release not an emotional bonding experience. He offers a grand gesture, but can’t keep it up long term.
15. Lee
Lee wants recognition for her competence. She usually earns it. Things are fine until she steamrolls once too often.
Lee considers a relationship a low priority. She takes a commitment seriously once she has made it but often loses touch with her partner. Lee is dominating by nature. She would never consider being submissive.
Lee is emotionally aloof. She takes the lead and feels responsible for making things work. She has a lot to offer. She is dedicated, dependable, and hardworking. She holds herself accountable. She is creative and pushes her partner to explore his own dreams. If she decides something isn’t working, she unilaterally changes the terms of the relationship. It puzzles and alarms her partner. She is steady financially and values a nice home and creature comforts. She may never be home long enough to enjoy them. If her partner tells her flat out that she isn’t meeting expectations, she may try. Operating against her nature would not be easy. If there is conflict, she views it as a chance to learn and improve. She is confrontational by nature. If paired with a partner that avoids conflict and sees criticism as a personal assault, the relationship won’t survive. She may learn to temper her approach with her partner in the interest of making it work. She finds it hard to share power. A relationship would have to be based on mutual respect. She has to view her partner as competent. She expects him to be independent and to develop his own interests.
If she finds a relationship unsatisfying or her partner boring, she ends it and abruptly moves on literally or emotionally. She could become an abusive bully to a weaker partner. She doesn’t admire weak people enough to partner with them long term. She is creative and adventurous. She expects sex on a regular basis. She is self-confident. She has little patience with someone who is emotionally needy. She shows her love through her actions. Loving affirmations don’t mean anything to her. She isn’t interested in giving or receiving compliments or flattery. If partnered with a feeling type, it won’t go well.
16. River
River wants to be admired for her wisdom and desire for harmony. She usually is admired, unless her desire to be worshipped becomes obsessive. She would find BDSM sordid and ugly. She seeks a permanent and perfect communion of souls. Her intensity drives some types away. She goes from relationship to relationship in search of the ideal. She is vaguely dissatisfied with every partner.
River feels intensely. She needs constant feedback and affirmation. She wants a perfect relationship and her excessive probing to find out what is wrong is wearying. She works hard to keep the relationship alive. She bonds permanently and deeply. She is good with loving affirmations. She is generous. She is drawn to deep and complex partners. She comes up with creative solutions to conflict and is highly aware of her partner’s emotional state. She is protective and withdraws when she meets resistance. Her overly emotional approach irritates a thinking partner.
She becomes highly critical of her partner if he acts out or can’t be trusted. She blames him when things aren’t working. She represses her emotions and becomes vicious when she bursts. She stays in a relationship until she is sure it can’t be repaired. She moves on easily when it is truly over.
River views sex as a spiritual communion. She is in search of a soul mate. She selflessly gives to her partner. She is tactile and sensual. She struggles to state her case in person and may resort to an emotional letter.
I hope you’ve enjoyed our exploration of the mannequins as lovers.
For more about how to craft characters, pick up a copy of Story Building Blocks II: Crafting Believable Conflict, available in paperback and E-book and Story Building Blocks: Build A Cast Workbook, available in paperback and E-book.
By: Diana Hurwitz,
on 2/18/2016
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| Casting Characters |
If you missed them, last week and the week before, we began exploring the "love" styles of the sixteen temperaments.
This week, we continue our exploration of the character mannequins presented in Story Building Blocks II and Build A Cast Workbook. Remember, each mannequin has a male, female,transgender, or androgynous counterpart.
9. Joss
Joss wants recognition for his intelligence and skill. He usually gets it, in the short-term. His derring-do draws them in, but eventually drives them off. He might enjoy experimentation. He places a permanent relationship at the bottom of his list. He struggles with routine and commitment. He thrives on new experiences and new partners.
Joss is exciting and intense for short bursts. He is the ultimate hard-to-get partner. He is the man or woman of action and few words. He resists routine and strict schedules. He hates being controlled by other people, particularly his partner. He spends a lot of time exploring his interests without his partner.
He is happy to provide basic needs and the kind of dating behavior that keeps a relationship humming along. He isn’t free with his opinion, but open to someone else’s. He is in information gathering mode and may evade answering questions by asking more questions. This frustrates his partner when she needs a direct answer. He doesn’t feel he owes anyone an explanation and never asks for permission.
He is protective of his emotions and avoids deeper feelings. His level of intensity can vary from day to day and that can leave his partner feeling unbalanced. He has problems with the traditional expectations of behavior.
All is fine until Joss becomes bored or the other person becomes too demanding or clingy. He moves on and won’t stay to fix it. He remains in a life-long relationship by taking it one day at a time. His partner is never entirely certain he’ll stay. His air of aloofness may draw his partner in, but could drive her away.
Joss views sex as recreation. He is sensual and enjoys experimentation. He is spontaneous, creative, and enthusiastic for as long as it lasts. He sets the mood and makes it fun. He loses interest if it becomes routine. He breaks up and makes up for the novelty it provides.
10. Kelly
Kelly wants to be admired for being the life of the party. He usually is — at first. He might participate in anything once. He isn’t looking for a permanent relationship. He has trouble honoring a commitment once he makes it. His relationship is on the bottom of his priority pile.
Kelly is enthusiastic. Life with him would be quite a ride, full of ups and downs, and lots of spinning. He is extremely charming and superficial. He offers his partner the world and she attributes him with a big heart. He loves life. He makes those in his orbit love life too. The problems start when his partner realizes he can’t make a plan and stick with it.
Kelly has a problem with commitment and behaves in ways that are detrimental to the relationship. He is shocked when his partner objects. As soon as he is restricted or bored, he finds someone else to play with. Kelly considers sex as a physical carnival ride. He makes things exciting. He is a sensual lover. He goes for the big moments, once in a while. He is oblivious to the emotional content. If his partner needs emotional closeness to feel loved, she probably won’t get it. She may tell him and he may try, but he can’t sustain it. He isn’t good with positive affirmations. He won’t grasp the neediness of a feeling partner. He is master of the grand gesture, but grand gestures aren’t always enough.
11. Greer
Greer wants recognition for his competence. Since he is usually competent, he receives it. When he forgets to take care of things around the house, his competence might be questioned. He isn’t looking for a permanent love connection. He honors a commitment once made, but may not remain emotionally present.
Greer takes his relationship seriously and analyzes it much like he analyzes everything. He is low-demand and easy to get along with. His problems stem from the lack of emotional engagement and low need for social interaction. He would not be natively drawn to BDSM. He isn’t big on traditional trappings. He can’t relate to high-needs people. He is straightforward and honest. He won’t play games or manipulate his partner. It is hard for him to open his heart and he retracts at the first sign of danger. He feels passionately, he just can’t verbalize it. Of all the types, he is the hardest to have a relationship with. It’s a good thing he is a rare bird.
He usually runs at the first sign of messy complications. He avoids conflict and deals with it in an analytical way, ignoring the emotional component. He defends his commitment by saying, “Of course I love you. I’m here aren’t I?” If his partner reads him as distant and disengaged, she might move on.
Greer is imaginative and loving, but not overly demanding. He is quick to sublimate his needs or loses track of them when focused at work or on his hobbies. His intense passion may not be apparent to his partner. He isn’t in tune with his partner’s emotional life. He misses the hints and emotional cues she exhibits. His displays of affection may be out of sync with his partner’s desire for them. He isn’t good with the positive affirmations and praise some types need.
12. Taylor
Taylor wants to be appreciated for her goodness and service. She usually is, unless her efforts become toxic. She might go along with BDSM for a while. Taylor consider a permanent relationship a high priority. She is warm and committed. She wants her partner to be happy, so she sacrifices her wants and needs to make sure he is. She blames herself when things go wrong and criticism chips away at her self-esteem. If the relationship fails, she walks away thinking she was defective. She bounces back and tries again. She works hard to keep a relationship together. She is sensitive to her partner's emotional needs. She is very social and works to make her home a great place to entertain.
Taylor won’t walk away unless a serious core violation occurs. She could walk away over it, but tends to stick with unhealthy relationships where she does all the giving. She hates conflict and ignores her partner’s slings and arrows to avoid it. She gives in rather than extend the fight. Ignoring problems turns them in to bigger problems that eventually become explosive.
Taylor is enthusiastic and creative. She is warm and fun. She sees sex as a direct expression of her love. She works hard to make her partner happy and doing so makes her happy. She pencils it in as often as she needs to. She won’t express her own needs. She needs loving affirmations, but won’t ask for them. She is hurt when the sweet words aren’t forthcoming.
Next week, we will meet the final four.
For more about how to craft characters, pick up a copy of Story Building Blocks II: Crafting Believable Conflict, available in paperback and E-book and Story Building Blocks: Build A Cast Workbook, available in paperback and E-book.
By: Diana Hurwitz,
on 2/12/2016
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| Casting Characters |
Last week, we began our exploration of the character mannequins presented in Story Building Blocks II and Build A Cast Workbook. Remember, each mannequin has a male/female/adrogynous counterpart. This week, we explore four more.
5. Blair
Blair’s currency is affection and admiration. If she isn’t praised for being wonderful, she deflates. She would be deeply wounded if anyone demeaned her. At the first sign of disapproval in any form, she’s gone in a flash of lightening. Blair places her relationship on top of the list. She wants a long-term commitment. She struggles to choose, but sticks with her choice forever if possible.
Blair loves deeply but is slow to warm up. Her partner may not understand just how much she cares. Few people know her extremely well. She is secretly intense while appearing outwardly light-hearted. She is vulnerable and easily hurt, though she won’t tell her partner. She expects him to “see” he has hurt her. She is disappointed when he doesn’t. When hurt, she withdraws. She hates conflict and goes to great lengths to avoid it. She is an easy going partner. She doesn’t ask for, or expect, a lot. She is traditional and organized and takes care of what needs to be done. She wants to be adored for it.
Blair feels attacked when an argument gets heated. She releases all the negative impressions and feelings she has repressed. She isn’t likely to leave, even if her partner is dissatisfied. She stays and works it out if at all possible. If she found herself with a partner who revealed his secret life, she’d try to deal with it, but eventually the negativity would chase her off.
Blair is serious about sex. It is a sacred act that should be given the time and attention it deserves. She is sensual and enjoys the physical expression of love. She shows her love through this communion. She needs positive affirmations to feel good about herself but doesn’t offer them. The SMBD subculture is the opposite of her core need.
6. Dallas
Dallas wants to be adored for being Dallas. She wants her partner to appreciate her sense of fun and adventure. Everything is fun until the party is over. She likes exploring all the options. Once she commits, she intends to stay. She might not if the situation grows tense. She always wonders if there are better bachelors behind other doors. Dallas might take up SMBD as a sport as long as it doesn’t get too heavy or intense. The minute things turn dark, she’s off to chase the sunshine.
Dallas is passionate and fun-loving. She cares about her partner’s happiness. She is flexible and open to suggestion. She takes her partner’s emotional temperature frequently, which irks some mannequins. The problems set in when she encounters conflict and confrontation. She takes criticism, even objective statements, as a personal attack. Her partner would have to be very, very careful of what he said. Conflict stresses her. She represses her initial response for the sake of smoothing things over, but continues to fester. She gives in to avoid a protracted disagreement. She ignores a problem until she can’t. This just delays the inevitable.
Dallas is loyal and views it as her responsibility to fix things that aren’t working. She isn’t one to give up easily. If things get too intense, restrictive, or boring, she moves on. She finds it hard to do so and blames herself for the failure.
Dallas is playful and creative. She has a rich fantasy world which she applies to sex. She sees sex as a natural expression of her love. She needs positive affirmations. She may fish for reassurance and compliments. If she doesn’t get them, she lavishes them on her partner in the hopes of sparking them.
7. Hadley
Hadley wants to be adored for breathing. Since she is adorable, her partner usually complies. If the adoration fades, trouble sets in. She would be deeply offended if anyone criticized her, much less spanked her. The relationship would die off instantly.
Hadley isn’t overly interested in being tied down (or tied up). She places a relationship on the back burner. She struggles with long-term commitment and likes to explore all the bachelors. Hadley loves to be in love and struggles when the initial adrenaline rush tapers. She may overcome her desire to flit and settle down, as long as the relationship isn’t too restrictive or her partner too critical.
Hadley loves to date and encourages her partner to enjoy life as much as she does. She is weak at planning and follow-through. She takes every day as it comes and wants to grab the gusto. If that means changing plans, she changes plans. She doesn’t ask for much. She wants to be happy and wants her partner to be happy. She schedules a busy social life. She changes things to keep them from becoming dull, whether it’s rearranging the furniture or their lives. She hates to miss out on anything she considers fun. She doesn’t like vague promises or “we’ll see” as an answer. If you stated it, you promised. She is bored by analyzing the past and worrying about the future. Tomorrow will take care of itself. She ends a necessary conversation. She would not deal well with someone who likes to debate for fun.
Hadley isn’t good with conflict and lashes out angrily in the moment with words she can’t take back. She retreats when criticized or restricted. A controlling partner sends Hadley off to find someone more fun to play with.
Hadley energetically embraces romantic love. She seeks out and enjoys intimate contact. She is tactile and sensual. She is generous, warm, and highly motivated to make her partner happy. She is lavish with loving affirmations. She isn’t big on gifts, but can provide them when requested. She might go along with her partner's suggestions as long as they remain playful. The moment the tone shifts, she’s gone.
8. Shelby
Shelby wants to be honored and respected. As long as her partner makes her feel respected, things are fine.
She is loyal and committed. If she isn’t in a permanent relationship, she continually searches for one. Once committed, she places her relationship at the top of her list. On a subconscious level, she feels vaguely dissatisfied with all of her relationships because they are never truly “ideal.”
Shelby seeks a harmonious, loving relationship and works hard to make it a success. She may need reminders to do the bill-paying and housekeeping. She often pushes routine tasks to the bottom of the priority pile. That annoys a partner who expects her to be on top of things. Once committed, she may romanticize a bad relationship in her own mind as a form of protection.
She may attribute virtues to her partner that he lacks and place him on a pedestal. She struggles to reconcile the idealistic romance novel relationship with the demands of a real one. She overlooks imperfections for the sake of connection. She avoids conflict and confrontation. So if her partner decided he wanted to play a few games, she’d be offended.
If she ends up with a partner that is all action, no talk, she grows resentful. She values personal space and the freedom to do her own thing. If her partner respects and supports her, she thrives. She is not the possessive or jealous type. She understands her partner’s need to indulge in his own pursuits. She respects his privacy and independence. She rejects hints that something is going on and firmly defends her partner while secretly worrying that she has done something wrong to drive him away. She might not join in, but could turn a blind eye to her partner's afterhours hobby.
Shelby resents a controlling spouse, so the minute a partner tried to dominate her, she’d start figuring out a way to escape. Her need to avoid conflict and criticism is a problem. No matter how a comment is presented, she takes it personally. She responds with irrational emotion. Her distress, and immediate assumption that she is somehow at fault, make her lash out. She manipulates her partner through guilt to obtain the positive feedback she craves. It is a very unhealthy dynamic. She would not leave easily, but will if things become unsatisfactory enough.
Shelby is slow in letting someone close. Once trust has been established, she embraces the opportunity to express her intense love and affection. She is affirming and affectionate. She values the romantic aspect over the physical aspect. She places her partner’s pleasure above her own.
Next week, we will meet four more mannequins.
For more about how to craft characters, pick up a copy of Story Building Blocks II: Crafting Believable Conflict, available in paperback and E-book and Story Building Blocks: Build A Cast Workbook, available in paperback and E-book.
 |
| Crafting Characters |
Romance remains one of the highest selling genres over time.
Many romance novels rely on stereotypical characters that perpetuate a specific script for what constitutes true love, like flowers and candy, and romantic walks along the beach. But what if your characer is allergic to flowers, can't eat candy, and is afraid of water?
What people consider romantic is highly individual, based on their temperament, conditioning, culture, and past experiences.
Over the next few weeks, we'll examine the relationship styles of the sixteen mannequins featured in Story Building Blocks II: Crafting Believable Conflict and the Build A Cast Workbook.
Keep in mind that each character could be male, female, transgener, androgynous, or alien life forms. When it comes to temperament, it really doesn’t matter. For the purposes of your fiction, you can play them any way you like. I gave my mannequins androgynous names and refer to them as he or she depending on whether there are more males than females in that temperament category.
1. Wynn
Wynn is all about making her partner happy and being appreciated for it. She needs cards, flowers, and romantic words. A distant, critical partner would annihilate her heart in under thirty seconds. She puts her partner first and looks for a permanent bond.
Wynn is emotionally intense, but guards her heart. She is happy with the traditional role assigned to her. She puts the comfort of her partner at the top of her to-do list. She is caring, empathetic, and willing to gloss over minor indiscretions. Her habit of keeping things to herself to avoid conflict leads to inappropriate scatter blasts of anger and resentment during a confrontation. She often says things she can’t take back. She becomes rigid when anxious. Those tactics won’t have the effect she desperately needs. She has difficulty leaving an abusive relationship and accepting that a relationship has ended. She blames herself and obsesses over what she could have done differently, especially if she feels she has been faithful and kept up her side of the bargain. She might remain faithful to the memory of a deceased partner.
Wynn’s selflessness puts her at risk of being taken advantage of or steamrolled. She hides her distress and keeps her resentment and anger under wraps until something comes along to uncork them. If she feels unappreciated, she leaves mentally or physically. It takes a lot of provocation to push her there.
Wynn views sex as a way of strengthening the emotional bond. It is her duty to make sure her partner is happy. She is affectionate. She may not utter loving affirmations, but needs to hear them. She shows her love through gifts and small actions. She might go along with a kinky partner at first in an attempt to make him happy, but the situation will tear her down emotionally and the exit door is only one step away.
2. Francis
Francis is more interested in being right than being happy. He hates challenges to his authority and viewpoints. All is well as long as his partner accedes to his point of view and decisions. He might dominate but would react viciously to anyone who tried to dominate him. Francis is true blue and committed. He wants a permanent relationship. He takes the “until death do us part” vow literally.
Francis goes through the tradition of dating and wooing because it is expected, not because he prefers it. He struggles with huggy-touchy stuff. He is supportive and cares for his partner. If his partner points out he isn’t meeting her emotional needs, he does his best to meet them. He feels love passionately but struggles to express himself. He is faithful and loyal. He wants his home and family to run smoothly. He struggles with chaos and family members who don’t behave as they should. He imposes restrictions on his partner. He meets what he considers his obligations, which may not be the priorities his partner values.
If his partner berates him, he listens to the part that addresses functional points such as, “You need to take the trash out on Thursdays.” He ignores the emotional context, “You work too hard and are never home when I need you.” If he marries one of the feeling types, he could wreck her self-esteem.
Being right is very important to Francis. His partner may walk away if her point of view is never considered. He isn’t threatened by constructive criticism and can handle conflict without taking it personally as long as he isn’t called wrong. Leaving Francis requires a really good lawyer, or a shotgun.
Francis views sex as a physical release and his duty more so than an expression of emotion. He expects intimacy to occur on a scheduled basis. He brings home flowers and chocolates if he has been told it is expected, not out of inspiration or because he felt like it. He thinks his actions should speak for themselves. Working hard every day should count. He gives positive affirmations if his partner asks for them, even though he doesn’t need them. He deflects his partner’s attempts to praise him. The female version of Francis goes along with whatever her partner wants, though she is uncomfortable with anything out of the ordinary.
3. Nevada
Nevada’s currency is appreciation. He craves loving affirmations for working hard and providing for his partner.
Nevada takes commitment seriously and believes in living up to his obligations. He would not be a natural candidate for either submission or dominance.
Nevada avoids confrontation at all costs. He considers criticism, and the need to discuss a problem, as a personal attack. He is prone to depression and low self-esteem, so he could become submissive if warped by life. He is overly concerned with appearances and expects his partner to maintain them, so he would hide whatever he was up to.
He is good around the house. He takes care of things that need attention. He is cautious with money, because he thrives on security. He works hard to make life secure. He needs to belong: to institutions, teams, and his family. This makes him very social. He throws parties and attends events at work, social club functions, and community events. He expects his partner to participate. Pairing him with an introvert who hates parties is problematic.
Nevada needs a lot of positive reinforcement from his partner and resents it if he doesn’t get it. He is passive-aggressive in response and often does the wrong thing to elicit the adoration he craves. He won’t quit easily.
Nevada is warm and loving. He invests a lot of time and energy in making his partner happy. He views sex as an opportunity to express affection and considers withholding a deliberate insult. He is highly traditional, but eager to please his partner, so he is open to suggestion. He resists anything too out of the ordinary for fear that someone might find out.
4. Arden
Arden’s currency is gratitude and appreciation for his integrity. As long as his partner feels grateful and appreciates his hard work, things go smoothly. Arden fulfills what he sees as his commitment to the full extent of his capacity. When he chooses a partner, he plans to be with her forever.
Arden likes to be in charge and is controlling. He could become dominant, but it would not be his natural affinity. He works hard to provide financial security with a focus on the material things that signify success. He provides a secure home life, but makes room for fun and leisure. He schedules vacations. He expects his partner to do the right thing and be a good example in the community. He would be horrified to do something “unseemly.”
He sees himself as a guardian. He freely gives positive feedback when he is impressed by his partner’s behavior or accomplishments. He is open and honest with his thoughts and opinions. He expects his wife to take part in the social requirements of his job and the community. Don’t pair him with an introvert who hates going out or there is war. A feeling character is hurt by his perceived criticism and overwhelming expectations. If his partner firmly, factually, and preferably unemotionally, expresses her unmet needs, he does his best to accommodate them. He wants to do what he is supposed to and takes care of details.
Arden would not consider divorce lightly. Problems arise if he doesn’t feel appreciated. His job is to shield and protect. He can carry that too far and infringe on his partner’s autonomy. His partner might not appreciate his instructions or guiding hand. Arden is a lively lover. He tends to be traditional and may be rather regimental in his expectations. He sees sex as a physical demonstration of affection rather than a spiritual communion. He may not remember to use sweet words. He expresses love through hard work and dedication.
Next week, we'll meet four more mannequins.
You can learn more about each mannequin in Story Building Blocks II: Crafting Believable Conflict, available in paperback and E-book and Story Building Blocks: Build A Cast Workbook, available in paperback and E-book.
As the New Year wishes of joy and peace for all mankind fade with the Times Square fireworks, we face a world full of wars and fanaticism.
Sane people clearly believe that fanatics are simply psychopaths, but the truth is they have been indoctrinated with beliefs that are just as strong as those who are against war and violence.
Tweet: Brainwashing is altering someone’s perception, often for personal gain, but not always. In its mildest form, it is used to enforce good behavior. At its worst, it turns people into suicide bombers. #storybuildingblocks #writingtipsBrainwashing is utilized by governments, religions, and the military. We use the techniques when we teach children right from wrong. We use them in advertisements to discourage drug use, cigarette smoking, teen pregnancy, and drunk driving.
The depth and breadth of the brainwashing, the content, and the purpose are widely variable.
The first tactic is assuming authority.
An authority works best if he or she wears a lab coat, a uniform, or holy robes. It has been posited in studies that 62% of the population will follow an authority figure’s orders even if it means harms to others. Unless the authority figure isn’t around to find out about it, then the normal morality chip kicks in and they refuse to do harm. Unless they are sociopaths who lack the morality chip to begin with. When Dick is forced to rely on the authority figure for his survival, he will attempt to placate him, especially when praise by that figure produces reward.
The second tactic of brainwashing is repetition.
A meme (or idea) is repeated ad nauseum. If you say something to Dick long enough, often enough, and with enough authority, he starts to believe it. He accepts the veracity. Then he propogates the meme by sharing it with others. A meme is mental virus that can be spread on contact and with familiarization.
The third tactic is isolation.
By keeping Dick away from people who think differently or contradict what he is being told, the meme is reinforced. By telling Dick up front that other people will doubt him, contradict him, and tear down his thematic argument, they are shoring up the meme in Dick’s mind. He expects attack, so he repels attack.
The authority figure convinces Dick that everyone around him has a malevolent agenda. Only those who embrace the meme can be trusted. Only those who embrace the meme are worthy. In this way, others attacks on the logic or practices actually reinforce the meme in Dick’s mind instead of breaking it down.
In cults, the members are kept isolated until the meme has taken firm, uncontrovertible hold. The members are taught to shun anyone who does not agree with the meme. They are told to cut off friends, family, lovers, jobs, clubs. Anything that works to discredit the meme.
Isolation is a basic fear. No one wants to be alone. Everyone wants to belong. Accepting a meme can be the entrance price for connectedness.
If you want to portray a character that seems impervious to brainwashing, you should pick one of the personality types that resist group-think: those who are happy to stand on their own and don’t care about consensus or what others think of them.
The fourth tactic is degredation: the destruction of one's self-image.
The authority figure will tell Dick that he is essentially flawed, sinful, in error, and only by embracing the meme can he be redeemed or saved. The transgressions are behaviors Dick engaged in while outside the authority figure’s control. It could be something as simple as going to work or having a beer on a Saturday. Dick begins to feel guilty for having the beer. He feels overwhelmed by his own worthlessness when he goes to his job. This is where the authority figure steps in and helpfully offers the way to salvation: the meme.
Dick is nothing if he does not believe the meme. He will be punished for not believing. He will be rewarded for believing and propagating the meme. In extreme hostage situations, Dick may be starved, sleep deprived, even drugged to make him malleable. The purpose is to muddy Dick’s thinking so the meme stays clear and in the forefront.The fifth tactic is dependence:
Once Dick accepts that his existence is totally reliant upon the authority figure and his minions, he will do or say anything to ensure their survival.
The agenda of the perpetrator affects whether the brainwashing is benevolent or malevolent.
Brainwashing is used by gang leaders and drug dealers. As teenage Jane slides down the rabbit hole of addiction, she may have self-esteem issues to begin with. She is told that by doing drugs, she is looked down on by society and discriminated against. The world just doesn’t understand them and everyone is against them having a good time. Instead of the drugs being the faulty thinking, everyone else on the planet is just a giant buzz kill. The drug-using community becomes their support system. Since the drug addiction usually isolates them and harms their ability to support themselves, they become totally reliant on the drug community.
In a gang, the crimes they commit serve the same purpose, guaranteeing that no one will support them the way the gang can.Gangs and drug communities are particularly alluring to teens who don’t have a strong home life and who have been abandoned by their parent(s), but this kind of brainwashing can be used on anyone in any socioeconomic setting. If Jane lives in a community where she is threatened with the gang or drug culture every time she walks out her front door, she may find it easier to join in than fight it.
Brainwashing is used by abusive spouses and child molestors. In an abusive relationship, the abuser makes Sally believe that he is the only one who loves her, who wants her, who understands her. It’s just the two of them. And to leave means emotional if not physical death. The abuser cuts her off from society, her friends, her family, and whittles away at her self-esteem to the point where she doesn't know the cage door is open.
Brainwashing in the form of propaganda is used in war. If Dick is on on the delivery end, he sees it as a noble effort to win the war. If Dick is on the receiving end, he might fight with all his might to keep the propaganda from taking hold. Fanatic religion is considered horrific by most of the population, but not if you’re the fanatical prophet or acolyte.
It’s all about point of view. And that, my dear writers, is a powerful and controversial thematic argument for any story.
If you are writing Fantasy or Science Fiction, ask yourself what kinds of prevailing thought processes are supported in your story world. How have the societies been brainwashed, in good ways, in bad ways? Brainwashing often plays a role in Thrillers and Mysteries. It is a factor in a literary tale where the heroine escapes an abusive relationship or family.
My hope is for all people to be brainwashed into peace on earth and good will toward all life forms.
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| Currency = Motivation |
A character’s currency might be safety, money, esteem, physical objects, or spiritual wellbeing. Some desire closeness. Others desire space. A character’s “currency” is the key to influencing them, building relationships with them, and igniting their fury.
If someone keeps trying to motivate or influence your character by promising or threatening them with things they don’t want or don’t care about, their efforts will fail.
Characters with opposing currencies have a difficult time building a relationship, a friendship or a working partnership.
Emotional currency provides the carrot and the stick of dynamite.
An antagonist who threatens people with things they aren’t afraid of fails in his scene objective. An antagonist who bribes his henchmen with things they don’t want also fails in his scene objective.
If Dick is motivated by a job well done, then self-esteem is its own reward. Dick might react positively to praise or find it uncomfortable.
If Dick performs a task for the self-satisfaction of seeing it done, when Sally heaps praise on him for it, it won’t mean much. His lack of reaction can confuse and annoy Sally. Especially if Dick counters the praise with, “I didn’t do it for you.” Those are fighting words. Sally feels her gift of praise is rejected, her feelings are hurt. That will either throw her into passive mode or aggressive mode.
If Sally feels like she is giving Dick something, even if it is something Dick neither wants, needs, nor values, she expects esteem in return. Dick, not understanding her currency, won’t give it to her. He will just be annoyed that he was given something he didn’t want, need, or value.
In order for them to mend fences, Sally would have to come to grips with the fact that not everyone wants, needs, or values what she wants, needs, and values. Dick would have to learn how to graciously accept something he didn’t want because Sally was exhibiting generosity of spirit in giving it.
To go forward in a healthy manner, they would both have to learn to communicate their wants, needs, and currency in a calm, rational way. That rarely happens. Characters rarely become so self-aware that their psychological buttons aren’t pushed. That's why we have fiction ... and reality television.
The esteem of others can be a reward that reinforces Dick's scene or overall story goal. This is great if Dick is building a house for Habitat for Humanity, not so good if he is building a robot that will take over the planet.
If Sally does something with the expectation of being praised and praise is withheld, she may get mad. She may be tempted to get even. She might undo her efforts in retaliation for not receiving the accolades she hoped for. She may be driven to petty acts of spite or refuse to cooperate further. This dynamic plays out in couples, families, and offices all over the globe. It plays out in classrooms, sports teams, social clubs, and PTAs.
If Sally is denied praise and Jane receives praise, Sally will deflect her anger onto Jane. Jane will become a target for her revenge fantasies, especially if the person she really wants to punish is untouchable, dangerous, could fire her or she's married to him. She might think before she strikes at someone she has to live with. If Dick needs a specific piece of information, physical object, or cooperation, he will have to figure out what Sally’s currency is and use that to influence her to give it to him. Her mind will automatically assign a more desirable scapegoat for her frustration.
Dick can try appealing to Sally’s sense of fair play. If Sally has been repeatedly denied the praise or recognition she deserves, she won’t feel like being fair.
Dick can try appealing to her sense of accomplishment by praising her work. Sally recognizes that Dick is feeding her a line and refuses again.
Dick can try bribing her with more money than she can make in a year. Sally is well off financially and that carrot isn’t enough to sway her.
Dick remembers a conversation they had about Jane and how Jane unfairly received praise for something Sally felt she deserved the credit for. Dick offers to help her harm Jane’s reputation or make Jane look incompetent. Bingo, Sally agrees because revenge and retaliation are her currency of the moment. That doesn't make Dick a nice guy, but sometimes you have to do something bad to get something good, or at least promise it in the heat of the moment and renege on it later!
All of your characters will be motivated and influenced by their currency. Conflicts and misunderstandings will abound.
For more tips on motivating your characters, check out Story Building Blocks II: Crafting Believable Conflict, available in paperback and E-book.
By: Diana Hurwitz,
on 1/15/2016
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16 Characters
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Each mannequin could be male or female. I had to choose pronouns, so I went with the pronoun that matched the greater percentage of gender in each category. He and she can easily translate into masculine, feminine, or androgenous. Sex and sexual orientation do not directly affect personality type, except when it comes to social expectations and how those expectations shape the character.
Everyone has deep-seated needs that serve as currency: the thing that defines their personal carrot and stick. Dangle the right morsel in front of them and they will do anything to get it. Threaten to take it away and they will do anything to keep it.
1. Wynn’s currency is appreciation. She is the worker bee, never the queen. She needs to be needed, to hear “well done” often, and to be thanked for the everyday things she does to keep a life, a workplace, or a planet running smoothly. Telling her that her help isn’t needed or wanted is her trigger.
2. Francis is more interested in being right than being happy. He sees himself as the herd dog keeping everyone in line. He needs people to respect his authority and opinions. All is well, as long as people accede to his point of view and decisions. Call him wrong or question his authority and the fight is on.
3. Nevada hates conflict. He sees himself as the shepherd who guides the flock. His currency is appreciation for his dedication to others. He craves loving affirmations for working hard and providing for other people. Calling him selfish or telling him his efforts are misguided starts a fire.
4. Arden’s currency is gratitude and appreciation for his integrity. As long as people respect him and appreciate his hard work, things go smoothly. Tell him his assistance isn’t needed or question his intentions and the game is on.
5. Blair’s currency is affection and admiration. If she isn’t consistently praised, she deflates. Telling her she is anything but perfection or that she hasn't done anything to earn praise makes her an enemy.
6. Dallas wants to be adored for being the life of the party. She values her sense of fun and adventure. Telling her the party is over or to get serious and she will make your life hell.
7. Hadley wants to be adored for breathing. She wants everyone to be happy. Since she is generally agreeable and good-natured, people usually comply. If the adoration fades, trouble sets in.
8. Shelby wants to be honored and respected. She is a team player. As long as people treat her like a valued member of the team, family, or planet, things are fine. Questioning her character is a call to war.
9. Joss craves recognition for his intelligence and skill. He's the typical silent maverick. He is usually admired in the short-term. His derring-do draws people in, but eventually drives them off. Question his competence and you’ll like find yourself in the crosshairs of his sniper scope.
10. To Kelly, all the world is a stage and he is the main attraction. He is the ultimate game player and always wins. Never accuse him of being a loser or make him sit on the sidelines.
11. Greer is the ultimate reclusive genius. He wants recognition for his competence. Since he is usually competent, he receives it. When he forgets to take care of things he does not consider important or his efforts are misdirected, his competence might be questioned and the fight is on.
12. Taylor is the ultimate organizer or volunteer. She wants to be appreciated for her goodness and service. She usually is, unless her efforts become toxic.
13. Cam wants to be admired for his intelligence and competence. He is the deep thinker of the group. People usually admire that about him. Question his competence or his research and the fight is on.
14. Morgan also wants to be admired for his intelligence and competence. He is the ultimate thrill-seeking gambler. When his sometimes reckless behavior makes those traits questionable, the game is afoot.
15. Lee is the take control steamroller of the group. Lee wants to be top dog. Things are fine as long as her rules are obeyed. When she steamrolls the wrong person or is demoted, she turns lethal.
16. River is the most spiritual and likely to believe in the paranormal. She wants to be admired for her wisdom and desire for harmony. She is usually admired, unless her desire to be worshipped becomes obsessive or her belief system is too bizarre.
To learn more about the mannequins and how personality types create conflict for your characters, pick up a copy of Story Building Blocks II: Crafting Believable Conflict, available in paperback and E-book, and Story Building Blocks: Build A Cast Workbook available in paperback and E-book.
By: Diana Hurwitz,
on 12/30/2015
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Dennis Brown in his book Rule of Life 101 defines the difference between bad choice and a mistake thusly:
“A mistake is innocent, a bad choice is not. A mistake is being completely oblivious to the error being made. An example would be telling someone your name and them pronouncing or spelling it wrong. Or giving someone the wrong phone number because you just got a new number and it slipped your mind. These are examples of mistakes. A bad choice is being totally aware of the error being made and choosing to do it anyway. Say for instance your boyfriend or girlfriend was sleeping with your best friend. A bad choice is knowing something is wrong or hurtful and doing it anyway.”
In any story, the critical turning points are either actions or decisions. Bad choices or actions result in goal failure. Mistakes cause conflict along the way. Take a look at your work-in-progress. Have your characters made bad choices or mistakes? How did they complicate the overall story problem?
If the inciting incident is a bad choice, Dick is forced to take steps to repair it. The key turning points will show the progress toward and steps away from repairing his life, relationship, or situation to the status quo.
If the inciting incident is a mistake, Jane will have to make amends. In the first turning point whatever she has tried doesn’t work. She will have to approach the problem from a new angle. At turning point two, that angle didn’t work either. In fact, Jane compounded the mistake, perhaps by making a second mistake. In the third turning point Jane will realize the right course of action that will restore the story balance. In the climax, she makes amends and all ends happily, usually.
The caution I want to offer is this: it is hard to root for a character that continually makes bad choices and mistakes. One or two sprinkled throughout a story can drive it. However, if the story is riddled with them, it becomes abusive.
I’m reminded of a recent television series I watched. After two seasons with a main character who continually made mistakes and bad choices, there was no growth. He never caught on that he was the problem. It made sense that the series was cancelled.
Make sure your characters are not continually making mistakes and bad choices. People who don’t change make poor protagonists, friends, and lovers. It’s okay for the reader to shout “you idiot” once or twice in a story. However, they are likely to burn the book if it happens in every chapter.
As Dennis Brown concludes: “People’s mistakes should be forgiven, and even some bad choices are forgivable, but consistent bad choices should never be overlooked. Know when enough is enough; if you have no boundaries, people have no reason to respect them. A person can’t respect what’s not there to respect. Whether it’s in a friendship, marriage or business relationship, bad choices that lead to adverse circumstances for you should never be tolerated.”
Even if the characters are fictional.
For more information on using conflict to drive plot, pick up a copy of Story Building Blocks: The Four Layers of Conflict, available in paperback and E-book.
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