NaNoWriMo 2014: Actual Writing Advice from Actual Authors!

November 8, 2014 NaNoWriMo 0

Hello everyone!

I am so so so so SO excited to be sharing in this post today.

I talk about writing and writing advice a lot when it comes to the blog and my aspiring career as a writer. I am lucky enough that I get to interact with authors on a daily basis, whether over the internet or in person, and I’ve met SO many inspiring ones that have given me such amazing advice. The advice and guidance that I’ve received over the past two years as whatanerdgirlsays has been so helpful in my journey to becoming a better writer.

Now, I have a goal of 45K words for NaNoWriMo but my biggest goal is to really nail down my character and her development over the course of the story. Evie is my main character and Untitled (it will have a title one day, I promise…) is her story. Its her story in the past, when she’s 15 years old, and its her story in the present, at 19 years old. Both important, and it takes a lot of development. She’s going to develop in both stories and its a little overwhelming but I believe in her and my story.

So when I started planning my NaNoWriMo schedule on the blog, I knew that I wanted a post about writing and writing advice and I wanted to reach out to the authors that I’ve met over the past two years and ask for their assistance in creating and developing characters.

I hope you enjoy. Every single piece of advice of below is unique to this post. Each author was contacted individually and responded individually. There’s seriously awesome, quality advice down there, and I am so grateful for each and every single one of these authors for participating and helping out!

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Jessica Brody, author of The Unremembered Trilogy

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When first fleshing out a new main character, I like to start by asking myself one question: What motivates this person. Is it power? Ambition? Love? Idealism? Reason? This helps me begin to narrow down who this person is and how they think/respond to situations. Someone who is motivated by power is going to react very differently in a crisis than someone who is motivated by feeling loved. The second question I ask myself is “What does this character want?” And I don’t mean after the book has started. What do they want BEFORE the first page even begins. It always needs to be something tangible and concrete. Like to win a sports championship. To make it onto a team. To graduate valedictorian. This immediately focuses the story around a central goal. It gives the story direction and purpose before the plot has even begun. When your character’s goals are clear, the reader is more likely to come along for the ride.

Elana K. Arnold, author of the Sacred duology and Burning

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When I was a younger writer, I used to disbelieve it when I’d hear people talk about their characters surprising them, their characters heading off in directions they hadn’t planned. Impossible, I’d think. Your characters ARE YOU. They can’t disobey you… they aren’t REAL. For me, characters were like dolls that I bounced around from situation to situation.

I think that’s why I had a hard time completing a project, or even falling deeply in love with one. There was no RISK if I walked away from a story, no real LOSS. Honestly, I don’t know what changed. I think I got older. (Actually, I know I got older.) But over time, I started to become surprised when a plotted-out scene or chapter took a turn away from my outline. Pleasantly surprised.

With INFANDOUS, which will be published in March 2015, plot took a backseat to following around Sephora Golding, my main character, and seeing what she would do. Try this–give your character a secret, and then see where it takes you.

Livia Blackburne, author of Midnight Thief

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I’ve found it useful to have all my characters tell their life story and narrate the events of the novel itself in their own voice, with their own commentary.

Katherine Ewell, author of Dear Killer

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My main tip in character development is this: make your main character at least a little bit unlikeable. However, no matter how unlikeable said main character is, your reader has to root for them anyway. The easiest way to make a reader like an unlikeable character is to show said character’s weakness and humanity right off the bat: their fears, their likes, their dislikes, what makes them cry, what comforts them, etc. And you can go pretty far with how unlikeable they are at the surface level, take it from someone who knows! Some of the most vivid, fun characters out there are severely messed up. (Take a look at Game of Thrones for tons of great examples.) I feel as if the worst thing you could do in character creation is make a character that has no flaws, or has too few flaws: it is in their flaws that characters and their stories come alive.

Cora Carmack, author of the Losing It series and Rusk University series 

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When it comes to characterization, I rely pretty heavily on the idea that my main character’s desire should shape the plot, instead of the plot shaping my main character. I don’t want my MC to be just a cog in the bigger mechanism of the story. I want them being the one *making* the machine move, rather than just being a component of it. When I was studying theatre in college, we took a lot of time talking about our character’s objectives and motivations – asking “What does this character want? How will they get it?” and things like that – and that has continued to inform the way I shape my characters.

Tonya Kuper, author of Anomaly

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Every character, especially the main character, has to have a GMC – Goal, Motivation, & Conflict – in relation to the plot. I usually have a pretty good picture of my characters before I start plotting, but after the GMC is decided, I know what matters to them, which, in my mind, is the most important thing to know about her main character.

Victoria Scott, author of Fire and Flood and The Collector

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I often use friends and family members when creating characters. I note people’s real life quirks and incorporate them into my fictional world. For example, my husband points to what he wants on a menu when ordering. It doesn’t matter if it’s a difficult-to-pronounce dish, or french fires…that man is holding up the menu for the waitress to see, and pointing to his selection. As if she needs to see the item to understand. No matter how many times I call this to his attention, he still does it. That quirk will probably show up in one of my characters to make them more memorable. My advice is to watch the people around you, and keep notes on your phone.

Sara Benincasa, author of Great

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You have to love your main character. Even if you hate your main character sometimes, you have to love her. Because if you don’t love her, you won’t want to spend the time it takes to churn out 50,000 or more words centered around her. You don’t need to love her choices. You don’t need to love her attitude. But you do need to love her, somehow, in some corner of your soul

Catherine Linka, author of A Girl Called Fearless

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Getting a handle on a character can be pretty haphazard, because we might start out not really knowing them at all. One thing that helps me is finding an object that captures my character. I knew Yates wore tee shirts with quotes, but when I found Thoreau’s quote– “Let your life be the counter friction to stop the machine”–it hit me that was exactly what Yates believed and who he was at heart. In the sequel to A Girl Called Fearless, it was a scary religious tattoo that nailed the character of a new antagonist and suggested his unbalanced righteousness.

CJ Redwine, author of the Defiance trilogy

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If YOU aren’t connected to your characters, no one else will be connected either. Characters aren’t scenery to populate your world. This includes secondary characters. Characters aren’t pawns to use in playing out your conflict. Characters CREATE conflict. Connection takes time and effort, just like it does in real life. Take the time to get to know your characters on an intimate level. Find out what their deepest fear is, what they most regret, what they truly want more than anything, and the secret they hope no one discovers.

Lauren Oliver, author of the Delirium Trilogy, Before I Fall and Panic

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Do some work to understand what your character wants, and what your character needs, and how these might be different. Think about your character’s formative memories. How does he/she react under pressure? When frightened? What does she like to do for fun? What are her nervous habits? Where does she go to recharge? You have to know your character the way you know your best friend.

Gretchen McNeil, author of Ten, Possess, 3:59 and Get Even

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I start with the plot, actually, and the role of my main character in the story. What part does she need to play? What type of person does she need to be so that all of her choices are realistically motivated? Her personality is shaped by the plot, and once I know the core of that, I can begin to layer in the idiosyncracies of character: how she dresses, what she likes to eat, what songs on Pandora make her want to sing along or change the channel, and how she feels about everyone around her. Voila! Character!

Lindsay Cummings, author of The Murder Complex

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Characters are my favorite part of a book. Everyone is different…but I always start with a character, and build my world around him/her. For me, the best way to develop my characters and get to know them is to interview them–as if they were real people. I find that, even the silliest questions will give you a glimpse into who each character is, and what motivates them.

Bethany Hagen, author of Landry Park

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One of my favorite tricks for developing a character is to make a character sheet before I get started. I use these sheets to help me keep track of a character’s physical attributes (and I might even attach a picture of an actor or model to help me visualize the character.) And I also use these sheets to develop a character’s personality traits: their likes and dislikes, their hopes and dreams, their past mistakes. Not only is it a useful tool for conceiving of a character, but it makes a handy reference to come back to during the drafting process.

Beth Revis, author of the Across the Universe trilogy and The Body Electric

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When coming up with your main character, don’t be afraid to go into your own personality to find traits. He or she doesn’t need to be an exact replica of you, but if you have a strong emotion—a fear, a desire, a love or hate—build off that emotion to influence your characters. I was never stuck on a space ship alone, but I made Amy of Across the Universe feel alone the same way I felt alone when I had to go to college, 200 miles from home, with no one I knew near me. I never had my memories messed with like Ella in The Body Electric, but I have had relatives who were affected by Alzheimer’s Disease. Build on these real feelings you have to create realistic characters.

Mindy McGinnis, author of Not a Drop to Drink and In a Handful of Dust

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I just let my characters go, be real people within the world that I built and let them react naturally, however they want. To me, this is the most organic way of building a “real” fake person.

Marissa Meyer, author of The Lunar Chronicles

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After I’ve determined the basics of who my protagonist is (name, age, gender, job, etc.), I like to ask myself two important questions. 1: What does this character want? Giving them a goal from page one will immediately give your story somewhere to go. (Although it’s normal for that goal or desire to change over the course of the story.) And 2: What is this character afraid of? Whatever they’re most afraid of is something that they should have to face (possibly multiple times), and will therefore give them somewhere to grow.

Tamora Pierce, author of The Song of Lioness, The Immortals, and the Protector of the Small quartets and more

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The way I write a character is–usually–to start with a person I know or admire (actor, musician, professional wrestler, the character played by an actor). The look has to grab me for the vague outline of the character I need–teacher/mentor, law enforcement in a very loose era, street kid, Then I go through my baby name books till I find the right name. Once I have the right name and the right look, I generally know the character: intellectual, absent-minded, can be very sexy when he wants to be, but easily distractible, and very dangerous when crossed–that was one. Then I needed the slacker daughter of two famous over-achievers who ended up as a spy in a foreign country. I looked through my files of pictures of girls until I had three or four I thought interesting, then I waited for one to grow on me–the one with her head tipped to the side and the knowing smile. I knew she was a smart-alec, really good at flirting and dancing and being silly while taking in everything around her, a daddy’s girl who lived to make mom nuts, but underneath she needs something to fight for.

Sarah Skilton, author of High and Dry and Bruised

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In my latest book High & Dry, a Young Adult novel written in the style of a hardboiled detective mystery, Palm Valley high school students “traffic in labels.” As a result, it’s very difficult for my main character, Charlie, to break free from his perceived identity, that of a varsity soccer star with a reputation for playing rough. The problem is, Charlie’s identity is a front he projects to the world in order to survive. I needed to show both sides of his personality: that of a tough guy jock accepted by his peers, and that of a heart-broken sci-fi nerd–a trait he keeps hidden. For example, Charlie tries to win back his ex-girlfriend, Ellie, by suggesting they both take Ellie’s little brother to a sci-fi movie. In this way, he gets to show Ellie he’s a “nice guy” while also indulging his own secret hope of seeing the movie. When constructing a main character, ask yourself, “Who is this person really, and who does he/she pretend to be?” The answers may surprise you!

Cinda Williams Chima, author of The Heir Chronicles and the Seven Realms series

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After publishing nine books and writing several more, I still haven’t settled on the best way to develop character. Everything goes much more smoothly if I know the character very well from the beginning. And yet, that process of filling out a character questionnaire or deciding what he has in his pockets or dresser drawer doesn’t really work for me.

With the Seven Realms series, I knew the main characters, Han Alister, Raisa ana’Marrianna, and Micah sul’Bayar very well, because I had already written extensively about them as adults. So all I had to do was think about what they would have been like at sixteen and seventeen. Because I had their characters well in hand, story flowed more or less effortlessly.

But writing three hundred thousand words about a character before you get started on a novel isn’t really efficient, is it? So mostly, I get to know characters in the same way as we get to know people in real life–by spending time with them. In other words, I get to know them while writing my first draft. And once I decide who they are, in revision, I go back and strengthen those elements of character and make them more consistent all the way along.

That’s my process—but it may not be yours. There is more than one way to craft characters and craft story. One of the first jobs a writer must do is find out what works for them.

Crystal Perkins, author of The Griffin Brothers series

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I try to have a cover idea when I start writing. When I look at the girl and guy-I write in dual POV-I think of how they’ll speak and act. It’s nice to have something, even just a picture to look at. Then when I think of them in my head, they already have a distinct personality.

Ann Stampler, author of Where It Began and Afterparty

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You know all those cheesy drama-class moments in B movies where the teacher starts panting that the kids need to beeeeee the wind in the trees (or whatever)?  That actually has a lot in common with the way I develop main characters : method writing.  I try to see the story through the eyes of the character in a very literal way.  While I’m writing, I don’t observe the character from the outside, but I try to see what she sees.  I think this helps me to stay with the character’s feelings and emotional reactions, and to remain in her point of view.

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