|My writing corner when it's tidy.|
|Although this is what is usually looks like.|
Hello, again, at last, after the long silence. I have keenly missed blogging and connecting with blog friends, but I had to put writing first these last few weeks, and it's paid off. I finished my mystery, and now I'm doing the re-thinking, re-conceiving, additional research, etc. that is so much of the re-writing process. And I have been reading a wonderful book that I just have to share. The Art of Character, by David Corbett.
I first came across Corbett's insights in an article titled, "Characters, Scene by Scene", in the January, 2015 issue of Writer's Digest. (Yes, I know it's not January yet, but that's how magazines do things.)
In his article, Corbett emphasizes that "dimensional characters are born from drama—not description." Yes, you should know descriptive and biographical details: eye color, hair color, height, weight, hobbies, work history, biographical information, etc., but that doesn't create characters who live and breathe. What brings them alive on the page is interaction with others in scenes that serve a purpose in the story.
To paraphrase just one of his examples: How your character looks isn't as important as, say, how her appearance makes her feel, how it makes others feel, and how this translates into behavior. The same is true of age: How does her age affect her interactions? I have to say that just reading this article inspired several insights into my main character and a couple of others, and I immediately sent off for his book, The Art of Character. Here's the book at Amazon, although several sites sell it.
The Art of Character does not disappoint. It's like a course in creative writing, with exercises that are challenging but oh-so useful if you want rounded out characters that truly drive your story. It's also like a course in psychology, probing your characters' fears, desires, hates, loves, spirituality or lack of it. Or a course in sociology. Or philosophy. Or literature. (Corbett gives solid examples of stories, plays, novels, that illustrate the concepts he covers.)
You can tap into this book as deeply as you feel your work calls for, but the advice and insights gleaned from it are useful for any genre: light fiction, cosy mystery, MG or YA novel, literary adult fiction. It's the best book on writing I've come across in a long time. And it's the kind of book you can return to again and again.
You can visit his website to learn more about this book and the best-selling mysteries he writes. Meanwhile, I have to get back to the last chapter, the one on "voice". Happy reading.
And happy writing.