Getting Into Character

Did you know that apparently the odds of getting on the New York Times Bestseller List are 1 in 220? Doesn't that seem kind of insane? But it does give hope to aspiring writers such as myself. It tells us that our chances of getting published, while not amazing, are not as dire as some might have us believe. I have 244 Facebook friends who are not writers I've friended. Which means that odds are, out of those people, one of us will someday be on the New York Times Bestseller List.

This fact maybe why I was catapulted into finishing a scene and conversation I've been having trouble with writing for a while. Now, I am going to let you in on a secret that may or may not make you think I'm crazy. Just know that I am not alone. The way I write is I can hear the voices of the characters in my head.

They talk to me, dictate what the story sounds like (especially in the first draft). For the most part, in that first run through, I let them control the story. They tell me what they know and where the story goes. I've tried to fight them on things before and I only win about half the time. And sometimes they pout and won't tell me their story for a while.

Some characters have a better idea of who they are than others. Some will throw hidden talents or emotional crisis at you from absolutely nowhere. And some simply say "Hey, we don't know how it happened, but we hated each other and then liked each other and then stuff happened. Good luck with that". Then I have to wheedle the story out of them (because they always know far more than they let on).

Authors commune with their characters in a variety of ways. Sometimes they get lucky with someone who desperately just wants to spill their story and the writer just has to try and keep up with the thoughts being provided. Others build complex character profiles, answering questions as the character to get a feel for their voice and thought process (this is especially helpful with first person narratives so you can hear what the voice sounds like before you start writing in it).

One tactic that many readers know of but don't know the reasoning for is writing with a playlist. You may think that this is just because the writer wants some sound while writing. And sometimes the music matches the story. Well the truth is that music is like booze for the people in your head. It loosens them up, mellows them out, and makes them a right bit more forthcoming about the vital plot points you're missing.

Not every tactic works for everyone. Personally if I'm having trouble concentrating on writing music is just distracting unless it is very very quiet. I'm sure my subconscious loves playing around with it when it's too low for me to actually hear. And I ask questions, but sometimes all that greets me is a cricket filled silence.

One of the best ways for me to pry the story out of my character is actually embodying them. This is actually how my trilogy began. The first book began just as me telling myself a story to try and get to sleep at night since I often have trouble drifting off. So I would play each character, have a basic template and then let them take me wherever they wanted.

I have terrible problems with confrontation (arguments, talking to strangers, etc.) which means conflict can be difficult for me to write. But I love acting, even if I just do it for myself. So when I get stuck there I sometimes actually get up and play the scene out, take the positions of both characters and embody the mood, talking through what they feel and how they act, even using dialogue. It's actually great for visualizing what's happening.

These are just a couple of things that help me when writing. Anyone have others? Oh and remember, if you know 220 unpublished people, any one of you could be a published author.

Chapter 4.3: Does It Count As Murder If You Only Strangle Them In Your Head?

So, anyone who loves reading has met the characters you yell at. Possibly out loud, possibly in public (drawing many confused or disturbed stares along the way). It happens, characters do stuff that ticks you off. Maybe it's a simple as sighing in frustration when the couple in a romance novel don't talk to each other and get upset over simple misunderstandings. Maybe you yell at your favorite character when it turns out he's the one who's been the bad guy all along.

It happens to everyone. Characters act unexpectedly sometimes. Maybe it feels out of character, or maybe you never knew what their real character was. They react in ways you never saw coming. And sometimes you want to reach into the world of fiction and shake them until they shape up and get back to being who you know and love.

Well that happens to writers as well. Most people think that writers have the control in their story, that they are the ones who decide what the characters are going to do. This is only true to a very very very small degree. We have a basic idea of what characters are going to do, of who they are.

But often, the characters are the ones running the show when you start writing as story, at least that's how I've heard it works for many authors (and how it works for myself). You start off with someone you believe is a simple side character and then suddenly they've over taken the story to become a vital member of the plot.

Or they react completely differently to a situation than you thought they would. For example, I once believed that a character would be headstrong and filled with righteous anger after a fight with another character. Instead she broke down into a puddle of tears and disappeared from the world for two weeks. That will screw with your plot.

And I've heard people say "You're the author. You're in charge." Now, this should be true, and you fight tooth and nail for it to actually be true. I've actually had arguments with my characters during the writing stages. I had a character once who was convinced she could weave and wanted a loom in her room. I said no. I said that since I knew nothing about weaving, she wasn't allowed to have one and then I went to bed...and five minutes later I got up and wrote the loom into the description because she nagged me and wouldn't leave me alone.

Although, this year I did have some success negotiating with a character and talking her out of saying something she would regret, that would break her and her dad apart (which would suck for me because I need them to like each other for other plot pieces to work). I told her "No. No no no, do not say that. You will hate yourself for it." And she backed down. Score one for the author!

And sometimes, characters just have sides to them you haven't seen. I believed my main hero in my story was just going to be your run-of-the-mill smart ass. And instead he is surprisingly deep and has brought in a whole issue of black and white and gray that is just taking root and popping up all over the place.

If you want to see more proof of this phenomenon, go here. It is quite fun to see how stories run away with people. Also, this is why Edward left in New Moon.* Stephenie Meyer said she begged and pleaded with him, but he left anyway. Sometimes there's just no arguing with these people. ;D

*While I enjoyed Twilight, I am not a hysterical fangirl groupie. Also, Team Edward already won. Why are there still teams?