Today’s Question: “How does one figure out which POVs to use and when? … How can I balance it out so that each character has their share of the novel without revealing too much or ruining the suspense?”
This week is Banned Books Week, an annual event sponsored by the American Library Association celebrating the freedom to read. Many have already blogged about the political aspects of this event, so I’m tackling this issue from a less serious perspective. Sort of. *smile*
Recently, an interesting article discussed research on the brains of writers. One important finding seemed to match research in other areas, namely that experienced people think differently from those just learning the ropes. Being an expert isn’t just about knowing more.
If we want our protagonists to seem heroic, they need to have strong traits. Yet at the same time, if we want our protagonists to be relatable, they need have vulnerabilities. This is never an easy balance, especially when clichés fill our heads about what a “strong character” means.
A “numb” reaction isn’t unusual for dark or deep emotions. In fact, it’s probably fairly normal. But it makes writing the scene more difficult. How do we show numb and deep emotions at the same time? How can readers connect to an emotionless character?
I’ve often thought about adding word count widgets to my site but quickly resist the notion. My internal debate sparked a question about how writers approach their works in progress. Do you know which side you fall on?
Diverse books are important—not simply for the sake of diversity—but so that by sheer number of representations, any one type of character isn’t limited to a stereotype. The truth is that we are all diverse. No one stereotypical character will ever represent us, no matter our color, nationality, or background.
Writing can be a difficult career. Writers can be lonely, plagued by self-doubt, faced with rejections that feel personal and judgmental, and expected to be good at everything (creative and a sales/marketing person!). Yet we do it anyway. We must have our reasons…beyond sheer insanity, I mean.
I’m a big fan of Michael Hauge’s approach to characters. His insights helped me figure out how to match a character’s internal journey to the external plot. This is often tricky, though, so let’s go deeper into how characters change.