Distinctive characters or distinctive authors?

Here follows a treatise on how one ought to make one's characters appreciably different in every book, thus--

Okay, hold up. I just can't.

Sometimes authors want their characters to be similar from book to book. It creates a familiarity and sense of comfort for autobuy-type readers. Kind of like Jimmy Stewart and Harrison Ford often play the same character from movie to movie, there is a value to knowing what you're going to get when you open, oh say, a Dan Brown novel.

This is not me casting aspersions on Dan Brown, or Stewart or Ford either, for that matter. We like what we like.

Truth is, I wish the characters in my three books were more consistent. Can't tell you how many people have said they dug the protagonist in book one but either disliked book two or never even read it because the heroine wasn't anything like the book one heroine. 

I suspect that the magic here is to find the character that resonates and then riff off that character as often as possible. Note that the first step is to find the right relatable character. Don't iterate on a crap character that nobody likes . Find your groove and then groove the hell out of it.

Or do what I do: stop reading reviews and just write what you love because you love it, and others may or may not follow suit. 

New #Fantasy #Romance Release: The Promised Queen (Forgotten Empires, Book3) by Jeffe Kennedy

 Our amazing Sunday blogger Jeffe Kennedy is at it again, releasing another new heart-pounding romantic fantasy! The third book in the Forgotten Empires trilogy. Yes, for you dear readers who like to wait until a series is complete, this is it! So, wait no longer and dive into the world of the Forgotten Empires today!

THE PROMISED QUEEN 

Forgotten Empires, Book 3

Claim the hand that wears the ring, and the empire falls.

Conrí, former Crown Prince of Oriel, claimed the hand that wears the Abiding Ring, but the prophecy remains unfulfilled. Queen Euthalia of Calanthe returned to her island kingdom, but broken in mind and body. With the blood of war unleashing ancient terrors, Calanthe isn’t the haven it once was.

Lia must use her magical bond with Calanthe to save their people while Con fights to hold off the vengeful Emperor Anure and his wizards. Con and Lia will have to trust in each other―and in love―to fend off ultimate disaster.

BUY IT NOW: Amazon | Bookshop.Org | IndieBound.Org

Miss the first two books in the trilogy? Get them here: 

Book 1 THE ORCHID THRONE 

Book 2: THE FIERY CROWN

Cookie Cutter Magic

 So the topic of the week is how to avoid making the same protagon9st in each book or series. 

Well, that's j=harder than you might think. Why do I say that? I've been accused of it, by a reviewer who really liked my stuff.

Apparently two characters from two different series were too similar for her.

Well, Hell, I could tell them apart. Lessee. One of the characters was an apprentice herbologist and the other was a blacksmith. One got his hands shattered. One was violently murdered. In the other circumstance, one was a soldier who became a general and one was a mercenary. They have absolutely nothing to do with each other except, apparently, they had similar personalities. 

I have nothing. There are entire stories with these characters that are RADICALLY different, so either the characters are reacting to situations in similar ways, or the reader is reading into this, or, maybe, I'm not so great at creating different characters. I mean, one is a career soldier who has never married. One is a husband with three kids. Did they have similarities/ Probably. the apprentice herbologist was shy. The blacksmith couldn't quite build u the nerve to talk to the girl he adored. The mercenary knew his way around a sword and so did the soldier. Did they look alike? Nope. Not even a little. Mercenary had red hair and worked a kilt. Soldier had dark hair going gray, and wore a uniform. 

The thing is, I write characters with backgrounds and histories and motivations. If they come across the same way I'm obviously doing something wrong, or the reader is listening to my voice and filling in gaps that I've not noticed. 

But you know what? I wnt back and read several passages from the books that pertained to those characters. Yeah, no, I can still see less similarities and more differences, so I didn't think it's me. 

Always try to approach these things with a critical eye, and always try to make certain you aren;t using cookie cutters to make your characters. y9our mileage may vary.

 I mean, they look different to me...

Protagonists and The Promised Queen

Our topic at the SFF Seven this week is "Avoiding Same Protagonist, Different Name, Different Story: How do ensure your lead characters are unique per series/standalone?"

This isn't a great topic for me because I ... don't. In that, I don't ensure or strategize this kind of thing. Maybe because I'm an intuitive writer? Characters come to me and tell me about themselves. I don't have to avoid finding the same one any more than I have to worry about running into the same people over and over in the larger world.

But that's cool because it's release week for me! 

THE PROMISED QUEEN - book three in the Forgotten Empires - comes out on Tuesday, May 25!

        

As far as protagonists go, an early reviewer said this to me:

Really appreciate how at no point did Con become some magically articulate prince. He still said "...stuff" instead of somehow finding a way to wax eloquent in the third act. Thank the gods.

I love that! In honor of Con's uneducated and rough ways that have him saying "stuff," here's a scene where he does exactly that.

******************

We walked in quiet for a few steps, Lia turning us at a four way intersection where all the paths looked the same to me. “Do you know where you’re going?” I asked.

“Metaphorically in my life, or literally in this maze?” she replied lightly.

“Now you sound like Ambrose.”

“He has his moments. The answer is yes to both.”

“You know where you’re going in life?” 

“That has never been a question for me. My life belongs to Calanthe.” Before I could say anything to that, she continued. “And there’s a pattern to the turns in the maze, which everyone knows, even if they never come this way. The maze is here primarily to prevent anyone from stumbling into the heart of the night court by accident.”

“Am I going to be shocked by what I see?” I blurted out, figuring I’d better ask.

She gave me an assessing look, eyes glowing with color, like the decorative lanterns did. “You might be. Do you mind? We can turn back.”

“No way. Not after I just confessed to regretting not learning what I could when I had the opportunity.” Besides, maybe I’d get some ideas about pleasing Lia. If I could figure out how to be a better lover for her, she might want to marry me again.

“You could still learn, you know,” she offered. “It’s never too late.”

For a pained moment, I thought she’d read that thought—then I realized she meant reading and stuff. “I’d feel like an idiot.” I could just picture it, sitting there like a hulk in some schoolroom, painstakingly reading aloud from a kid’s book. 

“You said you feel like an idiot most of the time anyway,” she countered.

“Good point.” We turned twice more, and I began to get the pattern now. “Two lefts, then a right, and repeat?”

“Exactly. Now you know.”

“Not that I’d come this way without you.”

“You could. The night court would—”

“I know, I know. You offered this before and I said I didn’t want it. Quit bringing it up.”

“No need to growl, grumpy bear.”

I laughed, a hoarse grating sound. “I thought I was a wolf.”

“It changes, moment to moment,” she replied. “And you’re not, you know.”

“A wolf or a bear?”

“An idiot. You’re a very intelligent man. One of the smartest men I’ve been privileged to meet.”

Death Matters

 

This week's topic is: The Necessity of Death: Do you have to kill characters for there to be enough risk? What other threats work better/just as effectively?

First, let me say that I don't preach many rules in fiction. I think writers should hone their craft (meaning you should know how to wield your writerly tools such as grammar, structure, concept, etc., and everything should be done on purpose, down to word choice). But everything else? The cans/cannots? I don't go there because a deft writer can make something that's been labeled a no-no a work of art. It doesn't necessarily mean everyone will like it, but it also doesn't mean you can't do it. I have three beautiful doggies, and I can invariably say that I don't want to read or watch anything about dog death. And yet I watched a movie where a puppy's death in the first ten minutes motivated the main character to hunt down his enemy, and I cheered for him all the while. 

Why? Because that death mattered. This is really the only rule I'll preach on this topic. I think I've said before on this blog that it's good to make things personal, and death as a motivator is as personal as it gets. The threat of death makes characters act, as can a death itself. It can send a whole series of events into motion because, ultimately, most of us want to live, and we want those we love to live. We want innocents to live. Having that desire/need tested shows us what our characters are made of. It shows their mettle and morals, how much they'll bend those morals to get revenge or set things to rights. It shows us their determination, mental state, grit, and their inner landscape of turmoil, regrets, and hopes. Death is so deeply felt, and as long as it resonates within your character/s, I like to think that, chances are, it isn't a wasted moment on the page.

But are there other options for risk/stakes? Of course. A gazillion. Threaten someone's freedom and see what they do. Threaten to take their memory. The sight or hands or... the creativity of an artist. The voice of someone whose voice is everything. Destroy the only possible route out of a dystopic city where a character, alone, is trapped. Give them plenty of food. They can live. But there's no one else left. They're faced with a very desolate future.

All sorts of things can be used to drive and test our characters. Death is only one choice. But if it matters to the writer, chances are it will filter into their writing and hopefully matter to the reader. 

_______________________

Have you added The Witch Collector to your Goodreads lists? The Witch Collector is book one in Charissa's The Witch Walker Trilogy, coming 11.02.2021. Check it out!

The Death of a Character

Every living thing in this universe shares at least one thing in common. We will all die. Most of us likely heard 'death is part of life' or 'death is a fact of life' as we were growing up. Most of us have been touched by the deaths of loved ones. 

So when someone asks if it's absolutely necessary for characters to die in my novels, the answer is 'of course'. But.

BUT. 

Anyone I kill off in a story must die for cause. The death(s) need to mean something to the characters left behind, or they need to augment reality. Any time you're writing military SFR, if people aren't dying when you shoot at them, you're writing parody. You need to apply a cost to everything characters do. Or don't do. You need consequences. 

Sure, I can make the consequences impact the character directly, but consider the psychological impact of your poor decision destroying an innocent's life. That's some heavy guilt and it's hard to get rid of. Am I fond of fridging girlfriends, boyfriends, or anyone else? I'd like to say no, but I have a lot of dead people who are driving a hero in the current WIP. I think that's the textbook definition of 'fridging'. That sucks. I didn't want to be that author. Forth book in a series, tho. So it's not like I can change it now or make it somehow okay. I don't want it to be okay. I want it to be raw. And hard. And haunting. 

Anyway. We're off track. Death must mean something. If it doesn't, then killing off a character becomes a toss off. These are the character deaths in books, TV, and movies where a writer just kills the character. It's almost an accident. Oops. I dodged when I should have parried and now I'm dead. I understand that this is, in fact, reality. All too well I know this. But you know who handles what could have been a toss off death so adeptly that it carried a boat load of weight and emotion? Peter Jackson. Lord of the Rings. Battle of Helm's Deep. The elf Haldir leads a troop to bolster the defenders. Heroic! Hopeful, even.

Then Haldir takes an enemy arrow between the eyes while defending the battlements. It's almost accidental (and never happened in the books). It's a brilliant piece of theater - a full few seconds to watch realization cross his face, then that face go slack, and the slow motion fall. It's also amazing emotional manipulation - just as the audience is cheering the heroic elves riding to the rescue, they're toppled from their emotional perch by the arrow of Haldir's death. I totally see why Peter Jackson put it in the film when it isn't in the books.

The hero. Fallen. Lovely imagery. Sledgehammer of 'aw, man, I liked him'. 

A toss off would have been 'Hey! Hero riding in with reinforcements! Oops. He's dead. Oh well.' It would have been a quick pan. Or someone who deserved a better, weightier death accidentally falling through a magic mirror. Not that I'm mentioning names of authors or books here.

Summary:

• If I kill named characters on the page, I want them to have earned their deaths as much as other characters have to earn their HEAs. I don't often kill named characters.
  
• If I kill people off stage, it's to drive named characters into the character arc they've been avoiding.
• If I kill people off stage, it's also set that stage for stakes and/or ticking clocks and because there are no wars without atrocities. I just don't have to enumerate them or dwell on them. Often.
• If I kill NPCs in large number, I always mean to include the stories of heroism that never actually make it into the darned novels. There may someday be a short story anthology of those depressing heroic-unto-death stories collected and published.

And now, a bit of new life. The monarch caterpillar I brought in to save from the red wasps cocooned in a nursery on my front porch. It emerged and flew off into the world on Tuesday. 

 

Two Types of Character Deaths

 This week we’re talking about killing off characters and asking is it necessary. It’s not a new debate among authors or even readers, as Jeffe mentioned, and so far this week my fellow SFF Seveners have given opinions from both sides. 

KAK made a good argument that we, as consumers of entertainment that’s filled with death and dying, are numb to it. Vivien made the point that to make a character death, MC or secondary, worth it you’ve got to make the character earn it by showing growth. 

And that’s my answer to the question: Both! How can I choose both? Because for me, there’s two types of character death. 

The first type of character death: mass casualties. The kind that pile up as you’re slicing your way through a game like Heavenly Sword or reading a Gridmark. I believe we, people in general, are inured to this type of death. It isn’t personal. We’re capable of separating ourselves from it—be it in the media or in real-time death toll numbers that flash across our screens—because it isn’t personal. 

Depending on the type of book this kind of death is part of the story. When I wrote The Mars Strain back in 2015 the Ebola outbreak was maintaining a death toll. It wasn’t even close to our current pandemic’s tracking, but it was reality. So I knew I needed that piece of reality in my fiction and I wrote in a high casualty rate. Devin Madson wrote a great post about trad and indie publishing and near the bottom is an excellent, little section about The Pitfalls of Gridmark (it’s a great read, check it out!). Devin talks about the difference between character development and suffering, and that there is a difference, even in a genre stuffed with death. I translate Devin’s point about Gridmark to: don’t kill a bunch of people just for the sake of killing. Have a reason, be intentional.

Which brings me to the second type of character death: the immediate death. Not as in fast, but close proximity—usually a beloved secondary character. This is the one that hits you in the heart, the one that makes you cry, and the one that changes the main character’s trajectory. I have a couple close proximity deaths in The Mars Strain and I spent a lot of time debating if those secondary characters really needed to die. In the end I came to the conclusion that yes, they did because only with their deaths could my main characters make the decisions that they do that result bring about the climax of the story. Intentional, very intentional.

Nope, I’m not going to give away any spoilers here and name names.

And there you have it, my take on killing off characters and how I believe the two kinds of character deaths—mass casualties and close proximity—are needed for some tales. But I will stand firm with Vivien on the furry friends. Don’t touch a single fluff on the four legged characters (I’m looking at you I AM LEGEND by Richard Matheson who made me bawl). 

How about you? How do you handle writing character deaths or reading character deaths? And please, don’t ever tell me Kevin Hearne killed off Oberon.

Writing a Death that Kills Me

Many of the heart-wrenching and gorgeous character arcs I can think of involve either sacrifice of life or willingness to sacrifice with no hope of being saved. I will list a few at the end of this post, below a significant spoiler space, so folks who haven't read those books or watched those shows won't come for my head. 

Or ... you know, maybe it would be more effective for this week's topic if they did.

Because we are talking about death, after all. Specifically, we're discussing whether the threat of death is enough to drive character and story arcs, and if character death, in and of itself, raises the stakes enough when our reality has a daily death count that has made us numb.

And my answer to that is...not really? Death does not immediately equal stakes. Let me explain.

Writing a death that hits readers where it hurts is hard. I've said that the difference between romance and other genres, and the thing that really elevates romance structurally, is that all writers, metaphorically, send a protagonist up a tree and throw rocks at him. Romance is the only one that requires a writer to bring that character back down from the tree, changed by his experience, and heal him. I would call this a complete character arc, not just a logarithmic curve, and I believe that the best character deaths, the only ones that really work and feel earned, are the ones that occur on the far end of a complete arc. 

If an author just sends the protagonist into a dire situation, makes him suffer, and then kills him, the stakes are meh. Saw it coming. Whatev. He doesn't earn it.

But if the author puts that character through hell, has them dig deep and overcome a challenge, and then claw their way right back out only to willingly sacrifice themselves for the greater good? People will weep! It's a lot more work, true, but it's also a lot more effective.

So that's my advice on this topic: if you really want to kill a character and have it matter, make sure that character earns it. Just torturing a character with the threat of sudden death isn't enough for modern readers. Note, this advice also goes for secondary character death. If Mom has to die in order to progress Protag's journey, you need to set that up. Much as I dislike the trope, Disney does it right.

Oh! One more thing: never kill the dog. I don't care how much you think it adds to your story or character stakes, there are a lot of readers who will immediately DNF if the dog dies. I might be one. Too many of us are permanently scarred by required-reading books with canine death, and we are not here for it. I can't even stand sad ASPCA commercials.

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Sacrifices that killed me in fiction:

- Hodor holding the door in the Game of Thrones tv show (I'm told George R. R. Martin was consulted on this plot point, so it's extremely likely he had planned to write it in the book series, too.)

- Kanan Jarrus in Star Wars Rebels. Didn't see that coming, but it was so right for that character, so very much what he had been growing toward all series. I bawled.

- Sydney Carton in A Tale of Two Cities, making emo and angst really work for him.