Friday, June 14, 2013


    Illustration courtesy of Pohodenkol I

Beginning with the Drama Club at the Y and continuing with classes in acting, the teacher always set aside some time for improvisation. Approaching one member of the class, he or she would speak in a low voice and say something like this:

Example 1:
“You are a spy and you must make this man fall in love with you. You must find out what information he has.”

The instructor would then approach your acting partner.
“Find out why this woman is here. What she knows. Do anything you have to but get the information.”

Example 2: The assignment for the next class was becoming an animal. Most of the class chose the ones with four feet. I lived closer to the aquarium and spent an afternoon studying a fish.

Sleepless one night, I began to think about those days as an actress and realized improvising had a lot in common with writing. You begin with your idea of what the characters should do, why they’re doing it and what the story and the theme is about. Then, sometimes without any warning, your characters decide they want to go in another direction. Your villain isn’t your villain anymore, an unlikely heroine emerges, and a chapter or two or three or more needs to be cut, completely rewritten or put in another spot. You try to keep to your original idea but your characters are stronger than you and you think-Oh, what the hell, I’ll try it their way.
Usually they’re right.

I’m into the first draft of a new book and my characters are beginning to misbehave, another character doing things I never expected of him, my sweet ingenue is not as sweet as I originally thought she was and my amateur detective has become something of a wise-ass--always telling me what to do. I can see we will definitely be having a few discussions about the right direction for the novel. How much of a say, do you allow your characters?


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Wednesday, June 5, 2013


     Courtesy of

     In the March/April editon of Writer's Digest, I found myself engrossed by an article titled Go Organic by Steven James. He writes about outlining being taught as the right way to shape a story and continues that if you don't follow the formulas you'll be labeled an SOPer--a "seat-of-the-pantser," or just a "pantser." James advises writers to develop a more organic writing process.
     I thought he's talking about me--I had never heard or read the term pantser before. People inspire characters for me and, in turn, the characters influence the plot. I have a pretty good idea how they will react to each other and the events that occur and I know how the story will end. But my characters often surprise me and change the direction of the book or story and then I will have to go back and discover why and how she or he took a different turn. The villain I had originally chosen for Scene Stealer changed my mind and I believe the villain in the cozy I'm working on now is about to do the same thing. I have another suspect in mind--time to go to work and question him.



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