by Crystal Caudill | Mar 15, 2017 | Writing Craft
Characters are more than just the sum of their actions. In the previous weeks, I discussed character archetypes and negative/positive personality traits, but all of these really just boil down to actions. So what more do you need to create a living, breathing, well-rounded character?
To give your characters the breath of life, you need to give them a past full of good and bad experiences, even though their full back story will never be revealed to the reader. Susie May Warren does a fantastic job of explaining how she does this in her book The Story Equation (SEQ), and I highly recommend getting it. For the meantime, here is the basic process derived from her SEQ.
Developing Character History
Your character is who they are when they walk on the page due to their histories. As an author, it would be impossible create a comprehensive life story for your character from birth to the time they walk on the page. Many of those details are not important.
The important details of our lives are those life-altering parts. Those moments in time that end up wounding you, burying a lie deep into your heart, and creating fears. Susie May Warren calls these Dark Moment Stories.
Dark Moment Stories
These dark moment stories aren’t as vague as “my parents divorced.” As bad as divorce is, moments within the divorce will be what really shaped the experience of your character. They are the stories that can be retold in detail to another character.
For example, take a story of a four-year-old boy whose father walked out on him. That memory is so painful, so poignant it becomes immortalized in the mind, twisting and growing roots down to the soul.
He can remember his Dad loading up the car, ignoring the son as he followed behind asking questions.
“Daddy, where are you going?”
“Can I go, Daddy?”
“Why is Mommy crying?”
“Can I help?”
Then it happened. Dad closed the door, separating the boy from him forever. The boy runs to the window and watches as the car putters off into the distance without one backward glance from the driver.
Imagine the wound developed by that. What fears would develop from that experience? The fear of abandonment. The fear of being unworthy. The fear of being out of control.
Lies will develop from this experience. I’ll never be good enough. I am unlovable. I can’t trust people. People I love will always end up leaving.
These lies and fears developed from the wound determine the actions of our characters and make them believable. The wounding story is what makes us sympathize the character and even connect with the character. You don’t have to have your father abandon you to understand the feeling of abandonment.
Bringing your characters to life means giving them experiences that readers can connect to and identify with. Give them experiences that define who they are at the beginning, but are overcome and redefined at the end.
Exercise Your Brain
This week, come up with your own dark moment story for a character (or use a real experience, we’ll never know!). Then tell us the possible lies and fears developed from that dark moment story. Come back and encourage one another and comment on the different stories.
by Crystal Caudill | Jan 18, 2017 | Writing Craft
*This is an expanded edition of my guest blog post to Southern Writer’s Magazine on December 14, 2016.
Crafting the Perfect Chapter – It’s Elementary, My Dears
Before becoming a stay-at-home-mom, I taught fifth-grade students to analyze writing. I hadn’t given much thought to applying what I taught to my own writing until I substitute taught a fifth-grade reading class. That day, I discovered a crucial concept for every fiction writer.
Students all over the country are forced summarize every chapter they read by looking for these key things: Somebody… wants… but… so… then…
We, as writers, need to zero in on every chapter we write to make sure we can answer: Somebody… wants…. but…. so… then…
How do we do this? It’s elementary, my dears.
To illustrate this concept, I will use chapter eight of George Washington’s Socks. I will assume most my readers have not had the enjoyment of reading this children’s novel, so I will just give a very brief introduction to the story.
George Washington’s Socks
A mysterious rowboat transports five adventurous kids back in time to the eve of the Battle at Trenton where they experience the American Revolution. Through encounters with Hessian soldiers, revolutionaries, and even George Washington himself, Matthew, Quentin, Hooter, Tony, and Katie watch history unfold before their eyes as they see first-hand, the grim realities of war and the cost of freedom.
– Amazon.com Blurb
Somebody… wants… but… so… then…
Let’s break it down:
Somebody…
Who is the central focus of this chapter? This can be one or two characters if you are splitting your story between points of view, but even if there are multiple points of view, a chapter is generally about one person. Who would students identify as the main character for your chapter?
In George Washington’s Socks there are five focus characters, however, chapter eight focuses solely on the perspective of Matt.
Wants…
This is the goal of the main character for this chapter only. What is it that the character wants to accomplish in this small timeframe? More often than not it is a small goal that builds into something bigger.
For Matt, his initial goal in the chapter was to return General Washington’s cape.
But…
No story is engaging without conflict, and neither is a chapter. What obstacle does the character face? It can be internal or external in nature, but it needs to be plausible and, if at all possible, unforeseen.
Matt’s challenge comes in the form of a captain who believes Matt is a rebel soldier.
So…
This is the reaction to the conflict. What does the character do? What does he/she think? Do they change their goal? What about the supporting characters? How do they respond to the conflict, and how does their response affect the main character?
Matt changes his goal. He goes from wanting to return General Washington’s cape to retreating to the safety of the boat.
Then…
This is where a consequence occurs or an additional problem is added to the plot. There could be a hint to the subplot, or a difficult obstacle the character must face, or it could leave the reader with a cliffhanger. Whichever course you choose, the “then” is used as a hook for the next chapter.
Matt’s chapter doesn’t end with him being forced into battle. His “then” is the fatal injury of the only man who can get Matt home.
Combine all the elements and you get:
Matt wanted to return General Washington’s cape but a Captain thought he was a rebel soldier trying to desert, so Matt tries to return to the boat. Then, as Matt is being forced into battle, the only man who can get Matt and his friends home suffers a fatal injury.
Somebody… wants… but… so… then… is a quick, easy summary that drives to the heart of a chapter. Do each of your chapters contain these elements? Could you summarize them in this way?
Even scarier…. could a fifth-grader?
I challenge you to share one of your chapters in this way, and just so I am being fair, here’s my example from chapter one.
Kessara wants to pay off her grandfather’s debt, but she doesn’t want him to find out she had to save the family name again, so she goes to the cemetery at midnight to retrieve her secret stash of money. Then as she is returning to the carriage she stumbles upon a clandestine meeting between two criminals who spot her.
What do you think? How would you break down one of your chapters?
by Crystal Caudill | Nov 2, 2016 | Book Reviews, Writing Craft
Have you struggled with flat characters? Difficult to plot stories? A lack of knowledge on how to correct these issues?
Oh my! I must admit I fall very solidly in this category. After the ACFW Conference, I realized just how much of a beginner I am. It feels like I have scrapped my story for the umpteenth time, but this time I have a solid plan.
One of the many benefits of attending the conference was connecting with Susan May Warren, a wonderful author and teacher. She has created this wonderful online community that is lesson based. It does require a membership, but the investment has been definitely worth the cost so far.
Due to the fact I do pay a membership, I have been hesitant to share what I have learned. I would not wish to break any copyright laws nor infringe on what Susie has spent so much time creating.
But lucky for you, one of the most helpful sets of lessons has recently been transcribed into a book that, even with access to the courses, I have added to my library of resources.
The Story Equation: How to Plot & Write a Brilliant Story From One Powerful Question by Susan May Warren
Susie’s wonderful method is based on developing your POV characters from the inside out. I will not steal her thunder, for the information is not mine to share, but I will say this has become my new favorite method to work my story.
It is organic and naturally encourages great depth. The plot, theme, and premise developed around my characters with surprising results. My story already feels stronger with the use of the Story Equation (SEQ).
I will not lie. As a beginner, I have spent many hours doing the courses, redoing them, and reading the book over and over again, working my characters as I did so. My characters are finally (mostly) solid and I am working on developing my major plot points.
The Kindle Edition of the book costs only $6.99. Let me tell you, this is an AMAZING price for an invaluable book. It is a quick and easy read, and easy to apply. If you can afford a monthly membership to her community, The Novel Academy, I would HIGHLY recommend that as well.
Below is the book blurb from Amazon. If you have any questions or experiences with the SEQ or Novel Academy, please comment below. I am so excited to share this resource with you!
“Discover The Story Equation!
One question can unlock your entire story! Are you struggling to build a riveting plot? Layered characters? How about fortify that saggy middle? Create that powerful ending?
You can build an entire book by asking one powerful question, and then plugging it into an “equation” that makes your plot and characters come to life. You’ll learn how to build the external and internal journey of your characters, create a theme, build story and scene tension, create the character change journey and even pitch and market your story. All with one amazing question.
Learn:
- The amazing trick to creating unforgettable, compelling characters that epic movies use!
- How to create riveting tension to keep the story driving from chapter to chapter
- The easy solution to plotting the middle of your novel
- The one element every story needs to keep a reader up all night
- How to craft an ending that makes your reader say to their friends, “Oh, you have to read this book!”
Using the powerful technique that has created over fifty RITA, Christy and Carol award-winning, best-selling novels, Susan May Warren will show novelists how to utilize The Story Equation to create the best story they’ve ever written.”
– Blurb from Amazon
by Crystal Caudill | Oct 27, 2016 | History Facts
Here are just a few fun superstitions from the Victorian Era about death. These were collected from the Friends of Oak Grove Cemetery.
- If the deceased has lived a good life, flowers would bloom on his grave; but if he has been evil, only weeds would grow.
- If several deaths occur in the same family, tie a black ribbon to everything left alive that enters the house, even dogs and chickens. This will protect against deaths spreading further.
- Never wear anything new to a funeral, especially shoes.
- You should always cover your mouth while yawning so your spirit doesn’t leave you and the devil never enters your body.
- It is bad luck to meet a funeral procession head on. If you see one approching, turn around. If this is unavoidable, hold on to a button until the funeral cortege passes.
- Large drops of rain warn that there has just been a death.
- To lock the door of your home after a funeral procession has left the house is bad luck.
- If rain falls on a funeral procession, the deceased will go to heaven.
- If you hear a clap of thunder following a burial it indicates that the soul of the departed has reached heaven.
- If you hear 3 knocks and no one is there, it usually means someone close to you has died. The superstitious call this the 3 knocks of death.
- If a firefly/lightning bug gets into your house someone will soon die.
- If you smell roses when none are around someone is going to die.
- If you don’t hold your breath while going by a graveyard you will not be buried.
- If you see yourself in a dream, your death will follow.
- If you see an owl in the daytime, there will be a death.
- If you dream about a birth, someone you know will die.
- If it rains in an open grave then someone in the family will die within the year.
- If a bird pecks on your window or crashes into one that there has been a death.
- If a sparrow lands on a piano, someone in the home will die.
- If a picture falls off the wall, there will be a death of someone you know.
- If you spill salt, throw a pinch of the spilt salt over your shoulder to prevent death.
- Never speak ill of the dead because they will come back to haunt you or you will suffer misfortune.
- Two deaths in the family means that a third is sure to follow.
- The cry of a curlew or the hoot of an owl foretells a death.
- Having only red and white flowers together in a vase (especially in hospital) means a death will soon follow.
- Dropping an umbrella on the floor or opening one in the house means that there will be a murder in the house.
- A diamond-shaped fold in clean linen portends death.
- A dog howling at night when someone in the house is sick is a bad omen. It can be reversed by reaching under the bed and turning over a shoe.
Are there any superstitions you know about? Share them in the comments below.
by Crystal Caudill | Oct 20, 2016 | History Facts
Halloween is just around the corner and since my book does require the death of a secondary character, I thought it might be fun to share some of the superstitions I discovered during research of Victorian funerals and mourning rituals.
At the Time of Death
If the death occurred at home, the curtains would be drawn 
and the clocks would be stopped. Symbolically, it represented the family in mourning, and if you have ever lost someone, the idea of a clock showing that your entire world has stopped seems accurate. Stopping the clock also “prevented” anyone else in the family from experiencing a run of bad luck.
In addition to the clocks being stopped and curtains drawn, mirrors would be covered with crape or veiling to prevent the deceased’s spirit from getting trapped in the looking glass. Picture frames were sometimes turned down to prevent the spirit from possessing one of the remaining survivors.
Due to eyes being affected by rigor mortis first, they were swiftly closed and often times pennies were placed over the eyelids to prevent them from reopening. However, there was also a superstition that being looked at by a corpse could threaten you and your kind.
Wakes
Wakes were held in the home for generally 4 days by friends and family. This allowed time for family members to travel. Staying with the body was a sign of respect for the deceased, although some believe it was used to make sure the deceased did not wake up from a coma.
If you remember the story of Lazarus, he had been dead four days before Jesus commanded for the stone to be rolled away. What was the response of Martha? “Lord, by this time he stinketh.” (I love the KJV of that story. Who wouldn’t love to say stinketh?)
So now imagine your loved one lying dead in your house for four days… because of that wonderful aroma, flowers and candles would fill the room and bed of the deceased, at least until embalming became common.
When it was time for the body to be removed from the house, they were carried out feet first. This was to prevent the spirit from looking back into the house and beckoning another member of the family to follow him.
Premature Burial
For some strange reason, in the 18th and 19th centuries, a fear of being buried alive developed.Some entrepreneurs took advantage of this fear and developed a safety coffin, where a bell was placed on top of the grave. One end of a rope was fixed to the bell and the other to the hand of the deceased. The idea was if they woke up they could ring the bell and alert the graveyard workers to their situation, thus being “saved by the bell.”
Other coffins were fixed with elaborate tubes and mirrors which allowed gravediggers to look into coffins for signs of life.
Resurrectionist Men
Grave-robbery became a real problem in the 19th century as medical schools grew and needed fresh cadavers for dissection in their classes. Bricking-over a grave or putting a wrought iron cage over a grave was a way of guaranteeing some security of the body being undisturbed after death.
Was anything new to you? What do you think about these old superstitions? Do you know of any other superstitions? Share in the comments below!
