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Workinger, Shelley. (2010). Solid. Published by CreateSpace. ISBN: 1-453-62482-1. Author recommended age Tweens & Teens: Litland.com recommends ages 14+ due to sexual references.
Publisher’s description: Eighteen years ago, a rogue Army doctor secretly experimented with a chromosomal drug on unknowing pregnant women. Almost two decades later, the newly self-proclaimed “open-book” military unearths the truth about the experiment, bringing Clio Kaid and the other affected teens to a state-of-the-art, isolated campus. While exploring her own special ability, forging new friendships and embarking on first love, Clio also stumbles onto information indicating that the military may not have been entirely forthcoming with them and that all may not be as it seems…
Our thoughts:
Showing rather than telling, the prologue opens to a high ranking military officer engaged in some secret work. Invisibility. Glowing. But these are just lab rats…
Fast forward to the present. Calliope Grace Kaid (Clio for short) starts at new schools frequently. While she may be an old hand at being the newbie, readers can still relate to how it feels. Worrying about making friends that move away, cliques excluding her, and just plain looking stupid, for the first time she is on a level playing field with her peers. They’ve all been invited to this high school summer camp, and at age 17 presumably have some maturity of social skills. Unlike Clio, whose military father died and her mother moved them around until becoming established in her own career, the other kids are military brats, military families that move from base to base as assigned. So for the first time, Clio is starting a camp where she at least has this in common with the other kids. Everyone’s a newbie here.
The author has given Clio just enough sarcasm and cynicism to be a very realistic American teenager, while maintaining an inner nature of goodness which exemplifies the character traits we seek in good kid’s literature. Through her self-talk, we relate to her insecurities and self-criticisms, how she responds to a cute guy’s behaviour, hoping not to make too many social mistakes.
It’s refreshing to have a female heroine who is solid in her own strengths, without a publisher seeking to make her a feminist vixen hoping to sell more books or make the story more attractive for a future movie. Through self-talk, we find this main character takes an inquisitive look at her world, particularly figuring out people, but in a manner that isn’t negatively judgmental of them. In doing so, she ponders how it is for adults to deal with issues like death, thus being able to almost empathize with them. An older teen should have achieved this level of maturity, thus rounding out her character well.
For example, Clio isn’t desperate for friends even if she is used to moving a lot and losing them. Or as she puts it, just seeing them on Facebook. So she isn’t trying to endear herself to as many peers as possible in an attempt at securing popularity. Rather, she is using good discernment on who she intends to hang with, such as with Miranda: “Abrasive was one thing, but if she turned out to be slutty too, our friendship would be short-lived.”
And how refreshing it is that the girls who might be
Use Character Traits to Make Your Character Sympathetic
Yesterday, we looked at 9 character traits that can be used to develop sympathy for your character. Today, we’ll look at using those traits in your story. It’s not enough just to tell yourself, or write on a checklist, that your character has these traits and is, therefore, instantly sympathetic. You must USE these traits. How?
Literary agent Donald Maass is a master of telling us how to use traits to create break out novels. He pushes you to go farther and deeper at ever turn.
Using the Character Traits
- Flaws. For character flaws – a necessary part of a sympathetic character, since perfect characters are not sympathetic – try making the character aware of his/her problem. When the character berates him/herself for being so grouchy in the morning, we have sympathy. When I announced to my 5:45 a.m. spinning class that I was a Grouch, that I had gotten up on the wrong side of bed, they all laughed and were extra kind to me that day. (The instructor still made me work hard, but at least I didn’t have to talk to anyone and pretend to be nice.)
- Hero or Heroine. Take any of the character traits we talked about before and push or shove it until it becomes heroic. Be careful not to become comic or melodramatic; but push the limits of what you can do with one trait.
- Multiply. Remember we said that victims get a certain amount of sympathy and pity. What if your character is a victim of multiple things? Pile it on and we’ll sympathize even more. Not only is your character in a wheelchair from a car wreck, but the bank is about to foreclose on her business; and she’s about to discover the cure for the common cold. That piles it on AND gives it a wider, public scope. Be careful here or we’ll get that contempt for this poor victim who can’t rise above her circumstances. But multiplying conflict is one way to increase sympathy for a character.
- Inner conflict. Give your character conflicting Dreeds and Plopes (dreams, needs, hopes, plans) and you increase sympathy. How can your character possibly choose between justice and the ineptness of the justice system?
- Paradox: While characters should be consistent, if you can add a believable paradox, you quicken our interest. The key is making it believable. What is it that your character would never say, do or think? Have them say, do or think it! But make sure you make the motivations and emotions clear.
- -Er or -Est a Trait. Push the trait to an extreme: Bigger, smallest, most vulgar, funnier, more clever, clumsiest. Make sure the reader notices your character!
- Raise the Stakes. Take their Dreeds and Plopes and make them matter more, put more at stake. The outcome of the hero/ine’s sacrifice will affect their family, their profession, the world. Why do you think evil men are always trying to “take over the world”? So they have the widest possible stakes. Take a cue from that cliche, though: make the increased stakes believable.
- Inner Change i
Every 11-12 year old-girl I've ever known, including me, has gone a little horse crazy at some point. What is it about young girls and horses? In my case, I was fortunate to have a friend down the street who had a horse. She taught me how to groom her horse, how to muck out his stall, the basics of riding, and the best way to feed and water him. I learned that taking care of a horse is an awesome responsibility and one that does not 
disappear when you start to lose your interest.
I always thought it would be fun to live on a ranch for a summer. In the newly re-published series, The Horses of Half-Moon Ranch, Kirstie Scott does not have to imagine what life on a ranch is like. She lives on the ranch. Her mom, her brother, and a small group of dedicated hands have brought her grandmother's ranch back to life again and they take in guests during the summer.
In both Wild Horses and Rodeo Rocky, the first two books in the series, author Jenny Oldfield creates a satisfying mix of horse lore, mystery, and local color. Not surprisingly, Kirstie is the most fully developed character but there are plenty of memorable characters, even if a little heavy on stock characters of the old crusty trusted ranch hand and heart-of-gold, hermit in the woods kind.
For many readers there will be much to learn about in these stories including how wild horses are tamed and trained and what a rodeo is like. But the thing that shines through both of these stories and rings most true is the love and connection that Kirstie has for these horses. By caring for them and loving them, she learns much about herself and the world around her. A very enjoyable read.
