How Secondary Characters Become a Star in Your Next Novel by Connie Vines

"How do you develop different personalities in your characters?  Do any of your secondary characters have a novel of his or her own?"

This was a question posed to me when I was participating at a local writing workshop.

I gave an answer to the 'newbee' writers which helped them with long-term writing goals, but I'd like to go into more detail in this month's BWL Insider Blog post.

The ‘How’ of the writing is always interesting for me to analyze --especially in my own process (I don't always know how my processing works).

While I have detailed plot lines before I write a story or novel, I am instinctive when creating my characters. 

As I’ve blogged before, I begin with a sense of time and place.  When the story in bubbling in my subconscious, I heard snippets of conversations, a song playing in my head (you know that annoying song simply leave you alone), or a impulse to cook a certain regional food.

A few examples:  When writing ‘Lynx” Rodeo Romance book 1, “Amarillo by Morning” kept playing in my mind.  I located by paternal grandfather’s Tex-Mex chili recipe and made chili once a week.  And then a brassy woman speaking with a Texas-twang and popping her chewing-gum would pop into my head (ala’ Flo’ in an old TV sitcom).

We all know a novelist always falls in love with her ‘first hero’.  My first romantic hero was Lynx Maddox.  While his younger sister was only mentioned in the first book of my Rodeo Romance Series, she became by break-out character in the second book, “Brede”. Whereas Rachel Scott and Lynx Maddox were the stars of my contemporary romance; Brede Kristensen and Amberlylnn Maddox stars shine in my romantic suspense novel, “Brede” Rodeo Romance book 2.

My characters also ‘drive my story’—often in a different direct, thus destroying months of detail research. “Nooo! Not again.”  

Yes, this is my first reaction.  And, of course, I rebel at the very thought of shoving my months of detailed research back into my file overflowing file cabinet.  I’ve learned I am not able to force my characters to act against his or her nature.  Painful though it may be, I listen and I shift my story-line.

When did this happen?

The first time I experienced this ‘traumatic’ writing experience, I was plotting, “Tanayia—Whisper upon the Water” my sweet historical romance. 

Tanayia was to be a member of the Paiute tribe of Native Americans.  She was being groomed for the ‘taking of the shawl” (becoming a medicine woman).  I was involved in Native American Education Programs, served on a PAC Committee (parent advisory council), and participated in powwows.  I interview tribal elders and traveled to historical sites, etc.  I’d plotted by novel down to a puppy’s freckle, so to speak.

While Tanayia allowed me to keep the historical event which formed the opening event of my 1^st chapter, I learned she younger.  She was also a member of the “Nde” Apache tribe.  Tanayia was also strong-willed and determined.

My novel was not set in a different tribal area, difference climate, different customs, beliefs. . .well, you know what that meant.  Yes, more research.   I live within driving distance of Sherman Indian School in Riverside, CA.  In fact, I attended powwows where the Apache (Fire) dancers from the White Mountain Reservation danced each year. 

In the end, Tanayia was correct.  My story was her story.  It was her life, her experience—it was history, accurate, painful.  It was the personal growth of a young woman, torn between two-worlds.  I must, in the end, thank Tanayia for the awards this novel was awarded:  The Independent e-Book Award for YA Historical Fiction, The Dream Realm Award, and a National Book Award Nomination.

Are more break-out characters evolving in my novels?

Yes, there are a few nudging me now.

Any guesses?  Who is your personal favorite?  Mary Billy? Anna Thunder?  Or, perhaps Charlene?

Meredith's sister?  

I also have a new hero, or two, with a foot hold in my plotting-world right now, too.

Several live in the Cajun country of New Orleans, Louisiana; another on a wind-scarred reservation. There is also an a unexpected heroine in an action-packed story sent in Hollywood, CA! 

Happy Reading and Writing,

Connie Vines

Links to interesting topics and settings for my BWL novels via YouTube:

Apache Dancers:                                             Oldest Native America Drummer Video, 1894

Rodeo PRO Bull Riding   (Lynx)                    Forest Falls, CA  (Here Today, Zombie Tomorrow)

Native American Art (Brede)                         Cowboy Stew   (He looks like a younger version of                                                                                                Caldwell in my novel "Brede", doesn't he?)

Links to my BWL author page: 

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Links to my website:   www.novelsbyconnievines.com

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Casting your Characters by Connie Vines

Casting your characters.

In Hollywood the studios hold casting calls. 

The ‘closed' sessions (actors who are being seen have been invited to audition) is the pool your block-buster movies directors/producers/writers use as a casting tool.

Perhaps your novel doesn’t’ feature a superhero.  Your story does, however, have an amazing cast of characters.

Right?
Perhaps not at the moment. . .but soon.

Let’s go back to the superhero/blockbuster movie as an example. 

No role in Hollywood is more scrutinized, and few can offer the type of onscreen immortality (or notoriety, depending on how the movie turns out). Michael Keaton's casting in 1989's Batman inspired nerd outrage before the Internet was a thing. Angry message board comments plastered the web when Heath Ledger was announced as the new Joker, and Ryan Reynolds' first outing as Deadpool in 2009's X-Men Origins: Wolverine appeared to have doomed the character's big screen prospects forever. But they all prevailed.

Hollywood miscasts:

Forget the stilted dialogue, the insipid love story that dominates the second movie or Jar Jar Binks and let's talk about the real problem with the 'Star Wars' prequels -- Hayden Christensen. His turn as Anakin Skywalker comes off as bratty, petulant and completely lacking in menace.

Of all the actors who've played Batman over the years, George Clooney is one of the most perplexing.  His performance in 1997's 'Batman & Robin' effectively killed the franchise until Christopher Nolan came along in 2005 with 'Batman Begins.'

When casting your characters, you need to examine everyone who auditions for a part in your upcoming novel.

Does he/she fit the part? Or is he/she a miscast?

Part to be cast: a genie.   I have decided to hold and ‘open casting’ call.

My first actor: This genie is female and appears to be middle-aged. She is a little short and is a bit pudgy.  She has dark brown eyes, dark red skin, and wavy white hair in a short ponytail.  She wears a short-sleeved tunic, a mid-length skirt, and a pair of earrings.  She lives in a biscuit tin and is fond of sweets.

Actor number two: This genie is male and appears to be rather young. He is short and is quite thin.  He has pastel orange eyes, yellow skin, and straight light brown hair worn mid-length.  He wears no shirt, a pair of mid-length trousers, and too much jewelry.  He lives in a brass lamp and grants your wishes... but not the way you wanted them.

Actor number three: This genie is male and appears to be rather young. He is tall and is quite muscular.  He has black eyes, light brown skin, and wavy dark blue hair wrapped underneath a turban.  He wears a long-sleeved tunic, a pair of long trousers, and a pair of wristbands.  He lives in a Chinese lamp and likes a cup of hot tea.

Of course, the perfect genie would depend on the premise of your story, the plot twists you have in place, and your interaction between characters.

If my story had a suburban setting with children who needed to be minded/guided, my choice is
actor #1.


Am I looking for an ‘evil/trouble-maker?  Actor #2 would be perfect.

Perhaps I’m looking for an unlikely romantic lead for a comedy. . .actor #3 wins the casting call.

Music. 

Cue the music. 

Every blockbuster has a dedicated theme song!


Happy Reading,
Connie Vines

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Targeting Your Audience by Connie Vines

The ‘how long?’ question has to be one of the most commonly asked by new authors – perhaps even experienced ones, too. It was certainly one of the first to pass my lips when I began to cross genres.

“What’s the age range?” I asked a multi-published at my local OCC/RWA Chapter monthly meeting.
“I’m thinking of aiming for older children,” I told her.
“That would be ages eight to twelve, then. In that case, it should be between 30,000 and 50,000 words.”

The precision of her answer was satisfying, but it also piqued my curiosity.
“Why that particular length?”
“It’s just considered to be the ‘right’ length at the moment for that age range,” she explained. “Not too long, not too short.”

This ‘Goldilocks’ principle is good general advice to keep in mind, but there are also more specific factors to consider that will help you nail the ‘right’ length for whatever genre book you’re writing. While you should work to your natural style, it’s advisable to be aware of and (as much as possible) write to the length that publisher and readers expect (logon to a publisher’s website for ‘publisher-specific’ guidelines.)

Type of book and target audience

You can hone in on a rough idea of ‘how long’ simply by categorizing what kind of book you’re writing and its target audience. Clearly, any six-year-olds without the miraculous intellect of Roald Dahl’s Matilda aren’t going to want to read something the length of A Tale of Two Cities. Similarly, most adults won’t be very interested in a 40-page picture book.

Most of the data I’ll be using throughout this article was sourced from Writer’s Digest  and personal experience.

Children’s picture book: 500–600 words over 32–48 pages.

Children’s chapter book: 1,000–10,000 words.

Middle grade: 20,000–50,000 words.

Young Adult (YA): 40,000–70,000 words.

Flash fiction: 500 words or less.

Short Story: 5,000–10,000 words.

Novella: 10,000–40,000 words.

Novel: Anything over 40,000 words. Anything over 110,000 words is an ‘epic’.

Adult literary and commercial fiction: 80,000–100,000 words is considered to be the ‘Goldilocks’ zone, though you could get away with 70,000 words minimum and 109,000 words max.

Genre

Again, when considering the authority of agents and publishers, “adhering to the expected word count demonstrates that you understand your market.” The ‘right’ answer to ‘how long should my book be?’ is dictated by the audience’s expectations.

Genre has more influence on book length than you might think... 

Here’s a guide to the recommended lengths for genre books.

Sci-fi/Fantasy: 90,000–120,000, anything over 150,000 words might be testing for your readers. As I just touched on above, books in these genres are allowed and expected to run longer than others. This is due to the amount of world building required to introduce a reader to a fictional setting, but be careful not to let this expectation manipulate your natural style.

Historical: As above.

Romance: 50,000–100,000 words. The wide range for this genre is because of the number of sub-genres that it can divide into: supernatural, erotica, historical, ‘chick-lit’, etc.  It’s also worth bearing in mind that longer romance novels seem to be the trend du jour, with bestsellers Twilight and Fifty Shades of Grey both comfortably over 100,000 words.

Crime/Mystery/Thriller/Horror: 70,000–90,000 words.  Suspense is key to all of these genres. Pacing is vital in creating suspense, which means it couldn’t be any more important to nail the word count.

Personal style

While you should certainly keep the data I’ve provided in mind, being too prescriptive about sticking to word counts will only impede your personal writing style. If you end up way under the standard word count, you know that you either need to slow the pace a little or flesh out some underdeveloped areas.

Never, ever loose your 'voice'.  The way each and every author tells a story is unique.  Your readers are downloading your novel or snagging it off a bookseller's self knowing you are a gifted storyteller.  Allow your readers to feel the emotion of first love, see and hear the waterfalls, experience the sweet taste of a huckleberry. . .the possibilities are endless.  Allow your readers to live this adventure--guide them well!

Happy Reading,

Connie


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