Category: Characters

Ruminations Part 3 – Sensitivity Readers, Part 3 – I Take a “Writing the Other” class

My first rumination can be found at Ruminations Part I – “Your eyes are completely healed”
My second at Ruminations Part 2 – Numbers lead to informed decisions
Rumination Part 3-1 is Ruminations Part 3 – Sensitivity Readers, Part 1
Rumination Part 3-2 is Ruminations Part 3 – Sensitivity Readers, Part 2

Now, once you have decided these things, don’t stop and explain them to the reader. Simply develop a feel for the character’s outlook, and try to write from that outlook. To learn how to do this, read books produced by other cultures and eras, not just fiction, but also biographies, travelogues, history, letters: everything from the Venerable Bede to Pliny the Younger to Ben Franklin’s Autobiography to the sayings of Chuang Tzu to Xenophon’s Anabasis. Observe the details. What does the author take for granted? What is familiar to him and what is strange? How does he perceived himself? From this you may learn something about creating characters who are not yourself. Every professional writer must do this. – from On Writing Science Fiction: The Editors Strike Back

I took a four-week “writing the other” class led by two sensitivity readers a while back. It was about how to properly craft a character with a background with whom the author is unfamiliar.

What became obvious is the instructors were, in my opinion, unqualified. They had no anthro, linguistic, socio, or related training. It seemed their training came from being of a certain racial/ethnic group.

And because I’m a full-blooded Italian who’s never set foot in Italy, I am, of course, unquestionably qualified to speak for the experiences of all Italians everywhere throughout all time.

It’s a wonderful world, ain’t it?

At this point in history…
A writer including a character with an unfamiliar background and getting published is something which could only happen at this point in history (barring vanity publishing) because only at this point in history are people writing stuff and putting it out there with no to little knowledge of what they’re writing about. That attitude among writers and my experience (so far) of sensitivity readers reminds me of my business days when all you needed to claim expertise was to state you were an expert louder than the person sitting next to you.
Continue reading “Ruminations Part 3 – Sensitivity Readers, Part 3 – I Take a “Writing the Other” class”

Flashback as Story Frame

I wrote about using one-line story summaries to craft craft better stories in Using One-Line Summaries to Write Better Stories.

The next question is “How does the story come together on the page?” Note: we’re continuing with the work we did in Using One-Line Summaries to Write Better Stories.

Give the reader a reason to read your story.

 
You have to give the reader a reason to read the story. Reasons to read a story are varied and pretty much all come down to the reader asking themselves these questions:

Greetings! I’m your friendly, neighborhood Threshold Guardian. This is a protected post. Protected posts in the My Work, Marketing, and StoryCrafting categories require a subscription (starting at 1$US/month) to access. Protected posts outside those categories require a General (free) membership.
Members and Subscribers can LogIn. Non members can join. Non-protected posts (there are several) are available to everyone.
Want to learn more about why I use a subscription model? Read More ch-ch-ch-ch-Changes Enjoy!

Ruminations Part 3 – Sensitivity Readers, Part 1

The ambiguously unidentifiable individual of non-specific ethnic persuasion drove up in a vehicle demonstrative of no specific class or financial status. Exiting their vehicle, they partook in an activity anyone of any belief system would partake in.
In a vertically challenged metaphoric way, they were boring as hell.
However, their PCness exuded from their ambiguously tinted and textured dermatic stoma like a semi-viscous fluid from an unclosed trauma site.
(it didn’t matter that nobody understood what the story)
But the book about this uninteresting individual sold like relatively warmed flour-baking soda-moisture mixtures to the politically correct sensitivity crowd who read it several times with glass objects which increased the text’s relative size for better ocular interpretation and still managed to find it offensive on so many levels it was considered a building of exceptional vertical dimension.

The same day I learned my eyes are completely healed, I asked a writing group to help me understand “Sensitivity Readers.”

The “Sensitivity Reader” concept challenges me for many reasons. First, unless some “sensitive” aspect of a character is necessary to the plot, it doesn’t belong in the story. Second, I’ve yet to be given a definition of sensitive that’s not so full of holes it couldn’t be used to drain wet spaghetti. When I ask for a definition I get a response along the lines of “You know, sensitive.”

Unless some “sensitive” aspect of a character is necessary to the plot, it’s a distraction. Get rid of it. Edit it out.

 
Somebody told me they wrote a story with a gay couple in the lead. They grew concerned their depiction of the gay couple would offend some gay readers and removed the gay aspects from the story.
Continue reading “Ruminations Part 3 – Sensitivity Readers, Part 1”

Using One-Line Summaries to Write Better Stories

Sometimes a story, scene, or chapter isn’t working as you wish. Sometimes a completed story doesn’t have the oomph! you want it to have.

Here’s a suggestion for getting your story, scene, or chapter working as it should.

Write a one-line summary that tells your story
Let’s say (for example purposes) we’re working with a completed short story. We recognize the story is flawed but are unsure what the flaw is. We write the one line summary Man with a painful past hopes for a better future.

That’s a start and, if that’s the entirety of the story, the flaw (from a StoryTelling perspective) becomes obvious: it’s cliched.

“Hoping” for a better future but doing nothing to get that future makes a character pitiable (maybe) at best. They are the person who complains about their life but does nothing to change it.

Not interesting (especially if it’s the main character in the story).

Rewrite the one-line summary to include some action on the main character’s part which indicates that character is working towards a better future; Man with a painful past sees opportunity for a better future.

Okay, better but still not much and still cliched. If the character sees an opportunity then the reader must share that experience. But if the character doesn’t act on what is seen, they’re even more pitiable than before, possibly a coward, and probably someone the reader would avoid in real life.

Not good.

Make sure your summary includes the threat/challenge/possible loss to the main character if they don’t change!

Greetings! I’m your friendly, neighborhood Threshold Guardian. This is a protected post. Protected posts in the My Work, Marketing, and StoryCrafting categories require a subscription (starting at 1$US/month) to access. Protected posts outside those categories require a General (free) membership.
Members and Subscribers can LogIn. Non members can join. Non-protected posts (there are several) are available to everyone.
Want to learn more about why I use a subscription model? Read More ch-ch-ch-ch-Changes Enjoy!

“Author Feature The Augmented Man by Joseph Carrabis” now on WorkingTitleBlogspot

The Augmented Man by Joseph Carrabis is based on Joseph’s research into helping traumatized children and combat PTSD sufferers to heal. It’s a sci-fi military thriller set in the near future.

I answered three questions for WorkingTitleBlogSpot:

  • Is it important to include all shades of belief and sexual orientation in a book?
  • What is worse? Ignorance or stupidity?
  • Do you have any marketing tips for fellow writers?

(and I had a good time doing it!)
Get the whole story now on WorkingTitleBlogSpot

(and thanks to WorkingTitleBlogSpot for interviewing me)