Interview with Stacey Broadbent

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On Saturday, November 24th, the Wham Bam Author Jam is coming to Christchurch. Showcasing both local, national, and international independent and traditionally published authors, this is an event not to be missed: for writers, readers, and those seeking new authors and new talents.The organiser, Stacey Broadbent, has agreed to take some time out of her busy schedule to answer a few questions about the event.

Firstly Stacey, would you like to tell us a bit about yourself, your own writing, and what inspired you to host the Wham Bam Author Jam?

I would love to! I’m a multi-genre author based in Ashburton. I can’t decide on just one genre, so I write a bit of everything; contemporary romance, comedies about motherhood, zombie thrillers, LGBTQ shorts, and even some picture books for the kids.

Wham Bam Author Jam is a twofold event. Before I started writing, I had no idea just how many authors we have here in New Zealand, and I wanted to create an event to introduce readers to authors they perhaps haven’t heard of before. We’ve also managed to get a few joining us from across the ditch, and a New Zealand publishing company, The Copy Press, for those of you who are interested in pursuing a writing career.

As well as creating a conversation between authors and readers, it’s also about giving back to the community. I’ve chosen the Mental Health Foundation of NZ as our charity because I want to support those who support others in their time of need. I know they have helped my family and friends throughout the years, as well as many of our attending authors. This is our way of supporting them.
Ticket and raffle proceeds are all being donated to Mental Health.

Can you tell us a little about some of the authors that are attending?
We have an almost even split of New Zealand and Australian authors attending, including several from Canterbury. There will be a variety of genres available; children’s books, contemporary romance, mystery, historical, paranormal, and even Mills and Boons. You can find out more on our website www.whambamauthorjam.weebly.com

Organising an event of this scale must be quite daunting – can you tell us a little about how you recruited the authors? What were some of the challenges of organising an event in a city a distance from your home?

It’s a challenge. It’s actually something I’ve wanted to do for several years, but it wasn’t until I’d been to other signings and met more authors that I was able to get it off the ground. Recruiting authors was the easy part. All I did was put up (on social media) an expression of interest form, and the authors came flocking.

As for the distance, it can be a little tricky. Finding people to help advertise and spread the word from another town hasn’t been the easiest, and I’ve had to make several trips up to get posters and fliers out. In fact, I’ve still got more to do.

Finding a venue that was suitable and not priced too high wasn’t easy from a distance either, but Addington Raceway and Events Centre have been fantastic. It took a lot of emailing back and forth, but we made a plan, and everything seems to be running smoothly there.

How can we get tickets? Are their advantages for purchasing our tickets in advance?
Tickets are available online at Eventbrite, but we will also have general admission on the day. VIP tickets are only available online, prior to the event though. VIP tickets are only $10 and you get a goodie bag on entry, as well as three entries in the raffle draws. We’ve had some amazing prizes donated for the raffles, so you want to be in to win those!

Proceeds from the door sales and raffle will be donated in support of a national charity, would you like to tell us a little about the charity you have chosen and why, (if you feel comfortable sharing)?

As mentioned above, Mental Health Foundation of NZ is our chosen charity. A few years ago, I received a call to say my child had been talking about suicide. I was shocked. I had no idea. We had a pretty rough year, dealing with self harm and anxiety. With the help of the Mental Health Foundation, we were able to get through the other side. They were so supportive, and never once made me feel like my worries weren’t warranted. They explained things, and offered counselling to us all.

These issues are prevalent in today’s society, and this is my way of offering help.

How can local authors become involved? Is it too late to hire space and a table?
The expression of interest form is closed now, but I can still fit more in if anyone wants to join us. The more the merrier!
Anyone interested can either message me on Facebook (Stacey Broadbent Author) or send me an email, whambamauthorjam@gmail.com

Any plans to make this an annual event?Because it takes a lot of time to organise, and I’m doing this by myself, I’m looking at doing it every two years rather than annually. But I’d love for it to take off so I could.

Anything else you would like to add?
I always think of Christchurch as the Arts centre of New Zealand, and that’s why I thought it would be the perfect place for an event like this. I’m also excited because, like most people attending, I will be meeting some of these authors for the first time too. I’ll be there as an author, but I’ll also be there as a reader, and I can’t wait!

Thank you very much for your time Stacey! And to all our writers – and readers! – please drop by and pick up a few goodies. Authors will mostly be accepting paypal, bank deposit or cash, so come prepared as there will be a lot of awesome books to tempt you!

And if you want to know more about the individual authors, there’s a Facebook group as well: https://www.facebook.com/whambamauthorjam/

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Interview with Kura Carpenter

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Kura Carpenter is a Writer and Graphic Designer based in Dunedin, New Zealand; she designed the lovely cover for our Spectra anthology.  Kura enjoys reading classic fiction, practicing calligraphy and designing fabric.

Kura Carpenter’s debut novel, The Kingfisher’s Debt, is scheduled for release on 29th September, published by IFWG press.

Welcome Kura, before we begin the questions, please tell us a little about The Kingfisher’s Debt:

The Kingfisher’s Debt is New Zealand Urban Fantasy set in contemporary Dunedin. A first person POV mystery, it follows Tamsin Fairchild, a woman with criminal and supernatural connections, as she’s drawn into a police investigation to find a missing baby, and gradually the leads start to uncover secrets within her own family history in particular the disappearance surrounding her elder brother.

I – and others – have described your book as “Outrageous Fortunes meets the Dresden Files”. How do you feel about this comparison?

Confession time, I’ve have never read the Dresden Files! (I’ve recently a bought one in the DF series, so I’ll be able to amend my ignorance soon.) But in the mean time I can say I have really enjoyed listening to Jim Butcher talk on author panels via YouTube, so personally I’m very happy to be compared to such a great writer.

I enjoyed the fact that The Kingfisher’s Debt was set in Dunedin. How important do you feel the setting is to the plot?

Setting is very important, particular the coastline and changing of seasons in Dunedin, but also some of the history. I did a lot of research into the gold mining era – none of which ended up in the book,lol, – but it helped me develop a magical culture who were strongly influenced by metal especially, iron and gold.

Also, I’ve lived in Dunedin for the past 20 years, so I wanted to incorporate places that I love like the Dunedin Public Library, and Cadbury’s (both places I’ve worked), and the iconic Dunedin Railway station where I volunteer over cruise-ship season, not to mention the character Scott’s house was based on houses I lived in on Pitt Street. And what loyal Dunedinite wouldn’t mention St Clair beach and esplanade?

Do you prefer to plot your story out in advance, or would you rather discover as you write?

I am a discovery writer, aka, a Pantser 100%.

How do you fit your writing in around your career as a graphic designer? Do you have a set routine?

I’m pretty good at time management, but I prefer no distractions, (doesn’t everyone?) so I stop taking on graphic design work when I’m writing a first draft.

Did you design your own cover? If not, how much input did you have in the process? (BTW, it’s a great cover).

Thanks, and Yes, Gerry at IFWG was kind enough to give me 100% control over the cover.

Are you a part of a local writers group?

I love my local writers groups, I belong to, or have belong to: RWNZ (Romance Writers of New Zealand), SpecficNZ and the Dunedin Writers’ Workshop. But what was instrumental to improving my writing was joining critiquing groups. I’ve been fortunate enough to belong to a couple and they helped immensely. I recommend becoming part of one or forming your own. I found meeting in person the most helpful.

Your book is being published by IFWG Publishing Australia. Can you share with us a little about your publishing journey and how you found them – Or did they find you?

I was fortunate enough to find them. I had originally secured a really cool wee New Zealand publisher, who were publishing some top-quality authors like Paul Mannering and Debbie Cowens, but for whatever reason that publisher didn’t survive, and I didn’t know what to do next.

As I had done a cover for Gerry a few years earlier I asked him for some advice. Gerry gave me some great advice, and also asked to see a copy of the book. As I knew IFWG was closed to submissions, I figured he was just being polite or curious and I was really shocked when he said he’d sent it to his US and UK editors and they’d both loved it and offered me a contract. (Paul Mannering has now also joined IFWG which says volumes to me).

Where may our readers purchase a copy of The Kingfisher’s Debt?

Currently the ebook is on pre-order for Amazon. Or if you go to GoodReads once it’s out on 29 September you can pick the format/bookstore you prefer.

And finally, what does the future hold for Tamsin? Will we see her in further books?

That’s a good question. And I don’t know the answer. Tamsin’s world is much larger than one novel can show, so I might tell another character’s story. I’d like to explore when Jackson and Juliet were teenagers. Or maybe what happened to wicked grandma Josephine… I’m starting to think she’s not dead, just very, very angry.

Thank you for your time Kura!

You’re very welcome. Please check out my author website KuraCarpenter.com https://www.kuracarpenter.com/ for news and updates, or follow my blog or for the Insiders Guide to the Kingfisher’s Debt, please follow @Dunedin.Magic on Instagram

Setting the Scene

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If you wish to immerse your readers into your story, and take them to new and exciting places, then it becomes important to “set the scene”. Our Monday TalkWrite group discussed some strategies and techniques for doing this, along with how much is to much?

For stories set in the contemporary world:

Research your setting: visit it if possible, otherwise, there are plenty of resources available on the internet, both static and video. Take note of a few of the more striking features. Even if these are not included in the story, they will help you get a better feel of the scenery and help guide your character’s actions.

For example: if I were setting a scene in a Market place in Madagascar (picture above from Pixabay), I might take note of the colourful clothing and mixture of fashions, the wooden stalls, the general bustle and noise, and the children and livestock running around. I might also take note of a few of the more unusual goods for sale (ie: sandals made out of old car tyres – not pictured here).

Consider the scene from your point-of-view character’s perspective: is the character entering the above scene a local, or an outsider? One would view the scene a lot differently from the other! Consider their character traits too: would they find the crowds stifling – or exhilarating? And their physical traits: are they tall, short? Each would view the world differently. Also their goals: are they sight-seeing, or seeking to make a purchase? Use this to determine how much information to portray to the reader.

Have your character interact with the scenery: instead of standing there staring, incorporate the character into the scene: dodging through the crowd, ducking beneath a hanging awning, stepping over a sleeping dog. How are the vendors reacting towards them? Do they know the character personally? Or will they view them as an outsider?

Don’t forget the other senses! Don’t just rely on visual descriptions, think of how the place smells, the sounds that the character might hear, how the ground feels beneath their feet. Use only the senses that help paint the most vivid mental image.

Don’t get bogged down by description: a few sentences can paint the scene, but several paragraphs will bring the story to a grinding halt. Pick a few key features to highlight, and let the reader imagine the rest.

For stories set in a fantastical world:

Fantastical worlds can vary from relatively similar to our own, to widely different. If your world has some rather dramatic geographical differences, then you may find a bit more description is required.  To properly get a grasp on your world, write out a detailed description of the setting – this is for your reference. You might like to set a timer, and free-write for five minutes, describing the scene in as much detail as you can manage. Once you have done that, select the key features that are the most important to your point-of-view character.

Flora and fauna:  creating new species is a great deal of fun, as is revealing them to the reader. If your POV character is familiar with the flora and fauna, I recommend teasing the reader with snippets of description.  In Brandon Sanderson’s Stormlight Archives series, there is a creature called an “axehound“. This animal is never directly described, but snippets of detail about its six limbs and antennae inform the reader that this is no canine. If your character is meeting a monster for the first time, describe its most impressive feature first – as that will likely be the first thing the character notices.

How much Description is too much?

The worst thing you can do when trying to portray a scene in the reader’s mind is to bore them with details. Less, truly, is more.

Be aware of:

  • too many adjectives
  • over-describing a specific item or feature
    • this says to the reader “this is important” and may set up a promise that requires pay-off at the end.
    • can be used if the item or feature WILL be important later in the story.
    • can also be used as a “red herring” to veil another item or feature that you are foreshadowing.
  • what is important to your character: for example: a painter will view the scene differently from a soldier.

Exercise: Next time you travel somewhere different: whether it be another country, a trip to the countryside, or even a cafe, note down everything you see, smell, hear, and feel (taste too, if you’re feeling adventurous). Underline, or highlight, what you feel are the most interesting features. Then consider one of your characters and ask yourself, “how would they view this scene? What is the first thing they would notice?”

 

 

The Structure of Story

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Anyone who reads fiction regularly will realize that there is an established structure to the plot narrative. You may have heard of the three-act structure, and the seven-act structure, but overall these are both based on the some fundamentals: one is just longer!

This is, of course, not the only way you can structure your novel, and there have been some very creative variations on the theme, but when starting out as an author and learning the art, having a structure can help keep the plot on track.

The traditional three-act divides the story into three parts:

First Act (the Set-up):

This first act should establish:

  • Who: introduces the main character
  • Where: establishes the world/setting, and what is the neutral (ie: “normal”) for the character.
  • Inciting Incident: this is the event that causes a disruption from the character’s normal life and indicates that life may not be the same again.
    • For example: in Harry Potter, the inciting incident is Hagrid’s arrival, announcing that Harry is a wizard
    • At this point, if the character were to ignore the inciting incident, their life would remain in the “normal” and there would be no story.
    • What the inciting incident is for your story will depend on the genre of the story: For a mystery, it could be the finding of a body, or the client approaching the protagonist with the case. For a romance, it could be the first time that she sees him and decides that he is The One. It can be dramatic, or subtle, but ultimately will change the protagonist’s life and set it on a different course.
  • First Turning Point: sometimes known as the “point of no return”, this is where the protagonist accepts the inciting incident, which will alter their life irrevocably. At this point, they cannot return to the period of normalcy without suffering in some way (socially, physically, emotionally). It also sets up the situation that needs to be resolved by the conclusion of the story. It makes the end of the First Act.
    • For Harry, this is when he first enters Hogwarts.

How long the first act should be is determined by the length of the novel and the genre. Crime thrillers are quite likely to begin with the inciting incident, whereas a literary or fantasy novel may spend more time in setting the scene. Some authors may choose to have the character reject the incident, or may make it more difficult for the protagonist to accept it – think of how many times the Dursleys foiled Harry’s attempts to get his invitation. But generally speaking it should not be drawn out too long, lest the reader become frustrated and set the book aside.

Second Act (Rising Action):

The second act is the longest act, comprising of approximately half the manuscript.

in the second act:

  • Midpoint: The protagonist attempts to deal with the situation, but fails and/or makes matters worse, because they do not, yet, have the skills or knowledge to deal with the situation.
  • The protagonist must attempt to address the skills that will help them succeed. In Harry’s case, he’s learning magic, and making allies. In a romance, the protagonist may be fighting against self-doubt and their own insecurities. In a mystery, the inspector is collecting evidence and studying the clues that will help them solve the case.
  • Do not make things too easy for your character. When they are facing an obstacle, even success should have ongoing, possibly worse, consequence. Always think, will my character succeed? “Yes, BUT…” (there’s another problem) or “No, AND…” (things get worse).
  • Tension should keep rising. Use subplots and character relationships to help hold up a saggy middle.
  • Second Turning Point: The tension is at its highest level, and the protagonist must make a decision that will – whether they win or lose – change their life forever. It is similar to the First Turning Point, except the cost for failure is much higher.

Third Act (Resolution):

This is the final quarter-or-so of your book, and the point in which you want to keep the reader fully hooked ad leave them satisfied.

  • Climax: everything that protagonist has learned and all the obstacles they have faced can help her deal with the main source of conflict.
  • Twists: any sudden reveals or twists to the plot should be “surprising but inevitable”. As a dedicated reader, I’ve found that if I spot a twist early in the book and it culminates to be the actual, I feel cheated, but if I unravel it 2-3 pages before it is revealed, then I feel satisfied (and clever). You do not want to leave the reader thinking, “Huh? How did that happen?” but “Of course! Why didn’t I notice that?”
  • Character Development: your character now should no longer be the same person they were at the start; the events of the story have helped reshape them.
  • Denouement: Untangling the more knotted parts of the story, and revealing (some of) the secrets and tying up (some of) the loose ends. If your story is in a series, you should always leave a few questions unanswered for the reader. Even if it’s not part of a series, it’s always fun to leave some of the “what comes next” to the reader’s imagination.

Exercise:

The three-act structure is frequently used in screenplays and theater. Next time you are watching a movie, see if you can identify the:

  • Inciting Incident
  • First Turning Point
  • Midpoint
  • Second Turning Point
  • Climax

TalkWrite: Where Do Stories Come From?

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Where do writers get their ideas? We discussed the theme at our first Monday evening TalkWrite group for 2018.

Inspiration can come from the world around you:

  • Locations: a creepy house; an idyllic location can inspire thoughts such as “what happened there?” or “what could happen there?”
    • ie: “What if there was a body?”
  • Experiences: for a lot of writers, their day-to-day lives may influence the stories they want to write. It might be funny anecdotes around your work, or you might visit a place or have some sort of experience that you wish to share – either through fiction or as a memoir.
    • ie: what sort of interesting/weird things could happen at a science fiction convention?
  • Something that makes you wonder:
    • companies with interesting names
      • ie, Merlin’s Couriers (what do they deliver?)
    • advertisements
      • ie, car advertisement, costs $19,999 plus ORC (What if your new car actually came with an orc?)
  • Newspaper articles: often they only tell you the outcome of an event – so what caused it? Why would someone act in such a way?
    • Also Newspaper headlines: sometimes these sound more interesting than the actual story proves to be. So, write the more interesting one!
  • Conversations: either overheard, or that you have participated in.
  • Historic events/people: if you have a passion for a particular period or figure from history, that works as a great starting point for a story and fictionalised stories around real people are quite popular.
  • Dreams: keep a notebook beside your bed, and remember, that’s where Stephenie Meyer found Edward.
  • Songs: either the lyrics or the general theme of a song can prove inspiration to writing, just beware of breaching copyright by following or quoting the lyrics too closely.

Write the story you would enjoy reading

If you’re really stuck on what to write, sit down and make a list of the things that you enjoy the most in the books you’re reading and the movies you watch. Chances are, you’ll be able to find a shape of a fresh, new story within them. A prime example of this is Eragon by Christopher Paolini. It has elements of Tolkien, Star Wars, and, whilst being somewhat generic, became phenomenally popular and was actually a really good read (although I confess, I never finished the series). Do you enjoy cozy murder mysteries and like to knit? Well, why not combine the two? (This is a surprisingly populated genre).

Twists on Familiar Stories/Ideas

  • Retell a fairy tale with a new setting, time period or from a different character’s perspective.
  • Write the story of a side character in an out-of-copyright classic novel (ie: Captain Hook).
  • Take a fairly standard/cliched plot and twist or parody it
    • ie: the standard “quest for the McGuffin” narrative of some fantasy novels
  • Social or political commentary can also be used to create a powerful fantasy novel, a heart-breaking romance, a tense thriller, or a black comedy, depending on your personal genre tastes.

Many stories begin with a “What If?”

  • What if cats really ruled the world?
  • What if my neighbour began worshipping me as a god?
  • What if aliens have been amongst us all this time?

Writing Prompts and Word Lists

There are various resources on the internet for finding inspiration. These may work for some authors – particularly those who just wish to ignite their writing fire.

  • Images: they do say a picture paints a thousand words. Spend some time on pinterest looking up your favourite themes (or just “Story ideas”), but I’d recommend setting a timer. Find a picture that inspires you and see what questions you can create around it that might be turned into a story.
  • Writing Prompts: these are generally a sentence or two about a situation ending with a few questions. Great for getting inspired to write a short story – or possibly taking it all the way to a novel!
  • Word Lists: We did an exercise in a writing class where we were given three words (which included “rickshaw” and “encyclopedia”) and asked to write a short story around them. It was fun – and everyone’s story was completely different! Random word lists can be found on the Internet.
  • There are also numerous dice and card decks available to make you think and create.
    • Rory’s Story Cubes
    • The Reckless Deck: to create spec-fic mash-ups
    • The Storymatic: Pick up a card and watch the story unfold before your eyes!
    • Dixit: Not specifically for writing inspiration, but has plenty of strange and beautiful illustrations.
    • Once Upon a Time: Another game that can be used for inspiration, they even have a book available with how to use it to write your own fairytales.

Want to try and write a story based on prompts? Find below a picture (from Pixabay and a Creative Common) and a list of random words I’ve generated using an online generator.

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Cemetery, cave, stem, compartment, suntan, candle, solid, rib, courage, constitution

If you write a story based on one, or both, let us know in the comments below!

Or if you have other ways of “finding your story”, we’d love to hear it.

Talk Write Schedule for 2018

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Members of the Christchurch Writers Guild, plus any interested local writers, are invited to attend our monthly Talk Write sessions. These are themed discussions, intended to inspire, encourage and motivate our writers.

When: the second Monday of every month (excluding January) – see specific dates below
Where: McDonalds Merivale, 217 Papanui Road, Merivale
What Time: from 7 pm, themed discussion begins at 7.30.

We can generally be found in the boardroom, but occasionally a double-booking will see us seated at the long table near Papanui Road.

Here is our schedule of discussion topics for 2018:

Feb 12th: Where do stories come from/finding your story
March 12th: Beginnings
April 9th: The structure of story
May 14th: Setting the scene
June 11th:  Show VS Tell/Writing deeper PoV
July 9th: Writing multiple PoV characters
August 13th: Mind mapping
September 10th: Putting the fact in fiction
October 8th: Writing creative non-fiction
November 12th: Adding conflict/avoiding the “saggy middle”
December 10th: I’ve finished my book … now what?

Please note: This list is subject to change, and our AGM will be scheduled (on a different date) in May.

These meetings are open to newcomers, and you can attend as many or as few as you wish.

Hope to see you soon!

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Character Creation: Occupation & Role

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There is a strong chance that your character will have a life before their story starts. She* will have hobbies, passions, and fill a specific role, or niche, in society.  In all likelihood, she will have an occupation, or some way in which she spends her regular, mundane, pre-story day. Under the typical narrative structure, the plot will begin with her living that normal** life, before the occurrence of the inciting incident that  will set her on her journey through the plot.

There are some factors to take into consideration when deciding how your character would spend her pre-story days:

1. Intended Audience/Genre

Readers wish to identify with the characters, and although we may read diversely, there is a general trend to write characters that bear some similarity to their readers. This is especially prevalent in children and young adult literature – how many children’s books can you name where the protagonist is an adult?

Therefore, when writing for children, your characters will likely be children themselves. A lot of children’s books are set in school (ie: Diary of a Wimpy Kid, Captain Underpants) and even the fantastical ones generally have them learning their skills from a mentor or tutor (ie: Ranger’s Apprentice, Spirit Animals).

Obviously genre will also determine the role your character plays in society. In science fiction, engineers and linguists might be more prevalent than retail clerks or telephone operators. In fantasy, wizards and knights may prevail over accountants and IT consultants. Of course, it’s also fun to break from tradition and do something fresh and original too (just look at Terry Pratchett).

2. Write What You Know

There is, I suspect, a reason why many characters in adult fiction work in bookstores, are authors, journalists, editors or otherwise feature somewhere in the publishing industry; it requires less research for the author if their protagonist’s occupation is something intrinsically familiar to them. Here’s where extra-curriculum study is useful, and a previously unused degree could come in handy.

Whilst there’s absolutely nothing wrong with giving your character an occupation you are entirely unfamiliar with, bear in mind that you should engage in indepth research, because if you put in inaccurate facts, someone will know – and reviewers are not kind. You can, perhaps, get away with a little more improvisation in fantasy (especially if your character is a wizard) or space opera. Still, tread wary.

3. What does your story need?

This is probably the most important one to consider. Your character will face many trials throughout the plot and may require specialist skills to face them. Whilst a protagonist can never be a Jack-of-all-trades, they should have at least one core level of expertise that can justify them being the main character.

Think about what your story needs: does your main character need to hack computers? Will they be called upon to heal another character? Will strenuous physical activity be required? This doesn’t need to relate specifically to the character’s occupation, she could have attended a first aid course for work. Think creatively too: need someone with physical agility or endurance? Maybe she could be a soccer player or a cheerleader.

In a fantastical setting, she may be required to ride horses, hunt or forage for food, or survive in a hostile environment. Giving her a rural background may make this easier, but there is a certain charm in her being of noble blood, and thus forced into a situation where she is entirely out of her depth.

4. Break the stereotypes

Alternately, you can approach this from the exact opposite direction. Who would be the least expected to face the challenges of the plot? After all, we’ve had a perky cheerleader that fights supernatural monsters, and there are numerous middle-aged women (with no police training) who regularly solve mysteries. So, who’s to say that an accountant cannot save the world from the alien invasion? Or an elderly lady should not fall in love with a rock star?

No-one. So if you want to write it, write it!

5. Who will the plot impact the most?

There are some people that are more likely to be in a direct line of fire from the threat you’re about to unleash. Let’s say, for example, you want to write a story about monsters creeping into the world, possibly through the sewage system. Who is likely to notice this first? Home owners, perhaps, who will call in a plumber to investigate the situation. Supernatural events occurring after dark? What sort of people are likely to be out in the wee small hours? Street sweepers, criminals, someone sneaking home after an illicit tryst. A ‘flu virus has mutated and will begin the next pandemic? A doctor or nurse, or perhaps a laboratory technician or intern, could be the first to make the connection.

6. Give your character a talent or passion

Giving your character hobbies, talents, or interests, or something they are passionate about, all help the reader to connect with your character. These may not necessarily have a powerful impact on the plot, but they will more help cement the character as a “real” person. They can also be used to help the plot in small but subtle ways, both to the character’s benefit or to their downfall.

However, be wary of making your character’s passion so powerful that it distracts from the plot. If she must examine and identify every flower that she comes across, the reader’s interest may begin to wander. She need only identify the ones which can be used later in the story (ie: working out who had the means to poison the bishop), or a couple of others as “red herrings”.

Hopefully these suggestions have given you a goodly basis on where your character may begin. In the next few weeks we will look into personality, family, and the way your character relates to people around them.

If you have any suggestions or feedback for this blog, please let us know in the comments below.

~ * ~

* or he, or they, or whatever pronoun you have selected for your protagonist.

** even novels set in alternate, or dystopic, worlds tend to start with the character in a relative status quo-type situation. It may not be “normal” to us – but it is normal to them.