10 slight differences between paranoia and writing

Photo by Ralph Unden

Photo by Ralph Unden

You frequently mutter to yourself. Slam fists on the keys. Wish you smoked cigarettes so you’d have something else to do with your hands.

You know you’re not quite “normal.”

But how crazy are you?

Just use this little quiz to determine whether you are actually paranoid – or simply a writer (which might be worse).

You suspect a car is following you, but then it turns away. You are relieved. Paranoid

You suspect a car is following you, but then it turns away. You are disappointed. Writer

 

You believe your house is bugged because you have the feeling someone is watching you. Paranoid

You believe your house is bugged because movies and TV shows keep stealing your ideas. Writer

 

You’re afraid you’ll be kidnapped by government agents because they know you’re on to them. Paranoia

You’re afraid you’ll be kidnapped by government agents because of your Google search history. Writer

 

You have a plan for going off the grid. Paranoid

You fantasize about the new identity you’d take on if you had to go off the grid. Writer

 

You can think of lots of reasons someone would kill you. Paranoid

You can think of lots of ways someone would kill you. Writer

 

You think everyone is trying to kill you. Paranoid

You think your characters are trying to kill you. Writer

 

You think various organizations are trying to take over the world. Paranoid

You think of various ways you could take over the world. Writer

 

You see danger everywhere. Paranoid

You see grammatical errors everywhere. Writer

 

You think conspiracy theories are true. Paranoid

You think conspiracy theories are writing prompts. Writer

 

Other people think you’re crazy. Paranoia

You think you’re crazy. Writer

Should your characters be likable or relatable?

Image: RoseofTimothywoods

Image: RoseofTimothywoods

You’ve heard about making your protagonists relatable. And you’ve heard about making them likable. Are they the same thing? If not, which is more important?

The difference between likeability and relatability

You relate to a character who is similar to you in some way. This doesn’t mean you have to have the same occupation, background, or religion (though that can help) – it means you share some of the same struggles, weaknesses, or desires. A “deep down, we all just want to be loved,” kind of a thing.

You like a character you can admire. Maybe they have qualities you wish you had or that you aspire to. Or maybe they’re just fun to be around. They could be funny or quirky or extremely loyal.

It’s like the difference between empathy and sympathy – in one, you can actually feel the other person’s pain as if it were your own. In the other, you can only imagine the other person’s pain, but you still root for them.

Relatability can create stronger emotions for the reader. Rather than simply watching your hero go through things, the reader is going through things with the hero.

Likability can create more pleasant emotions for the reader. A hero who is fun to be around, or who earns the reader’s love, can become like a best friend or brother – someone the reader doesn’t want to leave.

Which should you aim for?

They aren’t mutually exclusive: relating to a character can lead to liking him, and vice versa. They aren’t mutually dependent, either: you can like a character who’s very different from you, or you can hate a character who represents all the worst parts of yourself.

Whether you aim for likeability or relatability or both depends on the tone of the story and the traits you already know the character has.

But generally, you should try for a little of both.

How to write likable characters

I talked about this awhile back – right here. There are some relatability tips in there, too.

How to write relatable characters

Again, relatability is more about feelings (pain points and dreams) than about facts (age, sex, religion). The best path to relatability is not to avoid extremes so as not to alienate anyone (you’ll just end up with a nondescript Lego brick), but to tell the truth. Give your hero your own deepest, most powerful feelings, good and bad. Describe in detail how they affect you/him physically, and the thoughts they scream through your head. Nine times out of ten, the response will be “You, too? I thought I was the only one.”

Who’s your favorite likable character? What character do you most relate to? Why?

* Thanks to David for suggesting this topic.

 

 

3 movies every writer should see

Valentine’s Day is just around the corner! If your sweetheart is a fellow writer and you’re planning a movie night for Thursday (or, like me, you are celebrating Singles Awareness Day and need verification that you are not alone in the world), try one of these three writerly movies (okay, only one is technically a romance, but work with me here).

 

Inkheart


What it’s about:

A bookbinder with the power to make literature come alive by reading aloud must dodge the villain he let out of a fantasy novel, while trying to rescue his wife, who’s been trapped in the same book.

Why it’s a must-see:

  1. Favorite pieces of literature stumbling into the real world
  2. Author-meets-characters scenes
  3. It’s a decent adaptation of the book (I highly recommend reading the whole trilogy, which is a more mature, in-depth exploration of the concept)

Meggie: You’ve been to Persia, then? 
Elinor: Yes, a hundred times. Along with St. Petersburg, Paris, Middle-Earth, distant planets and Shangri-la. And I never had to leave this room. Books are adventure. They contain murder and mayhem and passion. They love anyone who opens them. 

 

Midnight in Paris

What it’s about:

A hack Hollywood screenwriter aspiring to be a novelist is vacationing in modern-day Paris when he stumbles through a time rift and ends up partying with the likes of F. Scott Fitzgerald, Ernest Hemingway and T.S. Elliot.

Why it’s a must-see:

  1. Who hasn’t dreamed about talking life and literature with their favorite authors?
  2. Owen Wilson is adorable
  3. Quotes like this:

Gil: I would like you to read my novel and get your opinion. 
Ernest Hemingway: I hate it. 
Gil: You haven’t even read it yet. 
Ernest Hemingway: If it’s bad, I’ll hate it. If it’s good, then I’ll be envious and hate it even more. You don’t want the opinion of another writer. 

 

Stranger Than Fiction

What it’s about:

An author struggles to think of the most poetic way to kill off her main character, unaware that the character can hear her narrating his life and is doing everything he can to avoid his imminent death.

Why it’s a must-see:

  1. More author-meets-character type stuff
  2. It explores the remorse a writer feels from killing off beloved characters
  3. It questions the value of tragic endings versus happy ones
  4. Dustin Hoffman is hilarious as the rather indifferent literature professor who advises Harold:

Professor Hilbert: Little did he know. That means there’s something he doesn’t know, which means there’s something you don’t know, did you know that?

 

What’s your favorite writing-related movie? Tell me in the comments!

 

3 tips to avoid writing a cheesy, shallow romance

image by K Kendall

image by K Kendall

Two attractive people meet. Adventure ensues. They get shot at together. One or both of them shares a moving past experience with the other. Suddenly, it’s love.

Sound similar to the romance in your story? Sorry, it’s also the romantic subplot in pretty much every action movie.

Or maybe yours sounds more like:

Two attractive people meet. One is awkwardly hesitant. One is powerful and forward. They are inexplicably drawn to one another. There are a lot of smoldering gazes and fluttering hearts. It doesn’t matter that they’ve only known each other weeks, days, hours. They know they can’t live without each other.

The problem? You’re just making Cool Whip. The relationships are based on nothing but physical attraction and a few gushy player lines. Corn syrup, oil and air.

You might have done this unintentionally. You might have intended to write something that spoke to the human condition…and watched with horror as the cheesy Jerry Maguire you-complete-me dialogue came oozing out of your fingers. “I’m supposed to be the next Markus Zusak,” you spit at your computer, “Not Stephenie bloody Meyer!”

I know. It’s happened to me.

So here’s the approach I’m taking: Try to forget for the first eight tenths of your book that there even will be a romantic relationship.

Develop the characters individually before you develop their romance.

It might help to think of primetime dramas instead of movies or books—the ones where the two leads are always dancing around a relationship. They work together, struggle together, probably see the best and worst of each other, and still go home alone at the end of the day for years. This means:

  • The audience really gets to know the characters.
  • The characters really get to know each other.
  • You build a ton more tension.

Pretend you’re writing about two people becoming friends.

In literature, as in life, it’s best to build the friendship first. This will force you to stop depending on the cheap thrills of his devastating smile and her million stomach butterflies, and start finding substance on which to build a real relationship, like:

  • Values, fears and interests they have in common.
  • Things they can teach each other.
  • Ways they can grow together.

For some reason, we don’t usually think of these things when we think of romance. Perhaps because most of it’s so cheaply crafted. But a few classics remain shining examples; Pride & Prejudice just celebrated its 200th anniversary.

Sure, it shares elements with a lot of shallow romances: things that appeal to our most basic desires:

  • To be singled out by someone selective.
  • To be adored and sacrificed for.
  • To be protected and provided for.

But it goes much deeper. The heroine and hero of P&P:

  • Value each other’s integrity and intelligence.
  • Discover their own faults by interacting with each other.
  • Become better people from having known each other.

They should fall for each other’s actions, not each other’s words.

There’s little mention of Mr. Darcy’s looks, and no pretty words but one impassioned proposal, which didn’t work for him anyway. It’s Darcy’s actions that win our hearts, from his awkwardness in pursuing Lizzie, to his strength in saving her sister whilst enduring horrible humiliation.

And while Edward Cullen is immortal by way of being undead, Mr. Darcy has been alive and adored for centuries. And, by all accounts, for centuries more.

Aspire to that.

 —

 

 

 

 

Fraternization – revised!

The unbearably schmaltzy story is back – now edited according to your suggestions! 

Big stuff that changed:

  • I kept the Times job, but gave our heroine a little more control over her emotions
  • I made up a specific memory from the relationship to be more showy, less telly
  • I reworked the boss’s character based on the “you look like a zebra” line from the original
  • I deleted some fluff, and with what I added, it made for a story about 100 words shorter

I also tweaked some wording and corrected some tense inconsistencies – with all three tenses in the story, it was easy to get them mixed up. (Read the original here.)

So kick back with some bon bons and let me know what you think!

Picture by Jodi Michelle

Phhoto by Jodi Michelle

Fraternization

It’s the first day of my dream job. Everything is perfect. I sit at my mahogany desk and try not to cry.

I didn’t even apply for this job. The offer came out of the blue, on the heels of seven other unsolicited offers. Higher salaries, better benefits, but I turned them all down. I didn’t want to leave him.

But I couldn’t resist this one.

The worst part was telling him. I was shaking that morning as I rode the elevator to the fourth floor. No amount of daisy-petal pulling could compare to this moment.

I was finally going to find out if he loved me.

I imagined how it would go – you know, fairy-tale scenario.

I’ve received an offer for the editor position at the Times, I’d say, You know how much I love working here, but this is the job I’ve dreamed about for as long as—are you alright?

 I’d interrupt myself at this point because I’d notice how crestfallen he had become.

Christy… he’d stammer, I just…don’t think I’m ready to lose you. I know I’ve never told you how I felt, but—I’ve always loved you.

Of course that wouldn’t happen. But I was hoping for at least a hint of disappointment. Something that would show he cared for me as more than—well, you know.

I arrived at his office. His door was open, as usual, but he was hunched over his address book. I knocked; he looked up. He looked tired, sad, nigh despairing! I wondered if he’d already heard. If he was already grieving for me. He welcomed me in, his eyes searching my face. I sat down across from him, took a deep breath.

“I’ve received an offer,” I began. His expression froze. “For a job,” I dropped my gaze to my fingers, twisted in my lap. “As an editor. At the Times. It’s um—”

“Christy, that’s fantastic!”

Fantastic. Fan-bloody-tastic. His whole face lit up when he said it.

I dutifully put in my last two weeks, but it didn’t get any better. The best I could get out of him was “We are going to miss you around here.”

We. Not I.

It’s replaying that part of the conversation that makes me finally break down. I know it sounds stupid, but when you meet another human being who not only knows but appreciates James P. Blaylock books as much as you do, and who volunteers to waste an entire Monday with you trying to recreate Cap’n Binky’s burnt-jungle-mud coffee from The Disappearing Dwarf because you’re still trying to get over your mom’s death, well. It’s hard to come to terms with the fact that you’ll probably never see him again.

And here in my new office, I don’t even know where the tissues are. I’ll have to make a break for the bathroom to bawl my eyes out on a roll of toilet paper.

I collide with my new boss as I’m bursting into the hallway.

“What’s the matter with you?”

“Nrrthing,” I say—the first half of the word drowning in my snotty throat.

She arches an eyebrow. “Has someone died?”

I shake my head.

“Seriously injured? Diagnosed with cancer?”

“No, no. Everything’s fine. Just…allergies.”

“Well good. As highly as Steve recommended you, I’d hate to find out you were one of those hypochondriacal schoolgirls who’s always dealing with some kind of crisis.”

 “Recommended me…” heart drops to gut. “What?”

But I already understand.

He knew I was in love with him. I hadn’t hidden it as well as I thought. And rather than hurt my feelings, he found a better position for me elsewhere. All those offers. He must have been calling in favors all over town.

“Shoot,” (she uses a different vowel) “I wasn’t supposed to tell you that.”

I can feel my mouth twisting up as I lose control of the muscles in my face. But four feet of no-nonsense pantsuit stand between me and the ladies’ room, and I know if I open my lips to excuse myself, all that’ll come out is a sob.

“Oh,” she squints at me. “I know what’s going on.”

She pushes me back into my office and shuts the door. Now my chin is trembling. Barely five hours at this job and I’m going to get fired.

She bends down to open a cupboard. “If she’s so perfect for the job, I said, why the heck”—she uses different consonants—“are you trying to get rid of her? And do you know what he said?”

I sniff, shaking my head.

“Because—and these were his exact words—‘I constantly have to remind myself not to kiss her.’ You see?”

I stare at her.

She hands me a box of tissues. “Your boss couldn’t make a move while you still worked there. It’s got to be against company policy, right?”

“He…he didn’t say that…”

“Are you calling me a liar?” she plants her hands on her hips.

“I…” I’m floundering now, lightheaded. “That’s not…”

“And now here he comes to take you to lunch, and I’ve screwed up the surprise.”

She’s looking out the window down at the parking lot. I lean forward to see. It’s him. Heading for the door like he’s on a mission. A bunch of flowers in his hand.

I look at my new boss. She grins. “Told you.”

I smile. I forget to breathe.

“You have about twenty seconds to get that eyeliner cleaned up. You look like a zebra.”

She turns on a heel and walks out. I scramble for more tissues.

First day of my dream job. Everything is perfect.