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I am so very happy to welcome back Sylvia Liu onto Miss Marple’s Musings as part of the blog tour for her debut picture book, A MORNING WITH GRANDPA. This manuscript won the 2013 Lee and Low New Voices Award … Continue reading →

Netflix will launch the new DreamWorks series next week.

Talk about character, here is a steampunk snowman family Sylvia Liu recently made, as part of a new daily creative challenge blog that she started titled, Create One a Day. You can see her portfolio at: http://www.enjoyingplanetearth.com)

Erika Wassall, the Jersey Farm Scribe here on….

How Characters Can Become Stories

I enjoy character studies. Books that give perspective into the mysteries of human nature, and how we deal with intense mental, physical and psychological difficulties.

Give me a character I want to sit down and have a drink with, or even observe from afar and watch their interactions and reactions… and I’m sold.

When I write, I’m often focusing on a character in my mind. They’re more than a name, more than any description I can put on paper. I can sense them, know their thoughts, feel their emotions.

Which is great, right?

Well… yes. And sometimes no.

I tend to get bogged down in character development. Plot, is much more difficult for me. I’m exceedingly jealous of people who are more natural at plot than character development. While probably similar to curly-haired people wanting straight hair and straight-hair people longing for curls, being able to nail down a plot always seemed like it would make things “come together” more, give me more to go from.

Reading books on plot and attending workshops has been absolutely mandatory for me.   Martha Anderson, The Plot Whisperer… I honestly don’t know where my writing would be without her insight. I highly recommend her books for anyone else who gets stuck on plot.

For me, I’ve found one trick that works wonders for me, helping me take my character molds, and create not just ANY plot, but THE PLOT. The path the character was meant to take.

It’s focused on character transformation.

One of the other problems with an overly specific character profile, is that, to me, that’s how they ARE. And it’s hard for me to see them any other way. This makes for a very stagnant character, which we all know doesn’t really work.

This process helps me on both accounts.

I take the character, in all their their moods, their quirks, their temperament, and I make them the FINAL version of the character. (obviously this can change as time goes on, it’s just part of my process).

I ask myself… why?  What happened to them that gave them that chip on their shoulder or that far away look on their face they get when they listen to a certain song? Why do they place money all facing the same way, before putting it in their pocket?

I write out/think about, three categories: Mental, Physical and Psychological. I start out with at least two major and three minor things in each category. There are overlaps, but they each must have their own, specific effects on the character.

And then I delete them.

Naomi doesn’t like to be alone because she was once left behind during a field trip and spent a horrifying weekend alone in a museum. What was she like before that? Maybe before, she didn’t see how people could be a source of comfort. Or maybe it’s the opposite. Maybe before she was just a healthily independent person, and now she’s overly clingy.

Jurret has scars on his back up into his neck from fighting off a robot scorpion that was attacking his older sister. It makes him uncomfortable taking off his shirt, and sometimes he even wears turtlenecks so no one can see it. His sister lived, but was badly injured with many scars of her own, including some on her face. He feels responsible for her turmoil as well.

What was he like before all that happened? Did he and his sister get along? Were they close? Maybe he was a gym junkie who was overly concerned with appearance and it gave him much-needed humility. Or maybe he was already plenty humble and this just drained him of his confidence. Perhaps before that, he always felt like the baby, the one everyone was taking care OF, and that day, everything changed. Before then, perhaps he never felt both the joy, and the burden of responsibility.

I do this with dozens of concepts for my character. Literally.

And I don’t always write them down. Sometimes I just think about them. While I’m driving. Cooking. Food shopping. It’s a great exercise I work into time that I’m not necessarily able to write. Then later, I’ll jot down a few notes, sometimes just two or three words, to remember the concept.

The more interesting an idea – or a “deletion” as I have come to call it – the more I actually write it out. Sometimes these “scenes” even become actual events in the book.

But I write out FAR more than I end up using.

At some point, I start to feel a general theme, a pull in a direction of a certain “type” of transformation, and certain related concepts that bring the character through that change… events, relationships, both pain and joy.

And for me, this is where I find my plot. Hidden beneath the intricacies of the character. And I know it’s right when it makes the character themselves even stronger, more solid in nature, more truthful.

This doesn’t (usually) give me a nicely-laid-out plot. But it gives me ideas, storylines I can get excited about. It helps make “plot” a less intimidating, overwhelming word, and interweaves it into what I already have.

What “deletions” could you do to your characters? Do you have other tricks or exercises that help you to develop the nature and variables of your plot?

This one really can be time consuming. And I end up throwing out countless concepts, but that’s just nature of beast! And you know that I’m a believer…

… our manuscripts are worth it!

Erika Wassall is a writer, a farmer and a liver of life. She is a member of SCBWI and a proud Mad Scientist, bringing science experiments right into children’s classrooms, and hearts. She has a small farm in New Jersey with sheep, chickens, pigs and vegetables. Check out her new website at www.TheJerseyFarmScribe.com where as a first generation farmer, she often takes the long way, learning the tricks of the trade on The Farm. On her website is also The Shop page with tips and a free Q/A from her husband’s mechanic shop, and The Writer page where she shares stories, experiences and characters from the heart. Follow her on Twitter at @NJFarmScribe. She’d love to hear from you!

Thank you Erika for another great post. We all enjoy your posts.

Talk tomorrow,

Kathy

This cute little piggy was sent in by Sylvia Liu. Sylvia was selected the 2013 New Voices Award winner by Lee and Low Books and my debut picture book, A MORNING WITH GONG GONG, is scheduled to be published in Fall 2015. She is part of the 2013 Nevada SCBWI Mentor Program and being mentored in illustration by Caldecott-winner David Diaz.

TIPS:

1. Always address your query to a specific person.

2. Make sure you mention the title of your book in third  paragraph.

3. Mention the word count and genre of your book in third paragraph.    

Note: Novels should be 80,000 to 100,000 words. Young adult novels can be significantly less: 40,000-60,000 words. Insert word count and genre at the end of your first “hook” paragraph.

If your novel is 200,000 words – Cut before you query.  No one wants an overweight manuscript. AgentQuery reports unless your manuscript is a historical family saga or an epic science fiction battle, agents hit DELETE on proposed first-time novel over 110,000-120,000 words.

4. Share the reason why you are querying this particular agent. Let the agent know that you have researched them and have a reason for choosing them for representation.

5.  Have someone you know check for typos and grammar mistakes. It is very easy when e-mailing a query letter to click the send button before throughly checking your text.  Writers seem to be in the mode to triple check everything when they snail mail their queries, but since we send so many personal e-mails without closely checking every word, that “Send” button can be easily clicked.  The mistake snail mailing query writers make is forgetting to include their contact information – something you don’t need to include with an e-mail. I know that sounds crazy, but I have seen it when writers have sent me submissions for editors and agents.

Need to see an ACTUAL query letter before you’ll know how to write one? Here is the query letter Author (at the time agent) Nathan Bransford:

Dear Ms. Drayton,

As a young literary agent with Curtis Brown Ltd. I have long admired Inkwell, as well as your strong track record. To paraphrase Douglas Adams, if you searched for a book that was almost, but not quite, entirely unlike THE BOOK THIEF (which I absolutely loved), you might just have JACOB WONDERBAR AND THE COSMIC SPACE KAPOW, a middle-grade-and-up science fiction novel that I just completed. Still fun! But no one dies – Mr. Death would be lonely.

Jacob Wonderbar has been the bane of every substitute teacher at Magellan Middle School ever since his dad moved away from home. He never would have survived without his best friend Dexter, even if he is a little timid, and his cute-but-tough friend Sarah Daisy, who is chronically overscheduled. But when the trio meets a mysterious man in silver one night they trade a corn dog for his sassy spaceship and blast off into the great unknown. That is, until they break the universe in a giant space kapow and a nefarious space buccaneer named Mick Cracken maroons Jacob and Dexter on a tiny planet that smells like burp breath. The friends have to work together to make it back to their little street where the houses look the same, even as Earth seems farther and farther away.

JACOB WONDERBAR AND THE COSMIC SPACE KAPOW is 50,000 words and stands alone, but I have ideas for a series, including titles such as JACOB WONDERBAR FOR PRESIDENT OF THE UNIVERSE and JACOB WONDERBAR AND THE VACATIONING ALIENS FROM ANOTHER PLANET. I’m the author of an eponymous agenting and writing blog.

I’d be thrilled if you would consider WONDERBAR for representation, and a few other agents are considering simultaneously. Thanks very much, and hope to talk to you soon.

Nathan Bransford

Here are a few other places to look:

Nathan Bransford dissects a really good query letter and extoll its virtues.

Click Here to Visit Galleycat. They have 23 Agent Query Letters That Actually Worked.

Nonfiction writers don’t need to have a completed manuscript.  They only need a proposal before seeking representation from an agent. Here’s are books and places to help with writing a proposal:

• “How to Write a Non-Fiction Proposal” Former literary agent, Nathan Bransford.
• Agent Sharlene Martin’s book, Publish Your Nonfiction Book: Strategies for Learning the Industry, Selling Your Book, and Building a Successful Career By Sharlene Martin and Anthony Flacco
• How to Write a Book Proposal, 4th Edition By Michael Larsen

Talk tomorrow,

Kathy