The Secret to Character Development

by C. Patrick Schulze

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If you've kept up with this blog, you'll know not too long ago I received my manuscript back from my editor, Ms. Erin Niumata of The New York Book Editor. Since she had a number of suggestions, I decided the best way to incorporate her recommendations into the novel was to work on one major component at a time. First I worked on plot and now I've moved toward the CHARACTER DEVELOPMENT issues my manuscript faces.

A main issue Erin had with my character development encompassed the sometimes limited subtly with which I developed my character. After rereading her notes and my manuscript, (for the ten-thousandth time), I believe I've come to understand the skill that's required in this regard.

The secret to character development is not found within descriptions or even direct dialogue. It lies in your character's actions and reactions.

Here's what I mean.

In one scene of the manuscript, my hero takes some friends on a lark and they run across a classic THRESHOLD GUARDIAN. When the travelers see the building in which the gatekeeper is located, their spirits lag. Despite their initial reaction, my protagonist, Jak, revives the men's sagging mood.

Here's what Erin said about the scene.

"A nice piece of character development is Jak's rousing the cadets on the way to Bones' tavern; even when they are disappointed at the sight of the tavern, he rallies their spirits. This is the subtly needed throughout - this is how we see that Jak will be a leader."

Another scene has Jak leading troops into a Civil War era battle. Here is Erin's comment as to character development with this scene.

"Nice scene where Jak is leading his men to battle and he charges then doesn't have the courage to turn and see if they're following. Good characterization."

A third instance in which Erin pointed out effective character development comes to light in a scene where I introduced a subplot, the hero's efforts to keep record of his days at war. Erin made the following comment relative to this scene and another character's reaction to this subplot.

"The war diary is an interesting idea. It's good character development and adds depth to Jak's character. Clay's reaction adds character development to Clay as well."

One final indication of how to bring characterization to light. In this scene Jak leads men into battle for the first time. Here are Erin's thoughts.

"Good - that's perfect: he turned his head and was startled by how many of his men had fallen. This should be the beginning of his realization."

Herein you see effective character development. It boils down to the classic, "Show. Don't tell." Don't have characters, or even the author, indicate who your character is. Don't have your characters talk about it and don't spend your time narrating it. Allow the character's actions to indicate his strengths, weaknesses and personality.

By the way, as a side note, I hope you noticed a good editor not only offers recommendations as to how to enhance your manuscript. She also tells you how to fix it. Just a clue for what to look for in a good editor.

What questions to you have as to character development?

Until we speak again, know I wish for you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, "Born to be Brothers"

The Process of Working with an Editor

by C. Patrick Schulze

Listen to a PODCAST of this article.

Last week Ms. Erin Niumata of The New York Book Editor returned my edited manuscript. Over the days that followed, a number of people asked questions of the process and my thoughts as to the experience. With that in mind, I thought I'd pen an article on the subject in hopes it will enlighten those of us who still strive to get our novels published.

First, let me say Erin performed a marvelous and skilled edit of my manuscript. Her work is professional, her prices are competitive and she completed her work ahead of schedule. I'd requested a full editorial critique, which covers all aspects of the novel. Best, or worst, of all, Erin pegged the good, the bad and the ugly of my manuscript with unfailing accuracy. With her permission and my full confidence, I recommend you consider her the next time you need the services of an accomplished editor.

Now, with her well-earned commercial out of the way, let's take a look at the process, shall we?

Though I've worked with an editor in the past, I felt a second set of eyes might prove advantageous, so I started to search out other editors. I sought recommendations from friends, acquaintances and my social network. I also did some research over the Internet. Within a week or so, a number of qualified candidates rose to the top.

I then asked for sample edits of my first chapter from the few in whom I had the most interest. After I evaluated there sample edits, Erin's seemed to have the finest grasp of me and my story.

I did my best to keep from bothering her and about a month after I emailed my manuscript, she returned her recommendations in a twelve page summation.

She began with a general overview of my manuscript where she offered her thoughts as to the overall strengths and weaknesses in plot, characterization and dialogue.

She then delved into a thorough evaluation of my plot. She pointed out where it ran off course, what sections failed to enhance the plot and what aspects of it she thought worked well.

Next, she discussed the subplots. Again, she covered the strengths and weakness of each one.

Her next paragraphs focused on characterization with, in my case, the most attention paid to my antagonist, which needs more consideration.

The last nine pages included a line-by-line critique. Many of these notes covered such things as spelling or word choice and individual things she appreciated. She pointed out anything she needed to reread and even where I'd used a word twice in too short a span. She also inserted the occasional note to enhance things she'd discussed in the earlier parts of her evaluation.

She forwarded them with an invitation to call and discuss any questions I might have.

After I perused her notes, I came away with full knowledge of what I needed to do to enhance my chances of writing that well-received novel. You'll never convince me that alone isn't worth the price of admission.

Now, I can't say I'm happy with what I read in her summary. However, it's not because of what she said. It's because she needed to say it. All in all, this entire exercise proved worth every minute and penny spent.

So, my takeaway is this. I’m on the right path. It's just a much longer road than I'd envisioned. I'm also convinced Erin gave me the tools to place myself among her stable of best-selling authors. I've also come to realize I've still got some learning to do, I've still got some writing to do and I've still got a ton of editing to do. *Sigh*

The entire process isn't as oppressive as an aspiring author might think. However, it does take a thick skin and a burning desire to succeed.

My advice to you? Whenever you think you're ready to go out and enthrall the world with your brilliance, hire an editor. Then check your ego at the door and join me back here on ol' terra firma.

Until we speak again, know I wish for you only best-sellers.

C. Patrick Schulze

Author of the BACK-from-the-editors novel, "Born to be Brothers"

The Dark Side to Your Novel's Hero

The Dark Side of Your Novel's Hero

by C. Patrick Schulze

Listen to a PODCAST of this article.

We all know our HERO require a weakness. But did you also know he needs a dark side, a shadow if you will, and this part of him needs to come out? I didn't until I read my EDITOR's suggestions for my current manuscript. In one of her four hundred thirty-two suggestions, she recommended I needed to play up my hero's dark side a bit more.

The fact she mentioned this proved I didn't know enough about the concept, so I did some reading on the subject. I now feel I have a better handled on the idea and thought I'd pass along what I've come to know. After all, it is all about the sharing, isn't it?

To start, if your hero must have a dark side, what good is it if it doesn't come out of hiding? That was the editor's point. As I reevaluated my manuscript and the character in question, I realized my hero had a shadow, I'd simply not used it to effect.

So, what is this shadow and what might cause the good guy to turn to his dark side?

His dark side is the villain. Surprised? So was I until I thought it through.

The villain personifies those qualities opposite of your hero, right? He therefore possesses those characteristics your hero despises or those that may even frighten him. And why does the protagonist hate those qualities? It's because these aspects of his personality are his own shadow, a deeply subdued part of himself.

Whoa… Flashback to Psych 101.

In any case, how might the hero's dark side come to the fore? Most often it is the villain who draws it from him. It is he who pushes the hero's buttons and forces the good guy over the edge. In effect, he provokes your hero to his breaking point.

Consider "The Lord of the Rings." The master ring pulls from its owner their worst, does it not? How about "The Wizard of OZ?" Dorothy kills the witch who, in turn, wants to kill Dorothy for killing the witches' sister, all of which is contrary to Dorothy's basic personality. This all makes sense when we realize a villain must force the hero into some sort of obsession if the good guy is to complete his quest.

Think of it like this. Take your hero's finest characteristic and use it against him. Does he think himself a brave soldier? Them maybe he should run away when he first faces combat like in "The Red Badge of Courage." Does he believe marriage is sacred? Then have the villain force him into a divorce. Is he a happy-go-lucky guy? Then turn this characteristic into irresponsibility. The secret to this, is to ensure the motivation for this transformation is valid. Did Dorothy have a reason to kill the Wicked Witch? Yup.

What keeps the hero from becoming a bad guy himself? It's choice. He chooses not be become like his nemesis, thus again subduing his own dark appetites.

The good part of this whole shadow concept? It allows for character growth. It fills in his personality and gives you a more three-dimensional character. It overcomes the imbalance that kept your hero from his goal.

You can develop this dichotomy in your hero by way of a three-pronged technique. You first develop his high qualities. Then find the opposite of these. Finally, you assign a physical behavior to this contradictory characteristic.

For example, if your hero loves children, the opposite is to hate children. The activity that might brings this out is he causes a child's death.

So, a major aspect of a fully developed hero, is to give him a dark side, a shadow, then bring it out of him by way of a button-pushing villain who posses those same traits.

I don't know about you, but I found this interesting. Regardless, I've got work to do on "Born to be Brothers."

Have you brought out the dark side to your hero? How did you do it?

Until we speak again, know I wish for you only best-sellers.

C. Patrick Schulze

Author of the BACK-from-the-editors novel, "Born to be Brothers"

The Secrets of the Dreaded Synopsis

I’ve yet to meet an author who looked forward to writing their novel synopsis. In fact, many believe it’s more difficult to write than the novel itself. Not to say it’s easy, but a few simple tenets can get you started.

Let’s first ask if a synopsis is even necessary these days. From reading the submission guidelines of agents, I see many don’t request one and that leads me to believe it has lost much of its influence. However, some still do, and as an aspiring author never knows which agent will represent them, it’s a good idea to have it ready.

The second question is why would an agent would feel a synopsis necessary. The critical reason I found in researching this article is it can be THE pivotal item that gets an editor to read your manuscript. That’s enough for me right there. However, if you need more, consider the following. A well-crafted synopsis can assist the author in finding weak plot points and point you toward ways to polish your story arc. It also assists in improving characterization, plot and setting. Further, it is often utilized by various departments of a publishing house once they accept your novel.

We now know the if and why, but what about the what? What, after all, is a synopsis? Many confuse it with an outline which describes what occurs in the storyline, to whom it happens and when it happens. In contrast, a synopsis portrays the “why” of your story. The novel outline describes the action or what happens, whereas the synopsis offers the conflict or how your characters react to that action.

The essential components to a novel synopsis are:

1. The Opening Hook
2. Character Sketches
3. Plot Highlights
4. The Core Conflict
5. The Conclusion

If you think about what the synopsis is supposed to accomplish, these five aspects make perfect sense. It will give the various readers a good feel for everything they might need to know about your story. Let’s look at each of these components.

The Opening Hook: Start strong. Remember this is about conflict, how and why your characters react the way they do. It is not about action, what happens to them. For example, you would not open with the first line following for it speaks of the action in the story, whereas the second tells the reader about the characters’ REactions.

Two men fight over a woman.
Two brothers lose their friendship when a woman comes between them.

As with any reader, the agent looks for something that will engage them. If your story doesn’t’ sound interesting right away, they’ll probably not read further. You’ve got ninety seconds, so power your way through them.

Character Sketches: This does not mean you describe your characters but rather get to their individual core conflict and the conflict between your two or three main characters. What makes your hero undertake his great quest? Why is your villain working with such diligence to thwart your protagonist? Think motivation rather than descriptions.

Plot Highlights: Give some detail to the first and the climactic scenes and a couple of those in the middle of your story. Use only those scenes that highlight the emotional action and conflict within your story. Make sure whoever reads your synopsis knows just how much trouble befalls your hero.

Core Conflict: Your Opening Hook will probably introduce your core conflict, but make sure you enhance it here. Don’t allow anyone to misunderstand the “why” of your story. If you have multiple conflicts, highlight the premier point then maybe the next couple of levels.

The Conclusion: Show the agent your novel is worked to its completion and flesh out the ending. They want to know the entire story. If they don’t know the ending, they’ll assume it doesn’t work. Tie together any major loose strings and point to a sequel if your novel is one of a planned series.

That’s all there is to it. With things spelled out like this, it doesn’t seem quite so onerous, does it? Use your writer’s voice as you did with your novel and the agent will have a good idea of what it is you’re offering for him to sell.

Best of luck and know I wish you only best-sellers.

C. Patrick Schulze

That Simplest of Ways to Improve Your Writing

When I completed writing my first manuscript, I sent my novel off to an editor so she could inform me just how many gracious platitudes I might receive from adoring novel lovers. As I’m certain you’ve already surmised, she utterly failed in her mission.

Though the manuscript contained more red ink that black when I received it, one specific note she made, and made, and made related to my use of the word, “that.” Beside the first such notation she indicated, and I paraphrase, the word can most often be eliminated from writing without losing any meaning or substance. Since then I’ve found we use the word so often in our everyday speaking it’s not even noticed. However, when I read it, that word jumps out to me these days.

I researched “Success with Words – A Guide to the American Language” for this blog post and, wow, did they go on and on about it. (And it published was by Readers’ Digest, of all people.) Regardless, for the sake of article length and purpose, suffice it to say the word is used as a pronoun, an adjective and a conjunctive.

Further, let’s stick with my editors’ suggestion, shall we? She offered a simple trick I still use to this day. She recommended I read the sentence aloud without the offending word and consider if it could be eliminated. If none of the meaning of the sentence is lost by this, it is unnecessary and I should cut it. Alas, I lost much of my word count during that exercise.

Let’s look at some examples.

“What’s the best way to get that accomplished?”

“What’s the best way to get accomplished?”

You see the sentence lacking the word loses something, doesn’t it? It doesn’t make sense. In this case, keep “that” in place. Another example follows.

“Organize your files so that you can find things with ease.”

“Organize your files so you can find things with ease.”

It’s obvious in this second example that the word is not necessary and may be eliminated, therefore, making the second sentence, and this one, of higher quality as it relates to writing.

The easiest method I’ve found is to perform this edit is to use the Find feature in your word processing program and go down the long list of things it spews forth. It won’t take as long as you think and once you’ve done this, it becomes second nature.

Now, there is a caveat I noted in “Success with Words” so I’ll pass it along. It said the word is often still acceptable in formal language. However, when was the last time you used formal language?

I personally tend to leave it in for certain characters in my novels’ dialogue. I now use it for the less educated of characters, whereas with my better educated ones I do not.

As you work through your edits, try this simple technique and I’ll bet you’ll be surprised just how well it improves your writing.

Until we meet again, I wish you only best-sellers.

C. Patrick Schulze

Preditors & Editors

If you're in need of an editor, here's a good site for finding that perfect person.