Category Archives: Craft of Writing

Deconstructing Hunger Games Heroine Katniss Everdeen

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Hunger GamesA few years ago I stumbled upon a series that I knew was special. Before the movies, before the screaming fans, when I first read The Hunger Games by Suzanne Collins I knew I’d found something special. It wasn’t the premise that drew me in – I almost didn’t read the book because it sounded too gory for me – it was the heroine, Katniss Everdeen. She was tough but vulnerable, self-sacrificing but a survivor. I had already finished the first book of my own series, The Conjurors, and it made me rethink how to create a memorable, compelling YA fantasy heroine.

Below are some of the lessons that I took away from my analysis of Katniss.

Serious flaws make for a more compelling protagonist.
I think most authors know that their protagonist can’t be perfect. But at least for me, I find myself not wanting to make my heroine, Valerie, too flawed. I am afraid she’ll be unlikable. But analyzing Katniss taught me that this is a mistake. It is because Katniss can be angry, weak, and even lose track of her moral compass that I felt like she was so powerful. When she indulged her flaws, like when she got drunk and wound up in the fetal position in a basement after finding out she would be thrown into the hunger games for a second time, she felt human. When she overcame a flaw, like when she found the courage to inspire the rebels with her words in Mockingjay, it felt like a greater triumph because it didn’t come easily to her.

Protagonists don’t always have to take the moral high ground.
From the time in The Hunger Games when Katniss uses trackerjackers to attack her enemies to the end of Mockingjay when she assassinates the new president, Katniss doesn’t sit around over-analyzing the moral implications of every decision. She is a creature of action, which is part of what makes her so fascinating to watch. She isn’t like Superman, who refuses to kill. She is willing to do what it takes to survive and protect the ones she loves, even if her conscience is tortured by her decisions later.

Romance should not be the protagonist’s primary motivator.
I am willing to admit that I love romance, no matter what book I’m reading. Would I have objected to a few additional tender moments in The Hunger Games series? No. But I love that for Katniss, romance is always secondary to greater concerns. She’s not a girl to wallow and make all of her decisions based on the whims of her heart. Contrary to what I would have expected before reading this series, this makes the romantic triangle in the story more compelling, because we care more as readers what Katniss’ decision will be than she does herself. She’s too busy trying to save her district and fend off insanity.

When pushed past what she can stand, it’s okay to let your heroine break.
So many heroines and heroes come close to being broken by their experiences, but it’s not every day that you see a protagonist who truly is destroyed. The series is as much about Katniss rebuilding herself after extreme trauma as it is about breaking down in the first place. And though many of my friends were not fully satisfied with how the series ended, I thought it was courageous. It was the happiest ending possible for her character. PTSD doesn’t vanish overnight, it is a lifelong struggle. But I felt that Katniss didn’t give in to her tragedy, she fought to make a life for herself that was full.

Who are heroines and heroes in literature who have inspired your writing?

How to Name Your Protagonist

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shutterstock_136700621When my husband and I decided to name our now-toddler Jacob, it was in the middle of the Twilight craze. You have my word that I didn’t choose his name because I’m team Jacob, though I have a feeling that I may field that question for the rest of my life. Really, Jacob is a name my husband has always loved and dreamed of naming his son some day. How could I say no to that? It was an easy choice.

Naming the protagonist of The Conjurors Series, Valerie Diaz, on the other hand, was much more difficult. I trolled websites, favorite books, and even newspapers for the right name. I wasn’t choosing a name that I loved, I was choosing a name that encapsulated the person I wanted her to be. I hoped that my final choice reflected her ethnic heritage, courage, and uniqueness. But as I start to think about the next series that I’ll be writing, it got me wondering if there were other ways to find the perfect name for my protagonist. Below are some of the techniques that fellow writers have found helpful, and a couple that I use myself when naming key characters.

Consider the regional origin of your protagonist and her key character traits.
A great place to start your name search is on a baby-naming website like Baby Names. What I love about this site is that you can search by region, if you’re looking to name your character something that would suit a particular part of the world, by popularity, or by meaning. This can also be a great place to finish your search for a character name. If you’ve found the perfect name that completely suits your character, it’s worth checking that the meaning isn’t something like “harbinger of doom”.

Borrow a name from history or literature and give it your own spin.
Whether it’s heroes from Greek mythology or your American history textbook, famous people’s names immediately come with an innate depth. But rather than simply calling your protagonist “Beowulf”, consider tweaking the name so that it sounds similar, but has its own twist.

Choose a name that inspires you personally.
Another, sometimes overlooked option is to name your protagonist for a particular hero or heroine in your life. Sometimes a name resonates with you for personal reasons, like the name of a teacher who inspired you. Even though the name may mean nothing to readers, you will unconsciously imbue your heroine with the good and bad qualities of the person they are named after, and can result in a more rounded protagonist.

Don’t pick a name that’s super hard to pronounce or remember.
As much as I enjoy unusual names, it is possible to go overboard. I’m a huge fan of The Chronicles of Prydain (especially The Black Cauldron) by Lloyd Alexander, but to this day I have no idea how to pronounce some of the names, like Eilonwy or Fflewddur Fflam. If I decide to write a rave review about a book where the characters have difficult names, it’s a huge deterrent if I have to go back and remind myself of how to spell the their names and remember who’s who.

Make sure the name makes sense for the setting you’ve chosen for your novel.
If you’re writing a medieval fantasy, for example, choose names that were popular at that point of history. It lends authenticity to your story. Also, don’t give all of the sub-characters unusual names if your protagonist has a name outside the norm. It dilutes the impact that you’re going for.

How did you name your protagonist? Any advice on other sources of inspiration for naming characters?

The Curse of the Whiny Protagonist

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shutterstock_148391531I’ll never forget reading book 5 of the Harry Potter series, Harry Potter and the Order of the Phoenix. Suddenly, sunny, kind little Harry was a brooding teenager. I remember thinking that I didn’t like him as much anymore. I understood that he was evolving as a character, and part of being a teenager is embracing angst – especially if you’ve just witnessed first-hand the death of a classmate. But his likeability factor plummeted. Of course, in spite of this change, this book is still incredible. I cried at the end. But it always stayed with me as the one book in the series where Harry didn’t feel like Harry.

So you’d think I learned a lesson from reading that, but after sending the second book in The Conjurors Series to beta readers, everyone said the same thing. My protagonist, Valerie, was too angst-ridden. And as I re-read and made edits, I realized they were right. Low self-esteem is part of her character, but it was over-the-top. Maybe massive low self-doubt is a natural part of being a teenage girl, but it didn’t read well in a heroine.

That’s when I realized that we don’t want to read about people who are exactly like everyone we meet in daily life. We want heroines who are exceptional, who, in spite of their flaws, rise above petty concerns and are capable of a depth of compassion or bravery or intelligence that we hope we are capable of, but we know most people aren’t. Maybe this isn’t true for every genre, but I truly believe the best YA fantasy books I’ve read all adhere to this idea in their protagonist. Harry Potter, Katniss Everdeen, Tris Prior – I could go on and on – all tap into the best versions of themselves under difficult circumstances.

That being said, I know this opinion isn’t one that everyone shares. The Twilight Series or even The Catcher in the Rye prove that you can be successful with a whiny protagonist who is written well. But I confess that these books are not on my favorites list. However, if you do love super-angsty protagonists, check out this Goodreads list on popular whiny protagonists – it gave me a good chuckle. It’s a definite counterpoint to the heroes I mentioned above, and proof that in the hands of a skilled writer, any protagonist can be compelling.

Of course, the danger is going to the opposite extreme and making protagonists too perfect – something that can be equally annoying. Finding that tricky balance with my own heroine is something that evolves with every chapter I write. Hopefully, after hundreds of hours of writing and edits, Valerie will come across as a real, but exceptional, teenage girl thrust into extraordinary circumstances who rises to the challenges she encounters.

I’m Cheating on my Protagonist

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shutterstock_69810904I have a confession. I’m in a long-term, committed writing relationship with the current protagonist of The Conjurors Series, Valerie Diaz. She’s great – loyal, smart and filled with integrity. I’m not ready to end our affair – we’re only two books in to a four-book series. But I can’t stop thinking about someone else. While I should be plotting Valerie’s next move, I’m fantasizing about the heroine that I’m going to write about next.

I’m afraid that if I don’t get a grip, I’ll lose the momentum I need to finish my current series, which is planned to be completed at the end of 2014. By that estimate, I really shouldn’t be daydreaming about other heroines at least until book four is drafted. But it’s tempting. My favorite part of the writing process is creating characters and planning plots. All of the characters and plots in The Conjurors Series have been developed, at least at a high level. What’s left is the execution, which I also love, but doesn’t have the same thrilling joy that only giving characters life can bring.

Then, of course, come the comparisons. Valerie’s much nicer than my next heroine, but I think I actually like the new one more. In real life we could totally hang out, whereas with Valerie I’d have to be on my best behavior. Which naturally makes me feel more guilty. They’re both my creations – shouldn’t I love them equally? Of course, I’m aware that the new heroine and I are still in the honeymoon phase of our relationship. I’ve yet to become bogged down in the day-to-day grind of hurtling her into strange and painful situations and then carefully extricating her.

How do you stay focused on your current project when the next is luring you with its siren call? Do you give in and cheat, or stay the course until your current writing project is completely finished?

When to Stop Editing

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I can admit it – I’m addicted to editing. I’ve rewritten the first chapter of one of my novels so many times that all of the versions start to blur together. Sometimes the changes are relatively minor, but I can’t help thinking of better and better ways to begin, and end up with a completely different opening scene. I’ve added and deleted prologues, and added an epilogue only to question whether it disrupts the flow of the primary narrative.

So my question is, how do you know when your story is good enough? I think I’ll always come up with new ideas that I want to incorporate, but unless I want to end up with one unfinished manuscript at the end of my life, at some point I have to stop and move on.

When I reach this point, I know I have to share my story with people who I trust. They will inevitably  have suggestions of their own, but I can tell by the type of feedback whether or not I’m close. When you hear that an entire character isn’t working, or a section / aspect of the book is slow or doesn’t make sense, I keep rewriting. Or if several readers are taking forever to finish the story, that’s a red light – obviously it isn’t holding their interest enough to finish quickly. But when the suggestions start to get minor, details that need to be sharpened, I make the edits and move on.

So I know it’s time to finally let go of that first chapter. Time to close the file, admit it’s done and start dreaming up new worlds.

How to Write a Great Battle Scene

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shutterstock_101136988One of the scenes in my novels that I find most intimidating to write is battles. How much action is too much? Or am I making it too simple? The Conjurors is a young adult fantasy series, and I enjoyed a succint, informative article on StormTheCastle.com about writing fantasy battles that got my brain working. These techniques gave me a starting point, and when I sat down and wrote the big battle in my story, I found a few other helpful techniques that I wanted to share.

Keep track of your heroine.
With all of the blood and manoevers and treachery, it’s easy to get lost when writing a battle. I found that using my heroine as an anchor helped to focus me. This is still her story, so I reminded myself to include her emotional responses to what she was witnessing, as well as the action itself.

Write a battle your audience will care about.
The battle scene in a book for adult men should look different than a battle in a YA fantasy aimed at a female readership. Talk to your fans and friends to see how much detail they want you to go into on the battlefield. Personally, I tend to skim the battle scenes in books that describe tactics and detailed combat. On the other hand, when I read Suzanne Collins’ Hunger Games trilogy, the battles kept me riveted, because it was as much about what was happening inside Katniss’ head as it was about the fighting itself.

Check out historical battle tactics.
This can get overwhelming and confusing, so I’d like to add the caveat that it’s only worth real effort if you’re writing a massive battle scene. If you’ll be battling for a few chapters, you might want to check out some information on battle strategy to make your story richer. It also helps provide a framework for your battle so that you don’t get lost in all the blood.

Choose a fighting style and read up on it.
You can even take a class. If your fighters are all using hand-to-hand combat, it helps to know a few moves that you didn’t see in an action movie. You can talk to a friend in martial arts or even read up on the basics. No matter what style you have in mind, from 21st century warfare to clashing swords, a little knowledge goes a long way toward making your story believable.

Do you have any other tips on how to write a battle scene well? I’m editing mine now and would love some tips!

Tackling the Art of Revision

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“to write is human, to edit is divine” – Stephen King, On Writing

Picture1It’s time to revise the second book in The Conjurors Series, and I must admit that I’m thrilled. Other than creating the plot outline of a story or series, my next favorite step in the writing process is editing. I love connecting the dots, deleting the excess baggage, and even fixing the grammar. It is a restful period after the mental weightlifting that is writing the first draft. Some days I edit a page or a scene, and others I make it through chapters at a time.

Being a creature who loves to research the best ways of doing everything, I began to look into the best way to approach the editing process. I was surprised to find that there wasn’t a lot of insight out there from my favorite authors, like J.K. Rowling, Suzanne Collins, and Cassandra Clare. I think maybe that’s because editing is an intensely personal process that is different for every writer.

I read a cool article in the Boston Globe about how the modernists changed the way that we edit today. Back in Shakespeare’s day, when there were no computers (or typewriters, for that matter), authors would put pen to page, write carefully, and call it a day. The modernists, like Hemingway and Eliot, would write and rewrite, sometimes 10-12 drafts. The end product often looked nothing like the original draft. As tempting as it is to want to go back to the days of writing well the first time, I suspect that the way writers think has fundamentally changed. We can’t go back to a simpler time, and I for one am going to embrace it.

What’s worked for me is first and foremost getting others to read my first draft. I had a lot of success with the Online Writing Workshop for Science Fiction, Fantasy and Horror when I wrote the first book in The Conjurors Series. For book two I have a trusted group of readers whose opinions I trust. Their advice is invaluable in helping me take my work to the next level at both a micro and macro level. They always think of things that would never have crossed my mind, no matter how carefully I edited my work.

I also focus on sections of the story that I know are crucial moments to make sure every word is just right.Then I look at the bigger picture, referring back to my outline to make sure all of the plot connections are in place and that my themes and mood are carried throughout the story.

I’m always on the lookout for new techniques, so let me know – what works best for you when you’re in editing mode?

On Writing 100,000 Words in 100 Days – Sorta

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A little over a week ago I became the proud author of the complete first draft of the second book in my young adult fantasy series, The Conjurors. I’d made a pact with myself to write 100,000 words in 100 days, and I can’t say that I wrote 1,000 words every single day – but I came close. Life got in the way sometimes, like when my husband, toddler and myself all came down with a violent stomach virus. Or, to be fair, also when I became obsessed with Cassandra Clare’s The Infernal Devices Trilogy and decided that my need to marathon the series overrode my need to finish my own story.

But at least having this goal encouraged me to complete the first draft of my novel in close to 100 days. It’s an exercise that I plan to repeat in the future. I know some writers ebb and flow in the amount of content they create as their muse inspires them. Sometimes I wish that I were that kind of writer, but in reality I think I’m the kind of person who does best when I force myself to be creative.

So given that this plan was a success, I think it’s time for a new goal as I begin the editing process – which I happen to love and am excited to begin. I owe my beta readers a draft of the story in September, so until then I plan to edit a chapter a day, minimum. This may be ambitious, but it’s a place to start.

Do any of you have advice on setting editing goals? If so I’d love to hear your thoughts and advice!

Best First Sentences in YA Fantasy

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shutterstock_123859036Now that I’m writing the ending of the second book in The Conjurors Series, I find myself looking back to the beginning – particularly the very first line of the story. I read a great article in The Atlantic about Stephen King’s approach to writing great first lines – make it an irresistable invitation to continue reading and introduce your style and protagonist. This master of the craft spends weeks and even years perfecting opening lines, and once he does, the rest of the story flows.

But for me, I find that writing a great first line means having a complete grasp of the story as a whole. No matter how detailed my outline is, the story is still nebulous until it’s written. I love to research the “greats” when I’m looking for inspiration, and I thought you might enjoy some of the best first lines from young adult fantasy novels that I encountered on my search.

10.
In these dungeons the darkness was complete, but Katsa had a map in her mind.
– Kristin Cashore, Graceling
This is a simple, graceful opening line that introduces the reader to the protagonist with an interesting tidbit about her personality. It also puts the reader in the middle of the action without being confusing or disorienting.

9.
I felt her fear before I heard her screams.
– Richelle Mead, Vampire Academy
An excellent example of an attention-grabber that propels the reader straight into the story.

8.
“Aaaaaaaaaaaaarrrrrrrrrrrrgggggggggghhhhhhh!” His fall seemed to go on forever.
– Jamie Thomson, Dark Lord: The Early Years
We’re smack dab in the middle of action, and the tone is already set for the offbeat humor that is unique to this story.

7.
Look, I didn’t want to be a half-blood.
– Rick Riordan, The Lightning Thief
This short sentence both establishes the conversational, first person voice of this series as well as immediately making the reader relate to the protagonist.

6.
Lyra and her daemon moved through the darkening hall, taking care to keep to one side, out of sight of the kitchen.
– Philip Pullman, The Golden Compass
A girl and her daemon sneaking around in the dark? Please tell me more!

5.
The demon exploded in a shower of ichor and guts.
– Cassandra Clare, Clockwork Angel
Starting in the middle of an action scene is a classic way that authors hook readers, to the point where it sometimes feels cliche. But Clare decides to go big or go home with this approach, and it got my heart pumping from the first line.

4.
The children were playing while Holston climbed to his death; he could hear them squealing as only happy children do.
– Hugh Howey, Wool
Foreshadowing at its finest. The contast between the squealing children and the prospect of death is riveting, and it also introduces us to the first protagonist of the story.

3.
It is the first day of November and so, today, someone will die.
– Maggie Stiefvater, The Scorpio Races
This first line shares some of the characteristics of the first line from Wool, but I loved it even better because of its perfect mystery and simplicty.

2.
Dear Reader, I’m sorry to say that the book you are holding in your hands is extremely unpleasant.
– Lemony Snicket, The Bad Beginning
Lemony Snicket has a very unique tone in his stories, and from the first line of the A Series of Unfortunate Events series, readers can instantly get a sense of it. I also admire the use of reverse psychology. What is it about him warning me away from this horrible book that really makes me want to keep reading?

1.
I am dead, but it’s not so bad. I’ve learned to live with it.
– Isaac Marion, Warm Bodies
One of the best first lines I’ve come across. Readers get an instant sense of both the tone of the writing and the personality of the protagonist. It also introduces us to a unique concept right away. It doesn’t take pages to discover that we’re in a world unlike anything we’ve read about before.

Did I miss any of your favorite YA fantasy first lines?

How to Create a Likeably Flawed Protagonist

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shutterstock_104313347As a writer, I’ve often heard about the trap of creating a character who’s too perfect. They don’t seem human and can often come off flat and boring. If there’s no room to grow, then where’s the story going? On the other hand, creating a flawed character is a tricky business. With a few notable exceptions, readers want to root for the protagonist, so they must be likable. Sometimes we may want to shake them, but they aren’t so irredeemable that we want to shut the book.

The best protagonists walk this line with flair and originality. Below are the lessons I learned from some of my favorite, classic authors on how to create characters whose flaws are an integral part of what makes them compelling.

Make a Flaw a Secret Strength
Jane Eyre – Jane Eyre

Charlotte Bronte’s Jane Eyre is one of my favorite novels of all time because of the wonderful heroine at the center of her story. Jane has a temper, railing against the unfairness she encounters with her family and at her horrible boarding school, rather than accepting her lot quietly, piously and passively like a good little girl. It’s this fighting spirit that makes Jane so lovable to the reader and her love interest, Mr. Rochester. She is also uncompromising in her values, leaving the man she loves when she finds out that he’s married, even though she wants to stay with him. This stubbornness almost costs her happiness and even her life, but when she manages to take a risk at the end of the story, her reunion with Mr. Rochester is all the sweeter for knowing how hard it was for Jane to turn around and come back to him.

Counterbalance Flaws with Self-Sacrifice
A Tale of Two Cities – Sydney Carton

Charles Dickens knew how to paint bright spots of humanity even in its darkest hour, and Sydney Carton is the best of his creations. A cynical, alcoholic and depressed character at the beginning of the novel, Sydney is completely transformed by his love of a woman to give his life to save the man she loves. His story wouldn’t be nearly as compelling if he was  better man. It is overcoming his flaws, or achieving true goodness in spite of them, which makes this story one of those that stays with you forever.

Choose a Flaw People Can Relate To
Hamlet – Hamlet

There are dozens of wonderful Shakesperian examples of flawed heroes to choose from, but Hamlet stands out as one of the characters who strikes a chord with many people. His fundamental goodness – loyalty, courage and committment to the truth – are undermined by his flaws – his indecision, pride, and depression. He’s a character that you simultaneously root for and want to shake. Every time I read the play I find myself somehow hoping that his final demise can be prevented. He’s a character that has taken root in my brain as a reminder that good intentions without action can be disasterous.

Let Your Character Revel in their Flaw
The Girl with the Dragon Tattoo – Lisbeth Salander

Perhaps this isn’t quite a classic, but I couldn’t end this post without mentioning Lisbeth – a violent, anti-social vigilante with an obsession with revenge and justice. What’s not to love? Stieg Larsson did an incredible job created a complex, multi-layered heroine whose flaws make her more lovable, rather than less. She’s tough, able to take down men three times her size, but also vulnerable, a woman alone who only knows how to turn to herself when she needs help. Watching her kick butt is gratifying and riveting.

Who are some of your favorite examples of delightfully flawed heroes and heroines?