Inkabout L. Darby Gibbs

Science Fiction & Fantasy author

character development

Why when my treadmill dies, I’m buying another one

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My treadmill: an oldie but a goodie
It has been interesting how my writing process has changed
over time. I’ve always approached every writing project with an idea of how the
story was going to end. Sometimes I have an outline but usually not. Looking
back, I can see some constants: a title tends to come to me first followed by
the main characters. Over the last two years, I have found that the book cover is my most
inspiring starting point. It follows on the heels of the other two constants. The
cover acts as a focal point I can return to as I progress through the story.
Book 1, Standing Stone Series
My second series, Standing Stone, had its covers before I
even started writing. The same has occurred with my third series of books
(Solstice Dragon World) that I’m working on now. Each Standing Stone cover provides
a key character and the stone that is the crux of the story. In the case of SDW
novels, it is the main character and the location where key events take place.
Each of these covers help ground my writing and are designed to give my reader
a sense of the story. I feel with the covers done, I am certain the novel has a
developed core. 
I have a contemporary story with about 18,000 words, no
cover yet. It’s been sitting for three years. I know the characters, the title
and the end point moment. I think I need that cover. I have a space opera: 30K words. No cover. I don’t want to admit how long its been sitting. It really needs a cover.
Knowing the ending is very important to me. I don’t need to know the
details, just a key moment that will test the main character and bring them out the other side of a conflict, and even that is mutable. It becomes my north star. I may tack numerous
directions on my way to it, but having that fixed point in the back of my mind
keeps the story rolling. I can ask myself, “How does this relate to that? How
does this decision ultimately lead the character there?” I find the answers on the treadmill.
Writing itself has changed for me as well. The treadmill has
become a source of inspiration and direction. While striding along, I can focus
on one question, one scene, one direction that needs development. Nothing else
will interfere. My husband isn’t going to show up to talk to me. He
respects exercise too much. My time on the treadmill is set, so there’s no
getting off which can sometimes create an urgency in me to write as soon as my time is up. 
Since I exercise every morning before I head to my job, that urgency
has is flaws, but that impetus to write with a fully-developed idea gives my
writing direction and flow even if I have to wait to write until that evening or after a mound of grading. It is an appointment I feel I must keep
because I know being on the treadmill will result in a better first draft. It is also my best opportunity to go over a scene numerous times and realize what I missed or how
I can incorporate more character or plot development. Of course, there is the
added positive of keeping me in shape since writing means I’m sitting in a
chair often for hours at a time.
I talked about change in my writing, and I have mainly
covered what I do now. So what was my approach in the past? 
The past:

  • An idea would come to me. I’d sit down and
    write. Then stop where my idea ended.
  • I’d lay down on the couch and think about a
    question, such as “How is he going to deal with his daughter’s unwillingness to talk to
    him?” Fifty percent of the time, this resulted in an unplanned nap.
  • I would have a title and a vague notion of how
    the character was dealing with a situation or causing a situation 
  •  I’d sit at the computer and hope more words were
    going to come soon
  • I would develop when I redrafted, slide in side
    stories and look for inconsistencies
  • Writing a novel was a yearlong process
  • No cover
  • A working title (very much subject to change)
  • Ill-defined characters, setting and plot that took a lot more work to develop and clean up
  • One novel at a time
  • One book a year and a full-time job

VS the present

  • An idea comes to me. I get on the treadmill and walk (fast and on
    an incline: don’t want you thinking this is a walk in the park 🙂 ) and
    hash out the idea, Socratic method.
  • I write through the developed scenes (after that
    visit to the treadmill)
  • Title, character with backstory and fully-fleshed
    appearance and behaviors. Distinct main conflict and side conflicts. 
  •  I’m at the computer to write, not sit
  • Development occurs in process, daily, a much
    more recursive process that results in a better first draft
  • Redrafting occurs daily and is more about layering in deeper
    description, searching out inconsistencies, clarifying, and copy editing in an
    ongoing approach (more about this in another post)
  • Writing a first draft of a novel takes a month
    and a half, average word count 90K (summer time writing – six months during the active school year)
  • A cover (changes subtly over time, but the main
    concept is set)
  • A title (still may change but rarely) 
  • Well-defined characters with greater depth,
    setting is full of sensory details, the plot is organized and part of a greater
    series
  • Three novels in development and linked together
    by plot, setting or characters
  • 3+ books a year and a full-time job

I’m pleased with the changes and enjoying how it makes my
writing better and though nothing makes writing a novel easier, this process
does make for better flow and direction to my writing, which, after all is said
and done, is what makes writing an enjoyable activity. This is why my husband
will say, “I know you want to write today and you enjoy that, but can we do
something fun together?” I can walk away from the computer not feeling like I’m
losing my “special time with my story” to my “special time with my husband.”
That’s why my treadmill isn’t going anywhere. It takes my writing where I want it to go. So what fosters your creative side? Tell me in the comment box below, and it doesn’t have to be about writing.
If you’re interested in checking out my books, click the menu tab My Published Books at the top. If you’d like to tweet or share this post click the icon below. Feel free to comment as well.
#writing
#treadmills
#plot

Christmas break, loss and pendulums

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Life is always at the point of the pendulum swing.

Events over the Christmas break have started me thinking about how reality and how we think we will react to life’s swings of the pendulum are always different.

Several years ago, after my father died, my sister and I decided we were going to go back to the family’s old country and reestablish our connection with our father’s family. I was enthusiastic and pushed down all my concerns about going to the airport alone, flying more than twenty-six hours by myself and meeting family members we hadn’t even known existed. Waiting in an empty terminal for four hours for my sister to arrive, having not slept since I had left home; traveling about the country in trains, subways, and ferries as we visited different parts of the country, including the small island our grandmother was born and raised on; and building relationships with, essentially, strangers was both more daunting and more amazing than I ever could have imagined.

Making that journey had been an important goal to achieve as our father’s death had been unexpected. Certainly, he wasn’t in the best of health, but he wasn’t ill or senile and was quite ambulatory though largely blind due to diabetes. We had needed that future adventure to save for and plan while we coped with losing such a special man.

So I had an idea what my husband was going to go through when we were told to expect his father to pass sometime before Christmas. Sure we were expecting it. Sure he had long since forgotten who each of us were, and certainly, my husband was convinced he was prepared for the loss. I knew he wasn’t. Even with having been through it already, I wasn’t ready to lose yet another special man.

The call came a week before Christmas; the funeral preceded Christmas by two days. We held a solemn family gathering with his close-knit family. There were times my husband and daughter showed that they were handling the loss well, and other times when it would creep over their false calm and tear them apart.

We’re never as ready as we think we are because we can’t really imagine what we’ll be experiencing when we get caught up by the big events in life.

This would not be my blog if I didn’t make a connection to writing. When we design our characters we need to keep in mind that they may think they’re ready to deal with what is being thrown their way, but they aren’t. It doesn’t matter if it is the big climax scene or just a little event leading up to greater stress: running out of gas heading to a picnic or a dishwasher leak. It is never as bad, good, funny, sad or exciting as they expect it to be. And they never are ready.

#loss
#writing

6 Ways Writers Bring Verisimilitude to a Character’s Experience

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We fiction writers attempt to create authentic character experience, largely from events we have never experienced. Of course, we often draw from memories to bring verisimilitude to our writing, but just as often, if not more so, we write of things we have never seen, touched, emotionally felt or responded to.

Writers attempt to create the familiar and unfamiliar daily. If we
are true in our creation, our readers will believe in the moment we
depict.

Writers attempt to make readers sympathetic. We
turn them into partners who can feel what our characters are feeling to such a
degree that, however momentarily, they are in the same emotional instant
of being as the character we painstakingly created.

In other words, our
readers laugh, cry, wince, tremble, and smile just where we want them
to as they read. Either the reader never experienced the situation or
they have. In either case, they deepen the connection through
imagination and through their own personal experience.

With
the desire to develop our characters so our readers commiserate and
celebrate with them comes the need to grasp the nuances of these unique
and often powerful incidents.

There are six main ways writers do this:

  1. We talk to friends, family and professionals who can provide the needed information
  2. We research by reading texts, maps, and internet sources, etc.
  3. We seek the experience
  4. We keep copious notes about what naturally occurs in our lives
  5. We observe closely when others go through events around us
  6. We draw from our imagination, using all of the above to produce something that has yet to be experienced by anyone

Consider the following list:

  1. getting married/divorced/widowed
  2. childbirth
  3. being burned
  4. breaking a bone
  5. being hit by a car
  6. falling a great height
  7. sneaking/breaking into a home/business/institution
  8. stealing
  9. lying for the sake of survival
  10. flying a plane
  11. grave illness
  12. flying in space
  13. crashing a car/plane/motorcycle/boat
  14. losing a limb
  15. fighting a monster
  16. being shot at
  17. shooting someone
  18. making a movie
  19. abusing
  20. being abused
  21. building a house
  22. crafting a work of art or necessity
  23. fixing a machine
  24. programming a computer
  25. building a computer
  26. running a country
  27. taking over a country
  28. assassination
  29. jumping on/off a train
  30. falling in love
  31. hate
  32. raising a child
  33. teaching a skill or knowledge
  34. running a plant/warehouse, business
  35. running from an enemy/attacker
  36. running any complicated machinery
  37. running a marathon/extreme sports
  38. climbing a mountain
  39. hunting
  40. dressing a deer/pig/cow/etc. (I don’t mean with clothes; however, that might be something a character might have to do, so perhaps that should be on the list)
  41. cooking a complete meal
  42. painting a picture
  43. losing one’s mind/memory
  44. caring for the elderly
  45. raising a child with a disability
  46. training a horse/dog/monkey/donkey/etc.
  47. sculpting
  48. treating an injury
  49. designing clothes/interiors/architecture/etc.
  50. drowning 
  51. miscarriage of a pregnancy

Key:
red – events I acquired information about or observed from family, friends or professionals so I could use it in something I’ve written
purple – what I have personally experienced and may have used
orange – what I had no experience in but I did use in my writing and augmented through additional research
white – have not needed to know yet

Obviously, the list is incomplete and infinite in potential length.

We writers are busy creating characters who go through believable experiences. If you are a writer, what unusual or challenging experience did you have to craft for your work? If you are a reader, what experience did a character go through that captured an emotional and physical connection from you, that made you respond because it felt that real?

#writing
#research
#characterization

Use these 11 “nations” of the US to create depth in the characters you build

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I read an article about the various distinct cultural nations within the United States and found it very useful for determining the underlying influences of characters in fiction. In this article which made use of the work of Colin Woodard, Matthew Speizer provides (This map shows the US really has 11 separate ‘nations’ with entirely different cultures) descriptions of the type of people who live in specific areas in the US and what their political/cultural viewpoints are built on.


At first while reading it, I was focusing on identifying where I fit in the demographics described. It wasn’t hard to figure out. I’ll give you hints and let you pick my niche: born below the Mason Dickson line, but raised into my teens in northern New England, I then lived several years in Oregon after finishing high school in California. My adult life was largely in the Northwest, with southern influences. 

Now that I’ve written it down, all I can say is good luck with locating my cultural position within these described “nations.” I might be harder to label than I first thought.  Blame my dad who never seemed to be able to stay in one place very long.


But my point is how great is this for determining the underlining influences for character building and interaction. Imagine a “Yankeedom” having to rebuild a demolished world with a “Greater Appalacian.”  Utopian leanings vs very constrained. The conflicts are built into the individuals and the “cultures” they bring with them.


How about a (space)ship’s captain with “el Norte” sympathies with a first officer who’s a “Left Coaster.” Plenty of room for common ground and still areas where the two would argue specific issues of “expression,” “exploration” and regulation.


In my SF time travel novel (book 3 of Students of Jump), Next Time We Meet, Mick Jenkins is largely Greater Appalacian. But the society he is now trying to make a home in is New Netherland in many respects. He wants order where they encourage a general “go with the flow attitude.”


I can see these “culture” breakdowns of political viewpoints as one more useful tool for building individual character behavior and interactive conflict between characters. As you design characters, consider where they fall in these niches. Support the influences with attitudes, heritage, and biases that add depth to the individuality of your characters.  

Follow the link to the article and take a look at it yourself.  11 Nations of the United States.


Do you see any of your characters falling under these cultural labels? If so, which character, which story, and what qualities most standout?


#culture
#characterization
#writing

Creativity: round robin brainstorming can lead to strong writing

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Talking the story into life

Partner and group brainstorming: I use this technique in my creative writing class. We gather around the table and discuss ideas. After we settle on one, I step back and write down each plot point or character decision as they work through them and build a consensus.

Now and then I read through what they have so far, and then the group is off again revamping, adding, changing.  Epiphanies fly about their heads, like those crazy fireworks you set on the ground and dodge as they zip off in random directions.  My students ram through half-baked thoughts as quickly as their mouths can speak them, making connections and changes to enhance emerging motifs.  And each student adds more flame and fires-up another idea.

Brainstorming

That’s brainstorming for strong writing.  That is the achievement of more than one mind reaching for development, precision, cohesion. I love those moments because they don’t just make for great writing, they make for the truly creative moment. If you have ever been a runner or done any kind of exercise that demands individual focus for more than half an hour, you may have felt the sensation that makes you feel as if you could go on running forever; the pace is perfect, the weather, the degree of breathing.

You float along without really feeling your feet hit ground or the sensation of running at all, almost an out of body experience. Time seems to stands still.  When two or more people are on the same run through an idea, it’s like that glorious running experience.  It feels as if you could create forever and you do not want to stop.

Very recently, just this past weekend, I felt like that.  I shared an idea I have been mulling over for a few months.  Soon my writer pal, Marcy Peska, and I were digging into the characters, their concerns, histories, families, questions, possibilities and my idea took on more life, seemed to breath a few halting breaths each time Marcy or I sent off another email between us.  The characters that had been slipping into my creative moments stopped being just skin deep. 

Sharing with Marcy and gleaning tidbits from her knowledge and experience made for development I would have taken much longer to come around to by myself.  What I love most about brainstorming with Marcy is that her questions are framed so that my characters are real people.  “Does Joan have Alzheimer’s in her family?”  Now I have to sit down with Joan and find out about her family history and for very good reason.  Colleen in a matter of seconds became even stronger because she is the type of person Marcy likes.  That alone added considerable depth to what was already a strong-minded woman.

Brainstorming with another writer or an interested friend is my kind of idea development. I am sure many of you use this same process. Is it a major factor in your process?  What others benefit idea development?

+Marcy Peska
#creativity
#brainstorming

Regional word choice: would you rather a frappe or a cabinet?

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Not just plants are regional: words, too.

I moved all over the place when I was a kid, and I collected words and differences in pronunciation of words like most kids collected bubble gum trading cards.

Milkshake, cabinet, frappe

Even though these words reference the same thing, each brings a different feel to the image. When I think of a frappe being served at my table, the imagined tall glass of white is full of lumpy froth at the top with condensation on the glass so thick it is opaque, and the only places where I can see the milky fluid is where the fingertips of the waitress touched.  And the container is cold, and I cannot view it as any color other than white, with the smell of vanilla beans thick in the breath I take before slurping in the first taste of half air half tantalizing sponginess that sounds like distant firecrackers as the tiny bubbles pop against my lips. 

Tennis shoe, sneaker

I wore sneakers into my teens.  When I first heard there were shoes called tennis shoes, I thought I had to play tennis to wear them.

route: route (root) or route (rout)

Don’t ask me for directions unless you are prepared to hear me switch back and forth in my pronunciation of this word and not even know I am doing it.

aunt: aunt (ant) or aunt (awnt) or aunt (tante)

I only used the first two of this one.  I had two aunts, one on each coast.  I met them when I was a child.  I thought saying Aunt (ant) Sue and Aunt (awnt) Peg was just a case of that being their names, similar to Sally Ann or Jim Bob. Later I understood that they resided on different coasts and geography made all the difference.

submarine sandwich, hoagie, grinder, sub, Italian, hero, wedge

I can still remember when my family was moving from Massachusetts to New Jersey.  We had been traveling for what seemed like all day, and we went into one shop to get something to eat.  I looked at the menu and had no idea what they were offering.  I wanted a submarine sandwich, but there were none listed.  Would a hoagie taste good?  I was about 12 years old and thought this was probably the only place in the US silly enough to call them hoagies.

purse, pocketbook, bag, handbag

This one still gets me in trouble.  I say pocketbook and my students give me blank looks. They trust that I know what I am talking about, but they don’t know what I am talking about.

toilet, john, head, loo, porcelain pony, commode

I only came across the first three of these in my travels.  Toilet is my word of choice, but recently my husband was explaining what a room in the house we are building was and said “commode.”  My daughter looked at me unsure of what we were putting in the house. So I had to explain.

The second one I am very familiar with, but “john” is one I just can’t use.  Both my grandfathers were named John, my brother and my father.  But my mom thought it was quite funny to say things like, “John is in the john” or “We have several johns, are you looking to talk or use?”  My dad was a Navy man, and when out on the ocean fishing, he always said “head” but never in the house.  And he never referred to a toilet as a john.

What makes word choice so important? It adds characterization and settings if you are picking a specific region for your story. What regional words have you noted?  Do you know the reason behind their use?