Showing posts with label Enigma Black. Show all posts
Showing posts with label Enigma Black. Show all posts

Friday, April 11, 2014

Redemption (Enigma Black Book #3) Prologue






Can't wait until summer?  Read the Prologue below (subject to further editing and revisions):












Prologue


            I could hear the beat of the drums. They reverberated in my head, a war cry only audible to me. Their disembodied rhythm tore its way through my veins, energizing my soul, reviving my battered body. Ignoring the pain, the holes in my tattered suit, the screams from the dying city I once called home, I charged on to the sound of their deafening chorus.
            With each footfall, images crept into my mind, playing in a continuous loop. Images of my father and mother, of Jake, Lucy, and Blake, whose lives had been lost in this decade of chaos we’d come to know as life.
            It would all end tonight.
            No more would a child know the meaning of the word death.  No more would our cities remain abandoned, hollow shells of the hubs of prosperity they once were. Fear would loosen its grip on society.  The deaths of those we loved and of those who loved us would not have been in vain.  Tonight would be the end, and we were willing to die to ensure its demise. 
            We would die to ensure his demise.
            Next to me, Ian ran, keeping up with my fevered pace, his body just as bloodied and bruised as my own. We were both numb.  Too numb to notice the agony we should have felt, too numb to care what happened to us anymore; for we had been deceived in the worst possible way, and deception had a way of turning suffering into fuel, igniting unbridled rage.  Ian lunged forward, overtaking me, a flap from his torn suit bounced with each step he took, exposing his left shoulder blade.  Blood, caked with dirt, dotted his exposed flesh, revealing a hint of an injury kept hidden by the remaining material. I wondered whether he could hear the drums, too, or whether he heard anything at all.
            I sped up to catch him, jumping over a pillar that had been toppled over, presumably by one of the many explosions that had rocked the city over the past couple hours. Had I not grown up here, I wouldn’t even have recognized some of the buildings for what they once were.  My former high school, the bank where’d I’d spent my final days of normalcy, and the diner where Blake offered me the chance to rid myself of my nightmares, were now nothing more than indiscernible piles of concrete.
In the streets, dodging debris, escaping smoke and flame, survivors of the attacks ran haphazardly, seeking refuge where none existed.  Above us, the late evening sky, reddened by the flames that hugged nearly every block, took on the appearance of fresh blood flowing from a gaping wound. If someone had asked me before that moment what I thought the end of the world would look like, my description would have paled in comparison to the scene that was splayed out before us now.  We were no longer on Earth, but in the very bowels of Hell itself.
This attack had been personal, but then again, they all had been personal in a way. The crazed vendetta, the evil that resided in the entity the people had come to know as The Man in Black had unleashed itself to the nth degree. Perhaps sensing his reign of terror drawing to an end, he was determined – no, desperate – to go out with a bang…and take out the last of those I had known and loved in my former life in the process.
“Turn left down the next block,” I instructed Ian, hoping he could hear me through the insanity surrounding us.
“There’s a next block?” he responded, his pace slowing a notch. “How do you tell where one ends and the other begins?”
“Follow me.” I passed Ian, picking up my pace. Whatever happened tonight, whatever happened to me, I couldn’t – no, I wouldn’t – let them suffer for the choices I had made. Out of the corner of my eye, I could see Ian, matching me stride for stride, unwilling to let me dive  headfirst alone into the imminent confrontation that awaited us. Swiftly, I rounded a corner next to a small cafĂ© near my old apartment building and bolted down an adjacent alleyway.
“How much further?” There was a touch of apprehension in his voice.  I had noticed it building with each step we made, with each breath he took. 
“Five blocks,” I answered him in an unaffected tone, trying to keep my own fears from betraying me. “The lodge is five blocks ahead.” My voice shook more than I would have liked.
“Are you okay,” he asked, concerned.
So much for being the strong one. Ian gazed at me between periodic glances back at the street ahead of us; his green eyes pierced through my helmet as though he was trying to see inside my soul for the answer. “No,” I finally answered him truthfully. “There’s nothing okay about me right now.”
“We’ll find him, Celaine.  We’ll find Chase and the rest of them, and we’ll get them out safely.  It’s not them he wants…”
“Exactly, Ian. It’s me he wants. I’m the reason for this.  If they die tonight, it’s because of their association with me.” I paused, the tears welling in my eyes, momentarily blinding me.  “If you die tonight…”  Suddenly, my body was forced to a halt as though I’d been strapped to a tether that had run out of slack. Looking down at my arm, I saw Ian’s hand and the firm grip his fingers had around my wrist.
“Listen to me.” He pulled my mask up, forcing us to stand face to face, green eyes to brown eyes. “I’m not even going to pretend to know what’s going to happen tonight, or what the final outcome will be. Whether we survive this nightmare, or whether we don’t, I just want you to know that there’s no place I’d rather be than fighting alongside you right now, no matter what the consequences. Leaving Norfolk with you was the best decision I ever made, and nothing, nothing, will make me regret the chain of events that brought me to this place at this very moment.”
            I felt a tear escape from the corner of my eye, and Ian’s gloved hand swiftly wiping it away before it had a chance to fall down my cheek. “Ian, I…”
            “I know you don’t feel the same way about me…”
            “Ian, stop. I…”
            “Let me finish my thought,” he interrupted me again, gently touching his fingers to my lips. “Please, Celaine, just let me just get it out. Then after I do, you can tell me how wrong I am.” The tiniest hint of a smile crept across his face, the rest of which was betraying the coolness he was trying so hard to project.  I nodded without taking my eyes away from his, and the new creases that had developed in the corners of them over the past few weeks. Worry.  We’d both experienced enough of it to last us a lifetime. “I know you don’t love me the same way you loved him, or, perhaps, the way you still love him now,” he began again.  “And although that’s frustrating as hell, I also know that I can make you happy again, and I think you know that, too.  You’re just too afraid to admit it to yourself.” He caressed my cheek, pausing to let me absorb everything he had just said, not expecting a response in return.  “All I ask is that you promise me one thing.”
            “Anything,” I answered him automatically, knowing that I meant my response wholeheartedly, even though I hadn’t fully processed the weight of his words.
            “Promise me that if we both make it out of this alive, you’ll give me a chance to make you whole again."
            The tears fell down my face unhindered in their descent. “I promise.”
            Ian leaned in closer to me, pressing his lips to my forehead.  “Thank you,” he whispered.
            We stood there together in an embrace that no amount of force could separate – an island in the sea of chaos that crashed around us – before finally allowing reality to set in again.  Together, we resumed our journey into the unknown, to whatever fate had in store for us.
            I could hear the beat of the drums. Their echo haunted me with every step I took, with every beat of my own heart.  They beat for Ian, whose love I didn’t deserve; they beat for Chase, whose life was now in our hands. 

Saturday, October 19, 2013

Vendetta Nation-Now Available

The second book in the Enigma Black Trilogy - Vendetta Nation - is now available on Amazon here

                                                          And it has received its first five star review already:

I've been waiting on pins and needles for the this book after finishing the first, and it was definitely worth the wait! The storyline is just as compelling, and the characters so well-written, you can't help but love or hate them. Celaine and Ian's fight against the Man in Black continues but not-so-new foes take a big step forward in the plot of this story, which I can only imagine will lead to an epic clash in book 3. Relationships are changing at the same time, and I find myself unable to pick a side because I love all the characters involved, so I can't wait to find out how it all ends!

Here is the synopsis:

What if you gave up everything you knew and loved for a lie?

Nearly one year ago, Celaine Stevens made the choice to leave her life behind to join The Epicenter, an organization charged with bringing down The Man in Black - a terrorist and the one responsible for the murder of her entire family. Battling conflicting emotions and the pain her decision caused, Celaine tells herself that her sacrifices will all have been worth it when The Man in Black is finally apprehended.

But, instead of hunting the elusive entity, Celaine and her partner Ian Grant find themselves preparing for a war looming on the horizon. Angered by President Brook’s ever-tightening restrictions, a rebellion has formed, leading the charge against the President and anyone who stands in their way. Caught in the middle, Celaine and Ian are forced to choose sides, having to decide whether to align themselves with the rebellion, whose motives they question, or obey the orders given to them by an organization they are steadily growing to distrust.

A war is sparked by deceit, new alliances are formed, an unexpected love begins to blossom, and true identities are revealed in Vendetta Nation, the second installment of the Enigma Black trilogy.
 
Thank you all for your continued support!

Wednesday, May 8, 2013

5 Reasons to Write Dystopian Novels


I consider myself an eclectic writer in that the genres for the stories I’ve written tend to vary, from romance, science-fiction, dystopian, political thriller, paranormal, adult, young adult, and chick-it. In fact, my first novel, Enigma Black, is four of those aforementioned genres all rolled into one. But, if you were to hold me down, kicking and screaming, after careful thought, I would tell you that the increasingly-popular dystopian genre is by far my favorite type of novel to write. Why? I’m glad you asked because I just so happen to have five reasons why I prefer to write dystopian novels:
1.  Better world building. A dystopian setting offers a literal world of possibilities. Whether your literary world is governed by anarchy, oppression, a disease that forces its  inhabitants to live in seclusion, forced pairings, or generalized fear, the dystopian genre allows you more of a creative liberty (in my opinion) to multiply the darkest fears buried in the deepest recesses of your mind and bring them to life on paper.
2.  More kick-butt female protagonists. From Katniss in The Hunger Games to Tris in Divergent, dystopian novels are rife with strong female main characters who make wonderful role models for young women, and have more honorable traits for others to emulate, such fearlessness and strength (as opposed to selfishness and a dependence upon others to save the day).
3.  Because rainbows and sunshine get old. I, for one, don’t want to read a novel where everything is hunky-dory all of the time nor do I always want there to be a happy, sugar-coated ending. I want there to be tension; I want to feel a sense of impending doom amidst a world I can’t seem to figure out. And you get all of that in the dystopian genre, making it one of the more exciting genres to both read and write.
4.  You can stack other genres on top of it. There is so much more you can work into a dystopian novel. You can have an epic romance, an alien invasion, a political thriller, or even a horror story (think zombies), all set within a dystopian environment. Really, the world’s your oyster when it comes to the dystopian genre, allowing you to be a tad more creative with less restrictions than some of the other genres impose.
5.   Heroes rise from oppression. One of the things I love most about the dystopian genre is the ultimate banding together of those who oppose it. Alliances are made, heroes are born, and a darn good story usually ensues as a result.
 I recently took part in a blog tour with RABT Readers. The following are just some of the reviews that Enigma Black garnered during that tour:
 


Tuesday, May 7, 2013

Excerpt From Enigma Black



The automatic door was now more manual than automatic. I banged on it with my fists, attempting to do the job the explosion had been unable to accomplish. When that failed, I braced a leg on one side of the frame and, with my aching arms, attempted to pry the door open like a human crow-bar. No luck. After a couple more minutes of kicking, smacking and invariably flipping the door off, I realized that what I was doing was not going to work. Undeterred, I scanned the rubble for an idea. A piece of scaffolding stuck out like a sore thumb within the concrete. Lunging towards it, I prayed it would be suitable to pry the door open. Just as I bent down to grab it, I felt one hand on my shoulder and another one around my waist, attempting to pull me back.

“What in the hell do you think you’re doing?” A man whirled me around to face him. His eyes were wild, his hair gray from soot. He appeared to be a security guard or an officer of some sort. It was too hard to tell based on what was left of his tattered uniform. “There’s nothing left. Do you hear me? The ramp is gone. You’re going to get yourself killed trying to go out there.”

Even though I heard the words he spoke, they made absolutely no sense to me. What did he mean when he said the ramp was gone? It had been there just twenty minutes ago. Deciding that the good officer must be crazy, I broke away from him and proceeded onward in my quest to pry the door open, grabbing the piece of scaffolding from its concrete tomb.

“No!” he screamed at me again, lunging to restrain me.

I’d had enough. As much as I didn’t want to do it, I felt like I had no other option but to disable the officer, as reasoning with him was clearly not going to work. Raising my arm, I forcibly swung it back, striking him in the chest. The force of my elbow to his rib cage caused him to release his grip on me enough to where I was able to break away. Once free, I whirled around, swiftly kicking him in the legs as hard as I could in the hope that it would incapacitate him long enough for me to pry the door open.

Fetching the metallic bar from the rubble, I jammed it between the seal and the frame of the doorway, pushing it with all my strength. At first, it put up an admirable fight, but after several solid jabs it finally conceded defeat, slowly squeaking open. Smoke — thicker and black in color — poured into the store from the outside, sending me into another coughing fit. Holding my breath, I gave the bar a few more solid pushes until enough room opened up for me to squeeze my entire body through the door. Through the clouds of smoke, I took off down the crumpled concrete. In the suffocating fog, snowflakes stabbed my face like tiny daggers, grinding salt in my wounds.

My eyes worked to focus in the direction I’d left my parents’ vehicle. I walked carefully down the pavement, looking for the familiar sight of the garage. I should have been there by now; this walk was taking entirely too long. The smoky haze slowly became less and less dense the further out I walked until a wayward gust of wind blew past me, punching a hole into the unknown. What it revealed was a scene I hadn’t expected.

Instead of the familiar ramp, I found myself standing on the edge of a ledge with the rest of the city spread out before me. Sirens surrounded me. I shielded my ears with my bloodied hands. A strange sound approaching from above drew my attention to the helicopter that was circling the mall. The hurricane-force wind it generated pushed my broken body in all directions. Did I take a wrong turn? Was I that disoriented?

No, I wasn’t. This was where I’d left my parents and Jacob. They had been right here waiting for me. A thought occurred to me then; a thought that rendered my delicate stomach as fragile as an egg shell. Taking in a deep breath, I staggered to the edge of the cliff, peering over the edge to see what I had feared and somehow already knew would be there.

Friday, February 8, 2013

Putting on the Big Author Panties/My Favorite Review Thus Far

I posted this as a rant on my Facebook page, and decided to share it on my blog as well.
 
The following review came in this morning on Amazon and Goodreads and had me sweating bullets ever since I noticed that the blogger had marked Enigma Black as “currently reading” on Goodreads. Why was I so anxious? This blogger is known for her brutally honest reviews. In fact, her reviews are so honest that authors whose books she didn’t care for began seeking retribution against her on her we...bsite, giving her books (yes, she’s an author, too) negative reviews even though they’ve never read them. As an author, this behavior by fellow authors sickens me. For starters, you never, ever comment on a poor review (no matter how much it bothers you) and you most definitely never act like a middle schooler and take your frustrations out on someone purely because they were expressing their own opinion. After all, isn’t that what we indie authors are looking for, an honest, unbiased opinion of our work? It irritates me that this particular blogger has had to hide her identity from the public just so she can safely review the books that she PAID for. This just goes to show you that not everyone is ready to hear the truth. Heck, even traditionally published books receive poor reviews. Take any of the Harry Potter books, for example. Do a search on Amazon and I’ll guarantee you that you won’t find a single book in that series that doesn’t have at least one 1* review. “Well, that reviewer must be crazy,” you say. No. It’s just that the book didn’t resonate with them. And that’s completely okay. Just because someone goes against the grain and gives their honest opinion on how THEY feel about a book doesn’t give anyone the liberty to go batshit crazy on them. After all, as indies we have a hard enough time finding reviews and readers for our books. Let’s not taint that further by acting unprofessional.

And, yes, I would still have made this rant even if this blogger had hated Enigma Black.  And, no, I've never spoken to this blogger before, nor do I know who she is, but I'm going to take her up on her offer to contact her on her blog's FB page.

Here is the review from blogger evilicious whose blog is called The Good, The Bad and the Ugly:

"Obviously - given my rating - I love this book. I was torn between a 4 and a 5 star.

I am leaning toward a 5 star but there were a few issues for me that made it a 4 star. Mind you - I LOVED the story overall.

THE GOOD:

The plot was brilliant, and totally sucked me in. I love stories that are pure escapism - and this was one of those. There were plenty of twists and turns (which I love) . Some were predictable but others weren't. I was not expecting what happened in the last few chapters at all - well I kind of was - but I thought it would involve a different character.

The characters are well drawn, and relatable, the story flowed nicely and was well written. A few minor editing issues, but I have seen worse in traditionally published books.

BTW - ending was a cliff-hanger. You figure this out as you get toward the end of the book so it's not jarring, and it's not the sort of cliffhanger that annoys the crap out of you. Actually I started to worry the author was going to sell herself short (for purely selfish reasons) leading up to the climax, and that it would be a complete read.(Phew!)

THE BAD:

Overall I loved the story but it took me a bit to get into for two reasons (but then BAM! Suddenly I was zooming through the pages like nothing else). The dialogue was overly lengthy at some points and was slightly 'off' character if that makes sense, at times. I guess it was sometimes a little formal compared to the narrative. I think there should have been a little more world building to help readers suspend disbelief *SPOILER ALERT (sort of) a nationwide curfew is imposed and I kind of went 'WTF - as if! It would take a lot more than that' , so strengthening this earlier in the story would help, though as I got further into the book there was more to back this up and strengthen it END (the-sort-of-spoiler) ALERT *

There were also a couple of areas where the wording didn't work. One that comes to mind is 'few' meaning three, but the author used it to mean two. Little things like that suck me out of a story.

IN FACT - I think the author might want to do one final edit, taking some of my points into account, and those of other reviewers as I have a feeling this one will rocket up the Kindle charts as word gets out! And we all know how nasty some reviewers can be when a book suddenly gains popularity. (Note to author, feel free to contact me via my FB page if you would like more clarification - I really do think you are onto something here and you should be proud of your achievement. [...] Being an author myself (and no dear reader - I am not about to tastelessly link my books - or even my author name) I understand how easy it is for these things to slip through in the editing process.

THE UGLY:

Nothing - because despite my few issues (I like to show both sides) this is a brilliant story that sucked me in and the issues obviously weren't enough to stop me reading. In fact I couldn't read it fast enough. An absolute page turner that kept me up late into the - er - morning, and one I wouldn't be surprised to see snapped up by movie producers in the near future. First time I ever said THAT about an indie book!"

Brought to you by Evilicious Book Reviews: The Good, the Bad and the Ugly

Thursday, January 3, 2013

Review of Enigma Black from K.A. Perkins

REVIEW - ENIGMA BLACK by SARA FURLONG-BURR

There has been a series of bombings across the USA, perpetrated by 'The Man in Black', and Celaine's family has been caught up in one of the most devastating, changing Celaine's life irrevocably. This is powerful and emotive storytelling and we are drawn into Celaine's world from the start as she tries to put her life back together.
The trauma to Celaine's life is mirrored in the changes to the USA as the country and all it stands for.is broken by these relentless attacks and the USA descends into dictatorship. But who is 'The Man in Black'? How does he single-handedly bring down a democracy such as the US? And how can he be stopped? Celaine will have to work this out once she is 'selected' to join a secret government agency created to do just that.

This is exciting, fast-paced, action-packed and at times humorous and heart-breaking. The Science Fiction elements sound plausible and well thought through and Celaine is a great main character – resourceful, sarcastic, loyal and caring with a great wit and all the doubts any one of us entertain at one time or another. – and it is impossible not to empathise with her. I'm very much looking forward to the next book in the series.

Look out for an interview with the author, Sara Furlong-Burr, coming soon.

Enigma Black is available from:
Amazon.co.uk:
or
Amazon.com:

Wednesday, December 19, 2012

Reviews, Reviews, Reviews




The following are the seven reviews (six 5-Star and one 4-Star) garnered by Enigma Black thus far on Amazon.com, and, yes, although there are some people who I know personally included in the reviews, there are also those individuals whom I never met before.  Presently, Enigma Black in the hands of two book bloggers as well as a small publishing company for reviews.  Hopefully, their reviews will be as favorable as these ones are:






"I'll be totally honest, I bought this book because it was written by a friend... and ended up being totally amazed! When reading, I would forget that this book hadn't been written by John Saul or Dean Koontz, two of my favorite science fiction writers! I got lost in the story of a young girl, Celaine Stevens, who loses her entire family in an act of terror when she was just a mere seventeen. The story takes you from that seventeen year old girl to the young woman that only wants revenge on the "Man In Black". Although this read has numerous climatic areas, you also get lost in the love story between Celaine and Chase. If you love both sci/fi and romance check out this book. I cannot wait for the next book in this trilogy ~ the waiting is gonna kill me..."-Janie W.

"Enigma Black, is a wonderful read. Fiction has never been my go to for reading pleasure. However, as an educator being well read in all genres is essential. From this new found revelation my love of fiction has grown. Enigma Black is a most read."-Heather H.

"An unlikely heroine. A mass murderer who's frustrated the President so effectively he greenlights a decision that would (if publicly known in our world) create national panic, not to mention having a moniker so ominous it becomes a parallel for his taste of art. Wise-cracking, techie virgins and the perfect balance of human tragedy and triumph. That's Enigma Black for you, and Sara Burr whips up a story where diverse characters and situations can thrive. Enigma accomplishes an appeal to many tastes without losing any of its authenticity, which isn't exactly a cakewalk. In between the drama, flying fists, explosions, and scientific experiments there lies comedic relief in the dialogue, especially whenever the protagonist's best friend Lucy opens her mouth, and a budding love triangle worthy of any watercooler gossip.
One enjoyable, pre-Christmas shopping trip among a family at The Lakes Mall turns into a plotted terrorist attack that, just about, takes the life of every member. Teenager Celaine Stevens miraculously survives but is left with more baggage than an airport facility (thank you, I'm here all week!). Celaine is sent to live with her aunt on the East Coast, and years later is adopted by her boyfriend's family and finally able to be at peace. That doesn't last long, as one night following work Celaine is stalked and offered an unfathomable request by a man claiming to belong to a militant rogue organization. What the man asks of her is to help take down the infamous Man in Black, the terrorist responsible for her family's demise. This request, though unorthodox and quite ridiculous, triggers a primal need of retribution in Celaine, and she plunges into the unknown. And let me tell you, we should thank her for it.
Enigma Black equally entertains and satisfies the need for an intelligent read. Burr asks us what we would do if forced in the protagonist's position, one of unresolved, constant emotional pain. Where most people have already embraced some form of coping and wouldn't dare take on an evil elusive enough to go untraced for over a decade, Celaine remains in the minor. She's crazy, folks."-Shaun L.


" I just finished reading Enigma Black and can't wait for books 2 and 3! Sara Furlong Burr has a real knack for giving the characters true personalities. The emotions that I felt were so real to me that I actually teared up and felt distraught while reading some of the sad things; I caught myself holding my breath while reading of the disasters and deadly encounters, and I also felt anger. It takes a good writer to be able to bring out such emotions from readers. I can't wait to see what Sara has in store for the future!! I've recommended this book to a lot of people."-Neva C.

"I love reading but it normally takes me a month to finish a book because of my crazy life. However, in Sara Furlong Burr's book, Enigma Black...I finished it in four days. I could not stop reading it. I downloaded it on my phone, my laptop, and even my computer at work. It became an addiction, and I couldn't stop reading. Sara has an amazing talent to pick you up, and totally place you in another world. When reading these pages, I felt as if I were there, I could see what the characters seen, hear what they heard, felt what the felt. The whole world around me disappeared. Sara was an expert at not only making you feel like you were there, but you felt all the emotions that the characters felt. I found myself weeping during the sad parts, laughing out loud at the main characters sense of humor and sarcasm, and my heart raced during the fight scenes. When Celaine's heart broke, so did mine.

Sara did an amazing job with her first book. It was very well written. This book was captivating, stimulating, and reached in and grabbed your soul and emotions. I can't wait until the next one comes out!"-Wendy


"I started reading Enigma Black with lowered expectations because this is the first published book by the author. That being said, I was blown away by how engaged I became with the storyline and main characters. I felt for Celaine, the main character, and what she had to go through to avenge her her family's untimely deaths by the Man in Black. There were twists in the story, unexpected deaths, and interesting surprises that kept me engaged and intrigued by how the story would end. I will definitely be reading books 2 and 3 in this trilogy."-Kendra A.

"Despite some grammatical issues, Enigma Black is an easy read steeped in timely political drama. With an apocalyptic theme, Enigma Black tells the story of Celaine Steven's quest for revenge on the man who murdered her family. The writing sometimes slows and it can be difficult to stay focused. I began to care less about Celaine and more about her partner in retribution, Blake Cohen. Celaine often comes across whiny when she's trying to be witty. However, I have to give Ms. Burr props for writing a story that is instep with our current political unrest and for creating an amazing twist that will leave you stunned. For that alone, it's a must-read you don't want to miss."-rantingwriter

Enigma Black can be found at: http://amzn.com/B00ABVO2ZC

DECEMBER SALE:  For the month of December, I'm offering it at a reduced price of $.99

SPECIAL OFFER:  For the first three people who read this blog post and of whom are interested in reading Enigma Black and writing an honest review of it on Amazon.com, I will gift the book to you to your e-mail address.  Again, this is for the first three people who respond via e-mail to me at saraefurlong@gmail.com

Have a wonderful holiday season!


Monday, December 26, 2011

The Unveiling of the Cover for Enigma Black



First of all, I'd like to wish a very Merry Christmas and Happy Holidays to all of my followers.  You've all aided in truly brightening a rather dismal year for me. Here's to hoping that 2012 is a million times better.

Every writer develops a vision of their work at some point in time during the writing process.  A vision of their characters (whether they're short, awkward, have freckles, or jet black hair).  A vision of the setting (in the middle of a bustling city, a blooming meadow, or lost in a galaxy far, far away.  A vision of  each scene in the novel (the looks on their character's faces during a pivotal moment, the intensity of a fight, the beauty of the summer day when the hero and the heroine share their first kiss).  When and where this vision occurs depends upon the writer and can vary, being as fickle as a Bachelor contestant. For some, this vision may change repeatedly during the writing of the first draft and again during the final editing process.  For others, it was the vision that inspired the book to begin with:  A photograph taken on a beach overlooking the aquamarine shimmer of a wave hammering the shore; watching a mother and child holding hands in a hospital bed; or the malevolence of an abandoned building rising toward a darkened sky.

In my case, Enigma Black (a science fiction/dystopian/superhero novel about a woman who transforms from victim to assassin) was born from images; a series of dark images, coupled with my admiration of the music of Evanesence and a brief detachment from reality.  Of course, just as the characters, setting, and scenes are visualized, naturally, so are the covers encasing those visions. I have to admit, when it came to the cover, I had several different visions in mind.  I'm more of an abstract person.  To me, a little can say a lot.  With that in mind, I didn't want my cover to be too busy, but more of an accurate reflection of the inner turmoil faced by each of the characters with a hint of mystery attached to it.  I also wanted the colors (red and black) depicted in a painting in one of the later chapters to be represented as they represent the good vs. evil struggle that is prevalent throughout the book and the series as a whole. 

With all of that in mind, a wonderful graphic designer came up with the amazing e-book cover shown below that I believe is the perfect culmination of all of my visions for Enigma Black:




The aforementioned designer assisting me with bringing my vision to fruition is the very talented George Arnold, graphic designer at WGA Designs (and the husband of the equally as talented author, Carolyn Arnold).  To see more of George's wonderful work, click the link to Carolyn's blog or contact him at george.arnold@rogers.com. 

Actually having a cover is motivating me to work even harder on my final edits.  As the time draws nearer to my novel's actual release, I'll post a brief synopsis and sample chapter on my blog. 

My next post will return to business as usual for my subscribers and will focus on getting through the daunting editing process.  Have a great week!


Thursday, May 5, 2011

Excerpt, Rinse and Repeat

Why don't you make to it easy on yourself tonight, Sara,  I thought to myself. Post an excerpt.  It'll be a quick and easy post.  If ever there were famous last thoughts...

If you've been keeping up with my blog, you already know that I like to regularly post tips and whatnot for fellow aspiring authors.  Tonight, my brain just wasn't working < insert sarcastic remark here> so I decided to post an excerpt from my unpublished novel--of which it turns out needs more editing than I originally thought.  Which brings me to #7 of my previous blog post:  Advice I've Encountered Along The Way .  The last time I revised, Enigma Black, I thought I was done--finally, it was perfect.  My how a difference only a matter of weeks can make.  Needless to say, I read the excerpt with renewed faith of how completely true #7 really is.  It's vital...no....IMPERATIVE for a writer to set their work aside no matter how anxious they are to present it to the world.

If you don't believe me, I challenge you to sit down and write a short story (a page or two), then edit and polish that short story.  Your editing has rendered it perfect, right?  Okay, now take that perfect work of art and place it on your desk, inside a folder, or tape it up on the wall next to your Justin Bieber posters...don't judge.  Let it stay there unread for three weeks.  After that three weeks, I would be willing to bet your once perfect short story is now riddled with more errors than a Jersey Shore grammar lesson.  Why?  Simply giving your work a literal once-over isn't going to cut it especially if you've done nothing but stare at the same passages for an extended length of time.  After a while, your eyes grow accustomed to the material before them rendering the most obvious of mistakes unnoticeable.  The only way to remedy that is to look at your work with "new eyes" and those new peepers are only obtained after a lengthy retreat away from that material that wore them out in the first place.  In short:  Edit, set aside, edit, set aside, lather, rinse and repeat.

Enough of my ramblings.  The following is a small excerpt from Enigma Black (of which I'm sure will be revised at least a half dozen more times before I re-query or Kindle it):


EXCERPT

Blake paced the sidewalk taking feverish drags off a cigarette out of the pack he’d managed to keep stashed away from Victor‘s prying eyes. Smoking--especially when it pertained to someone of his kind--was not exactly smiled upon back at headquarters.  “Damn it,” he grumbled to himself in a tone unintentionally amplified by the deathly still night.

He threw the half-smoked stub onto the ground stomping it out against the cracked concrete.  The burnt orange embers from the dying flame held his gaze hostage as they slowly faded into nothingness leaving him alone to his thoughts once more.  There’d only been one other time when a woman had made him feel the way he felt now and that had ended miserably. So why was he reconsidering changing his philosophy for this one?  Was she so different?  Yes, he already knew she was.  She was unlike any other woman he’d ever encountered.  Never before had a woman been able to both simultaneously intrigue and terrify him.  Try as he might, he couldn’t deny his feelings for her even though he knew he had to.  For the sake of the mission and his pride, he had to. 


But that was easier said than done. There was just something about the way she smiled that crooked smile of hers; the way her eyes penetrated his very soul.  She always had an impeccable, smart ass retort to even his most audacious comments and he'd been blindsided--to say the least--by how completely enamored with her he'd become since her arrival at the Epicenter.  Surely, her feelings for this Chase guy would cool down eventually. Especially after he found some other broad to shack-up with to take her place. Of course, she'll be devastated when that happens, invariably making him want to rip the guy’s head off for hurting her. Then again, if that were to happen, she’ll no doubt need comforting and he was her partner after all.
 
Running his hand through his disheveled hair, he nervously pulled out another nicotine fix, stuck it in his mouth, and lit it behind his cupped hand. Nerves always had a way of bringing out the chain-smoking-pacer in him.  Tonight was no exception. Ash formed on the tip of the freshly lit cigarette, teetering precariously from its edge, until loosing its battle with gravity and descending downward where it landed on the ground just slightly behind his footsteps.

“Just tell her now you idiot,” he muttered to himself. 

He had to tell her and he had to do it now, if only to maintain his sanity.  At the very least, it would give her something to think about; something to consider when she was struck with the realization that Chase would forever remain nothing more than just a fond memory. Perhaps then she would finally be able to look him; to enable herself to reciprocate those same feelings burning within him tonight.  Taking one last drag, he tossed the cigarette aside watching as it rolled into an awaiting storm drain. It was time to man up.

Shuffling back up the sidewalk, he hunched over to crawl through the remnants of the furniture store doorway, quietly making his way back to the mattress where she lay…sleeping.  He’d only been gone twenty minutes and already she was dead to the world.  He eased his body down carefully at the foot of the mattress making his best effort to avoid disturbing her.   There, in the deafening silence with his head resting in his hands, he listened to the melody of her slumber.  This was as close to perfect as he was going to get tonight.  Tomorrow, he thought to himself.  I’ll tell her tomorrow.

In that instant, she began stirring in her sleep, mumbling unintelligible words he couldn’t quite make out until a single, undeniable name escaped from her subconscious lips shattering any hope he'd been able to scrape together.

“Chase,” she moaned.

Damn it.

Wednesday, April 20, 2011

They Say We're Craaaaaazzzzzyyyy

"Writing is a socially acceptable form of schizophrenia.”--E.L. Doctorow


This is one quote I keep coming back to time and time again as it's one of the most truthful sayings I've come across throughout my meanderings on the web. Writers:  They say we're craaazzzyyy; Maybe we're craaaaazzzyy; I think we're craaaazzzy; probably.  Okay, I'm turning off the Gnarls Barkley machine now.  Incidently, for the longest time I used to believe the artist performing that song was none other than "Charles Barkley".  I used to think to myself, man, is there anything that man can't do?"  I blame the blonde highlights. 

Alright, back to the blog.  As writers, we are all absolutely out of our minds.  Why, you ask?  Because no other profession--except, perhaps, the health care industry--deals with the absolute frustrations and all out disappointments that our chosen paths do.  In no other profession does one have to bear their soul to the entire world for its harsh criticism, praying to the God's of publication to grant us their ultimate approval.  In no other profession is rejection met with the cold, impersonal form letter of doom.  As writers, we spend weeks, months and, in my case years, mulling over the stories in our heads that won't shut-up (more on that later).  Then, once we finally decide to commit to our "someday I'm going to write a novel" statement we've all made to our family and friends, we virtually torture ourselves over character development, plot lines, dialogue, research (so we don't sound like idiots), and a slew of other gems that come with the territory.  Everything has to be perfect, a fact of which we beat ourselves over the head with repeatedly.

In most professions, after that insane amount of time and work is expended,  the project is considered complete. For us writers, however, it's only the beginning.  Upon completion of the first draft, we begin to realize the torture we thought we were experiencing  before was nothing compared to the hell of revisions. Revisions; the bane of most writer's existence.  I have yet to come across an author that likes doing them and, if I ever do, I will have no choice but to question their sanity.  All the hard work the author has poured into their manuscript is cut.  Dialogues and scenes are dramatically shortened or deleted entirely; moments of sheer genius are rendered meaningless.  Revisions leave no stone unturned and, even after you've gone through your manuscript 5...6...even 7 times, you've still not caught all that will later be found wrong with it by an agent and/or editor. 

After the revision process comes the even more sadistic querying process. This is a whole knew demented breed of animal of which I addressed in earlier blogs.  The bottom line is, even with all the blood, sweat and tears we pour into our novels, the majority of them--and a good share of us--will be met with nothing but rejection and heartache from the overlords of conventional publishing and our families and friends who want to know when our novels will be on the bookstore shelves and when we're going to purchase our first yacht.

Why, then, do we write?  We write because the fiber of our beings demand it.  There's nothing more exhilarating than completing a story that has been burning a hole inside you anxiously awaiting to explode onto the pages.  We write because that's our identity.  The written word is how we've chosen to express ourselves, how we want to expose ourselves to society.  We write because, well, maybe there's a little craaaaaazzzzzyyy in us after all.

So...Sara, that quote you mentioned earlier has absolutely nothing to do with the rantings spewed above.  Well, the mention of schizophrenia made me think of crazy and crazy made me think of the rigmarole we writer's have to go through to get a bite of the apple of success.  The rest just snowballed from there.

The way I take the wise E.L. Doctorow's quote to mean is that, in writing, we all hear voices (whether we're willing to admit it or not).  These voices are the characters in our books pleading--in some cases, demanding--for us to tell their stories.  For me, I had the storyline for Enigma Black on constant repeat in my head for nearly ten years before I finally began hammering it out.  As writers, we rely on these voices to give us ideas, to foster new ideas for novels.  As annoying as they can be (and as crazy as they can make us feel), they are our best allies and we'd be incredibly screwed if they were to shut-up completely.

Embrace schizophrenia.  Your readers will thank you for it.

My next blog will feature some of the deadliest sins a writer can commit.

Sunday, April 17, 2011

First Person vs. Third Person: A Fair Fight?

The beauty about writing is that there are no boundaries; no set style; no rules.  An author can write about painters and pirates and prostitutes (oh my).  They can take their readers to the Alps, the Vatican or the back alleys of New York.  There is unlimited ground to cover and a writer has the luxury of creating their own map to traverse it.  Since there are no rules when it comes to the who, the what and the where in writing, it only makes sense that there would also be very limited, if any, rules when it comes to the how in writing.  Thus, today's blog topic: First person vs. Third Person Point of View.  Before the two duke it out below, I will give you my take on the topic (sorry, you're not getting away that easy).

Personally, I find it's a lot easier to write in first person vs. third person.  However, with that said, many agents/publishers consider first person point of view to be amateurish, ostensibly creating a rather nasty barrier between writers who prefer this technique and their odds of achieving publication.  This pickiness is one of the many, many reasons why publication through mediums such as Kindle and Nook are becoming so popular. 
First person point of view, in my opinion, takes the readers along for the ride more effectively than third person.  Afterall, aren't first person shooter games a hell of a lot more interesting than first?  In first person, you tend to relate to the protagonist more and the story flows more fluidly (both for the reader and the author).  What's the down side to writing in this format?  The plot.  If you have a rather complex and involved plot or subplots, writing in first person is very restrictive to how far you're able to explore those plots as the protagonist has to essentially be involved in almost every aspect of each one.  This is where third person works more efficiently.  Third person doesn't limit you to one character or one setting at one time which is why you will see third person used more in adult literature.

In my novels, Enigma Black and Vendetta Nation, I found that I wanted to focus on characterization as well as involved subplots.  Thus, I opted to go with both points of view (which is widely frowned uponm, I've never been one for the conventional).  Albeit, I use the third person points of view sparingly with its presence appearing in very limited chapters.  I also do a clear section break as to avoid confusing the reader.  This is incredibly important if you're going to blend these two writing styles successfully. 

Initially, I began writing Enigma Black (the first novel in the series) in third person.  It wasn't until the third chapter that I realized this technique just wasn't going to work and decided to give the finger to "conventional" by adopting my own "no rules" philosophy.  In my opinion, it's worked out great for me (others may and probably do disagree) and I have a massive amount of respect for those authors who can blend the two styles harmoniously.

With my two cents out of the way, I present to you first vs. third person point of view.  Lets get it on!

First Person

-Done from a single character's point of view (POV for us cool people) throughout the book, it gives the reader a biased opinion of the other characters through the protagonist's eyes.

-We as the reader know exactly what's on the protagonist's mind (except, if you're Edward Cullen and the protagonist is Bella, then you're just f***ed).

-Usage of the word "I": "I wasn't sure what I was going to do"; "I thought"; "I wanted to go bury my head in a hole after reading...".

-More women write in first person than men (I actually think I have yet to read a first person written by a man). 

-First person is character oriented (men seem to be more plot/action/suspense oriented which may be a reason why they shy away from first).

Advantages of First Person

-The writing flows easier.  It's good for beginners.

-Good for the insertion of humor

-Strong characterizations

Disadvantages of First Person

-If you aren't spot-on with characterization it will be blatantly obvious.

-Subplots will be difficult to formulate and maintain making it difficult for a series character to carry a plot-oriented storline.

-Your story can very easily become monotonous.

-Compared to third person books, there are not that many first person books in publication.

-Mainly seen in YA

Third Person

-Can be done from one character's POV or many character's POV.

-The POV character is referred to by their name or he/she: "Roger wasn't sure what was up with Sally"; "Men," Sally muttered in disgust.  It was clear to her that he just didn't get it.

Advantages of Third Person

-Complex storylines with multiple subplots.

-Suspense can be built by switching POVs.

-Publishers are more interested in third person POVs.

Disadvantages of Third Person

-It's easier to confuse the reader by hopping into several character's "heads" at once.

-Lack of character development.

-By repeatedly switching scenes and POVs, it's easier to alienate the reader from the characters and the storyline.


The bottom line is a writer should write what they want to write and in whatever style they feel comfortable writing in.  Should an author venture away from their comfort zone and test the waters once in a while?  Yes, of course they should.  But if you find that doesn't work for you, then write what does.  Never compromise yourself and your style for the wishes and desires of others.  Trends are fickle and so is the literary world.  One day your style could be discouraged; the very next day, it could be encouraged.

References:   http://www.author-network.com/adams4.html


Wednesday, April 13, 2011

Creating Compelling Characters: Don't F*** up the Landing

As always, Writer's Digest is a plethora of wealth and wisdom for fellow writers.  The article below entitled "How to Craft Compelling Characters" by David Corbett is just one more of those gems.  Mr. Corbett's article details his take on creating memorable literary denizens that readers can relate to and, in some cases, become so emotionally attached to that they can literary feel their pain.  It's a fine art, getting complete strangers to care so much about your characters that they can't get them out their minds. It's also a technique that all writer's must be able to capture if they are to have any hope of becoming successful.   For me this character emerged in the form of Howard Roark in Ayn Rand's The Fountainhead.  From the getgo, I found myself rooting for Howard Roark, wanting what he wanted, feeling what he felt and celebrating with him throughout all his minor victories along the way.  For those of you who haven't read The Fountainhead, I highly recommend it.  Although Ayn Rand is not an easy author to follow (she includes an incredible amount of detail--unnecessarily so--as well as complex ideals in her works), if you stick with the rather lengthy book, I promise you won't be disappointed. 


Recently, I found myself bathed in an onslaught of ticked-off readers among those I asked to read the first draft of Enigma Black. In my novel, something happens to one of the main characters about 3/4 of the way through the book that completely shakes things up a bit.  Lets just say it wasn't received too well...which completely pleased me in every conceivable way.  Why? Because it meant I'd done my job.  I made them care about the welfare of a fictional character.  Score one for me.  If you don't find yourself drawn to the characters in a novel or you find yourself so emotionally detached from them that you could care less whether they end up living happily ever after or perishing in a ball of flames, the writer grossly neglected their job.


Enough of my ranting.  Mr. Corbett's article details four crucial elements that all literary characters need to possess in order to capture their audience:  a driving need, desire, ambition or goal;  a secret; a contradiction; and vulnerability.  While these are all great examples, I believe an author needs to take it easy on the vulnerability part. A little goes a long way and too much will curdle your storyline like there's no tomorrow. Yes, it's good for a character to possess a degree of weakness, but if you make them too defenseless, the reader will (or should) become increasingly put-off by their behavior. 

To keep with the spirit of Mr. Corbett's four "do's" of creating compelling characters, I've decided to post my four "don'ts":

The Four Don'ts For Authors in Their Pursuit of Creating Characters That Readers Won't Want to Drop Kick


1.  Mopey, Whiney, Bitchy, Pissy and the rest of the seven kill joys:  It's ok to be brooding; it's ok to have your character get a little emo from time to time, but do not under any circumstance drag that mood out throughout the entirety of a book (hell, don't even do that throughout an entire chapter).  A constant state of depression does little more than make the reader want to chuck the book across the room--or slit their wrists.  When your character goes through an emotional, life changing event the reader completely understands that a few pages should be devoted to their reaction to this event.  However, like us here in the real world, the fictional world too goes on and how your character adapts to that speaks volumes for you as an author.

2.  Too passive: 

Bobby: "Hey Katie, I just got a new pair of shoes." 
Katie: "Wow."

Bobby:  "Katie, my dog just got hit by a car."
Katie:  "Wow."

Bobby:  "Katie! The zombie apocolypse is here! We're all packing heat and heading downtown to shoot those MF'ers."

Katie:  "Wow."

Passiveness:  Reserve it for animal reactions (unless your animals are of the psychedelic talking variety) and/or characters on their death beds.

3.  One dimensional characters = flat-lining interest:  This goes along with Corbett's list in that, in order for characters to be somewhat endearing to readers, they also have to be interesting.  Give them a past, an interesting present and a quesitonable future.  If they went bobsledding in the Amazon with a purple giraffe somehow incorporate that  into their storyline.  In order for a character to be liked--loved even--they need to expose themselves until they are standing virtually naked before the judgemental eyes of the reader.  Look at it this way, if your fictional house were on fire and you had to choose between saving a character--Bobby--whose entire life story had been laid out before you to the point where you knew what they had in their refrigerator and a character you knew absolutely nothing about--Katie--which would you choose?

4.  Naughty, naughty-Please refrain from making your characters Mary Sue's (perfect, flawless characters a la Sandra Dee from Grease)  A little naughtiness goes a long way. Now this doesn't mean you need to make your characters deviants with a jacked up history capable of landing them a one-way ticket to hell. Just please, please stay away from perfection.  NO ONE is perfect and everyone has a past.  Even those beautiful figments of your imagination.

How to Craft Compelling Characters
April 12, 2011
by  David Corbett
To make characters seem real, you need to tap into what drives them. Use this foolproof method to bring the emotion of your story to life.
The source and exact nature of the curious phenomena we refer to as characters remains something of a mystery, but the craft of characterization is not.


Although it’s clearly a cause for celebration—or at least relief—when a character appears in the mind’s eye fully formed, the reality is that for most of us, this is a rare occurrence. Certain techniques are required to will our characters to life. We need to draw on the unconscious, memory, the imagination and the Muse until our characters quicken, assume clear form and, with hope, begin to act of their own accord.


Can this process—so inherent to the success of any novel—really be condensed into a single method? In my experience as both writer and writing instructor, the answer is, to some extent, yes. The key is first to understand what your characters require from you in order
to come to life, and then to determine how you can draw on your best available resources to give them what they need.


CHARACTERISTICS OF COMPELLING CHARACTERS


The most compelling characters are those who appear internally consistent and yet are capable of surprise. In my own work, I’ve found that the art of crafting such fully realized characters can be boiled down to four crucial elements: a driving need, desire, ambition or goal; a secret; a contradiction; and vulnerability. Let’s take a closer look at each one.


A Driving Need, Desire, Ambition or Goal


The fundamental truth to characterization is that characters must want something, and the stronger the want, the more compelling the resulting drama. This is because desire intrinsically creates conflict, the primordial goo in which character is formed.


Take, for example one of the most memorable characters in American literature—Blanche Dubois, from Tennessee Williams’ A Streetcar Named Desire. At the start of the story, Blanche has lost her family home and has been left with nowhere to stay. Desperate, she has come to New Orleans to find her sister, Stella, and ask to be taken in.


This is a perfect demonstration that simply by giving the character a deep-seated need or want, you can automatically create conflict, for the world is not designed to answer our desires as easily as we might hope.


A Secret
For your character, a secret is that inclination or trait (such as a psychological disposition to dishonesty, violence, sexual excess, or the abuse of alcohol or drugs, to name a few) or an incident from the past that, if revealed, would change forever the character’s standing in her world, among co-workers, neighbors, friends, family, lovers. Secrets inform us of what our characters have to lose, and why.


Drawing on the example of Blanche Dubois, her secret is that through drink and illicit sexual liaisons, she has become so emotionally and physically dissipated she could not hold on to the family home.


We are our own best source for understanding secrets. We know our own, and if we’re insightful, we understand how they affect our behavior—specifically, how they make us afraid.


A Contradiction


We all know people who are both shy and rude, cruel but funny, bigoted but protective. This complexity, which seems to particularly manifest itself during times of stress or conflict, is what can make a person inherently unpredictable, setting the stage for the kind of surprising behavior that can keep readers enthralled, wondering what might happen next.


Our senses and minds are tuned to focus on irregularities—the thing that doesn’t quite fit, doesn’t make sense, or is simply changing. This is an evolutionarily adaptive trait; it helps in analyzing the environment for threats. But it also attunes us to whatever is unusual in what we perceive; contradictions reveal what we couldn’t predict, the enigma, the surprise.


Again, let’s look at how this applies to Blanche Dubois: She is desperate and weak, hopelessly vain, with an alcoholic’s capacity for denial and delusion—but she is also fiercely proud and resourceful with a surprising steeliness. It’s contradictions like these that can automatically pique a reader’s interest.


Vulnerability


Nothing draws us into a character more than her vulnerability. When people appear wounded or in need of our help, we are instantly drawn to them—it’s a basic human reflex. We may also sometimes be repelled or frightened, but either way, the fact of the matter is that injury to another person instantly triggers a strong response.


Obviously, vulnerability may be the result of the character’s secret: He is afraid of being found out. Or it may come from the intensity of his need or want—because, as we all know, desire can render us naked in a fundamental way. For your character, the ambition and focus inherent in a strong desire can imply some form of inner strength, while at the same time rendering the character vulnerable to being deprived of what he most wants.


Blanche’s desperation to find a safe place makes her vulnerable, as does the tawdry nature of her secrets, which threaten to shame her beyond redemption if revealed. In other words, needs or desires, secrets, contradictions and vulnerability are almost always interconnected.


METHODS FOR DEEPENING CHARACTERIZATIONS


Often our characters first appear to us as we flesh out the idea for a story. But characters who emerge from story ideas can often be flat or two-dimensional; this is because at that early stage, they serve the purpose of filling a role, rather than acting as independent beings with needs and fears and affections and concerns “outside
the story.”


Compelling characters are not cogs in the machine of your plot; they are human beings to whom the story happens.


Some stories begin with the characters, of course, and the narrative emerges from an exploration of their needs, their defenses, their secrets and contradictions, or some problem they face. The trick in those cases is making sure the narrative doesn’t meander, creating, as writer Philip Larkin called it, “a beginning, a muddle and an end.”


But more often in mainstream fiction and especially genre fiction, the novel begins with a story idea, and the characters need to be fleshed out to keep them from being stock players in the drama. We might wonder how many uniquely memorable world-weary detectives there can be, for example—and yet every year at least one more seems to emerge from the wave of crime novels crashing onto bookstore shelves. It takes skill and insight to breathe life into stock characters, something too often dismissed by those who disdain genre fiction as inferior.


So how do we flesh out our characters when they arise from the needs of our stories, or when they otherwise lack the specificity, uniqueness or power necessary to engage a reader (or the writer)? The best inspiration often comes from within us—and from our experiences with the people in our lives.


Real-Life Characters


Near the end of his life, John Updike wrote a poem titled “Peggy Lutz, Fred Muth,” in which he thanked his childhood friends and classmates—the “beauty” and “bully,” the “fatso” and others—“for providing a sufficiency of human types … all a writer needs.”


Whether we know it or not, our minds and hearts are populated by all the characters we will ever need—though we may disassemble them and rearrange the parts into composites for variation.


To fully tap this potential, begin by reflecting upon the following real people in your life—jot down their names, fix them in your mind, remember a few details about their lives, their physical appearances, the effect they’ve had on you, and anything else you think would be important if you were to describe them to someone who didn’t already know them.


Include in your exploration:


A family member you feel particularly close to
A family member you particularly dislike, or from whom you’re estranged
Your closest friend from childhood with whom you’ve lost touch
Your closest friend from childhood with whom you’re still in contact
A stranger whose path crossed yours this past week
A person you know personally and admire
A person you know personally and fear
The love who got away
The love you wished had gotten away
Your first love
Your greatest love
Your greatest childhood nemesis
Your greatest adulthood nemesis
The person from childhood who annoyed you the most
The person in your present-day life who annoys you the most
Your favorite neighbor
Your least-favorite neighbor
Your favorite co-worker
Your least-favorite co-worker
Your postman or someone else you deal with on a “business” level daily
An older person who has inspired you
A child who fascinates you
Someone for whom you harbor a secret crush or feel sexual attraction
Someone you believe has a crush on you
A person who believed in you
A person who thought you would never amount to anything
A person whose life you would never trade for your own


The list can go on, of course; it’s limited only by one’s own inventiveness. But writing out such a list provides a larger cast of characters than we originally might have realized we possessed. We can sometimes unwittingly get into ruts, writing variations on the same character over and over—the overbearing parent, the needy lover, the insufferable phony, the lonely aunt. The value of using people we know to inspire our characters is that we already see them so vividly and specifically.


Emotional Triggers


Of course, we know a great deal about the people in our lives, but we don’t know everything—and this is why real people provide excellent but not perfect source material for characters. We will also have to draw on our own lives, at least as a starting point, to fathom a character’s inner world.


It often surprises me how frequently writers, especially young writers, fail to explore the rich veins of emotion they possess in their own lives, so they can translate that to their characterizations.


The most important emotional incidents to explore in a character’s life—and one’s own—are:


THE MOMENT OF GREATEST FEAR: This is perhaps the most important emotional trigger, because almost all of our limitations, failures, frustrations and disappointments—and thus our secrets and vulnerabilities—can be traced back to or relate to some fundamental fear.

THE MOMENT OF GREATEST COURAGE:
This may be physical valor, moral isolation or simply persisting in the face of some dread.


THE MOMENT OF GREATEST SORROW: Think of death, grief, loss.


THE MOMENT OF GREATEST JOY: It’s strange how nebulous moments of joy can seem—and what a loss. At what stage in your character’s life (or in your own) did the golden moment occur? What’s happened since?


THE WORST FAILURE: Ouch, I know, but don’t shun this moment; from a writer’s point of view, it’s golden (as are all our travails, sorrows, embarrassments and screw-ups—embrace them).


THE MOMENT OF DEEPEST SHAME: Shame is connected to self-image, and this moment will be when that image was seriously undermined in a particularly personal way in front of others.


THE MOMENT OF MOST PROFOUND GUILT: This involves some violation of a moral code. It may also make us ashamed, but guilt involves having knowingly done something wrong.


THE MOMENT OF MOST REDEMPTIVE FORGIVENESS: If you’ve been forgiven for some serious wrong, it’s not likely you’ve forgotten it. It’s permitted you to regain your place with some crucial loved one.


When performing this exercise, my students sometimes get caught up on trying to think of the “greatest” such moments. Don’t fall into this needless trap. Instead, think merely of one moment (presumably of many) of particularly strong impact in any one category.


Obviously, plumbing your own life will not provide access to the whole of your characters’ inner lives (unless your characters inhabit the same world you do). Rather, these moments provide touchstones, points of access to begin the exploration into similar moments in your characters’ lives—a necessary but not sufficient precondition for a compelling portrayal.


Each of these triggers a vulnerability or a secret, perhaps a desire, maybe even a contradiction, depending on context. By envisioning these scenes in your characters’ lives, after first exploring them in your own, you gain key insights into the formative episodes in their emotional lives, and, with hope, begin to see them more vividly in your mind’s eye, the better to render them on the page.


The key is to intuit the character so distinctly she seems capable of acting on her own volition. Once this happens—and as I said at the outset, it’s a mystery how or why it does—you’re capable of beginning the dialogue that will form your story, asking your character: Where are you going? Why? How will you get there? With whom? And who will you have become when the journey is over?

Writer's Digest