I considered posting about character-driven vs. plot-driven stories, but romance technically has to be a combination. The happily-ever-after component is plot-driven, in that it's the end goal. How the characters arrive at their HEA is mostly character-driven. The plot requires external conflicts to help move the story forward, while internal conflicts drive the characters toward resolution.
What are external conflicts?
External conflicts are outside influences that can directly or indirectly affect the hero/heroine's path toward the goal and are often beyond the character's control. They force the characters to take action. Although they can cause/influence internal conflicts, external conflicts are separate from the romance itself.
Examples:
A storm causes a tree to fall on the hero's house.
A new city ordinance prohibits the heroine from having camels on her property.
A huge conglomerate is buying up all the available real estate in the heroine's neighborhood to build a mall.
What are internal conflicts?
Internal conflicts provide the character with room to grow and struggle against himself. They force the characters to make decisions about the relationships in their lives--with self and others.
Examples:
Can the hero trust the woman who might've stolen an Mayan artifact from his collection?
Will the heroine serve as a surrogate for her best friend, even though they suspect the friend's husband is cheating on her?
Does getting married mean the hero has to give up being a cop?
By using a combination of internal and external conflicts, you can create a well-balanced story with a strong plot and character arcs through GMC.
I love the way the elements of writing are all connected. :)
Next week, we'll take a look at Foreshadowing!
Mellanie Szereto
Romance...With A Kick!
Showing posts with label GMC. Show all posts
Showing posts with label GMC. Show all posts
Wednesday, September 25, 2013
Wednesday, September 4, 2013
Writing Tip Wednesday--Worldbuilding
Many writers hear the term Worldbuilding and immediately dismiss the chance to learn about it because they don't write sci-fi, fantasy, paranormal, etc. Although creating a believable world that doesn't actually exist (that we know of) is vital for those genres, every story requires some level of setting that goes beyond what we see.
Cheryl Brooks' Cat Star Chronicles books are great examples of worldbuilding. She's written a fictional world in space, with numerous species of humanoid and non-humanoid creatures, each with unique cultures and physical characteristics. Each planet has its own type of society. All the "rules" associated with those characters and worlds help build and support her stories.
The same can apply to vampire-, werewolf-, shifter-, ghost-, demon-related stories. The characters and their communities become part of the setting--part of that unique world. Lynsay Sands' Argeneau vamps don't fit the traditional Dracula mold. With their nano-blood, blood banks, and interaction with "normal" humans, they help form a new world that operates under different conditions.
What about historical and contemporary stories? Do they need Worldbuilding?
Some may disagree, but I believe every story uses worldbuilding to a certain extent. In a historical setting, the writer can use time period and location to define how the hero and heroine interact. The social norms of the setting can easily make the heroine seem like an outspoken, overly independent woman. Family dynamics or a non-traditional occupation in a contemporary book can push the limits of what's socially acceptable in Amish culture or small-town America. Use those challenges to make your reader more invested in the outcome.
The combination of physical setting, characterization, GMC, and character arc create your world, whether it's in present-day Texas, medieval England, or the Klingon Empire. Your readers live in that world while they're reading your stories.
Now comes the tough part--building your world without backstory/information dumps. Instead of using several paragraphs to describe your aliens, shifters, etc., add small bits of description at a time. Compare their features to familiar objects. Use color and size to create an image. Work these details into an active scene for good pacing.
Example: Rumbling snores assaulted my ears as I carried the first crate into the cargo hold. My chief engineer was passed out on the floor near the entrance, forcing me to step over her tail. Gorba's scales seemed more orange than usual and her snout was swollen like an over-sized gourd. Had she tried to drink a band of Norwellian Habiks under the table again? She'd never been able to handle more than half a flagon of the fermented mugfruit they passed off as wine.
You can do the same for physical settings by using the senses as your character passes through an alley or marketplace. Smell can be especially effective at helping draw the reader into the scene. Which is more interesting--a paragraph that describes the buildings or an active scene where the character ducks into the doorway of a gambling den for a moment before moving on to an alley that reeks of rotting garbage?
If you're a plotter, make a list of details you want to include and then add them as needed. If you're a pantser or plantser, be the character and see, hear, smell what he sees, hears, smells as it happens. Keep the action moving, show rather than tell, and use careful exposition to reveal your world.
Next week we'll take a look at Creating Sexual Tension!
Mellanie Szereto
Romance...With A Kick!
Cheryl Brooks' Cat Star Chronicles books are great examples of worldbuilding. She's written a fictional world in space, with numerous species of humanoid and non-humanoid creatures, each with unique cultures and physical characteristics. Each planet has its own type of society. All the "rules" associated with those characters and worlds help build and support her stories.
The same can apply to vampire-, werewolf-, shifter-, ghost-, demon-related stories. The characters and their communities become part of the setting--part of that unique world. Lynsay Sands' Argeneau vamps don't fit the traditional Dracula mold. With their nano-blood, blood banks, and interaction with "normal" humans, they help form a new world that operates under different conditions.
What about historical and contemporary stories? Do they need Worldbuilding?
Some may disagree, but I believe every story uses worldbuilding to a certain extent. In a historical setting, the writer can use time period and location to define how the hero and heroine interact. The social norms of the setting can easily make the heroine seem like an outspoken, overly independent woman. Family dynamics or a non-traditional occupation in a contemporary book can push the limits of what's socially acceptable in Amish culture or small-town America. Use those challenges to make your reader more invested in the outcome.
The combination of physical setting, characterization, GMC, and character arc create your world, whether it's in present-day Texas, medieval England, or the Klingon Empire. Your readers live in that world while they're reading your stories.
Now comes the tough part--building your world without backstory/information dumps. Instead of using several paragraphs to describe your aliens, shifters, etc., add small bits of description at a time. Compare their features to familiar objects. Use color and size to create an image. Work these details into an active scene for good pacing.
Example: Rumbling snores assaulted my ears as I carried the first crate into the cargo hold. My chief engineer was passed out on the floor near the entrance, forcing me to step over her tail. Gorba's scales seemed more orange than usual and her snout was swollen like an over-sized gourd. Had she tried to drink a band of Norwellian Habiks under the table again? She'd never been able to handle more than half a flagon of the fermented mugfruit they passed off as wine.
You can do the same for physical settings by using the senses as your character passes through an alley or marketplace. Smell can be especially effective at helping draw the reader into the scene. Which is more interesting--a paragraph that describes the buildings or an active scene where the character ducks into the doorway of a gambling den for a moment before moving on to an alley that reeks of rotting garbage?
If you're a plotter, make a list of details you want to include and then add them as needed. If you're a pantser or plantser, be the character and see, hear, smell what he sees, hears, smells as it happens. Keep the action moving, show rather than tell, and use careful exposition to reveal your world.
Next week we'll take a look at Creating Sexual Tension!
Mellanie Szereto
Romance...With A Kick!
Wednesday, May 29, 2013
Writing Tip Wednesday--Character Arc
An important element of writing related to GMC is the Character Arc.
During the course of your story, at least one main character should grow, evolve, and/or change. This is defined as a Character Arc.
Does your hero distrust the police? Was he was framed by a crooked cop for a crime he didn't commit and recently got released from prison on a technicality? If the heroine is a detective, your hero has to learn to trust her or the romance can't develop. The path he takes to overcome his distrust is his character arc and his love for the heroine motivates him to learn to trust her.
Is your heroine shy, but she has to stand up for her learning disabled child against the school's uncooperative principal? Her character arc will involve educating herself about her rights and learning confidence in her ability to speak her mind about what she believes. Her child's well-being is her motivation behind this change.
Is your hero plagued by guilt over not being able to prevent his younger sister's drowning death when he was eight years old? Now his best friend and his wife have died, and the hero has been informed he has custody of their three-year-old daughter. The process of taking responsibility for the child and healing from his past experience are a large part of his character arc.
Every character has at least one weakness, even if he's a claymore-wielding Scottish laird or a high-profile district attorney with great legs and perfect hair. No flaws equals not human, and readers want to be able to relate to and sympathize with your hero and heroine. Help them move on, heal, learn, grow, etc. to become more confident and accepting of who they are.
Isn't that what we all work toward in the real world? :)
Next week--Author Intrusion!
Mellanie Szereto
Romance...With A Kick!
During the course of your story, at least one main character should grow, evolve, and/or change. This is defined as a Character Arc.
Does your hero distrust the police? Was he was framed by a crooked cop for a crime he didn't commit and recently got released from prison on a technicality? If the heroine is a detective, your hero has to learn to trust her or the romance can't develop. The path he takes to overcome his distrust is his character arc and his love for the heroine motivates him to learn to trust her.
Is your heroine shy, but she has to stand up for her learning disabled child against the school's uncooperative principal? Her character arc will involve educating herself about her rights and learning confidence in her ability to speak her mind about what she believes. Her child's well-being is her motivation behind this change.
Is your hero plagued by guilt over not being able to prevent his younger sister's drowning death when he was eight years old? Now his best friend and his wife have died, and the hero has been informed he has custody of their three-year-old daughter. The process of taking responsibility for the child and healing from his past experience are a large part of his character arc.
Every character has at least one weakness, even if he's a claymore-wielding Scottish laird or a high-profile district attorney with great legs and perfect hair. No flaws equals not human, and readers want to be able to relate to and sympathize with your hero and heroine. Help them move on, heal, learn, grow, etc. to become more confident and accepting of who they are.
Isn't that what we all work toward in the real world? :)
Next week--Author Intrusion!
Mellanie Szereto
Romance...With A Kick!
Wednesday, May 22, 2013
Writing Tip Wednesday--The Synopsis
There's that dreaded word--the bane of almost every writer. The SYNOPSIS!!!
Do you get sick to your stomach thinking about having to write one???
Good news! If you've been following my weekly posts, you're at least halfway done with your synopsis! Do you remember last month's GMC blog? How about last week's Timelines suggestions? Combine the two and you have a good portion of your rough draft.
A synopsis should tell the chronological order of your story, using your characters' goals, motivations, and conflicts to describe what each character wants, why he reacts the way he reacts, and how those decisions and behaviors affect him and his growth (character arc) through the events that happen. The synopsis also tells the progression of the plot and its resolution--whether it's permanent or temporary--and is written in present tense from a narrator's perspective (omniscient POV).
1) Define the situation and setting.
2) Use the cause and effect approach to tell what happens in the story.
3) Clearly tell the actions of the main characters and how they affect the plot.
4) Reveal the emotional cause and affect of the events.
5) Include the characters' goals, motivations, and conflicts.
6) Answer all questions the reader may have, including the ending.
Remember--The synopsis should present a plot with a complexity that matches the word count of your manuscript. It should make the reader want to read your book.
Synopses can be anywhere from a few hundred words to 15 or 20 pages. For a short synopsis, cut out all but the main characters' most important GMCs and the major plot points. For a long synopsis, include subplots and more details about the characters' GMCs.
A couple suggestions for Plotters:
Many plotters write the synopsis before the book. If you make changes to the plot/subplots as you write the story, make those adjustments in your synopsis. If a motivation doesn't seem strong enough in your character bio and you develop a stronger motivation, be sure to tweak your synopsis to reflect the change.
My best advice...Learn how to write a synopsis. It'll help you create cover and promo blurbs as well as taglines. Every writer needs to know how to create this useful tool.
Since I mentioned Character Arc, let's take a closer look at that topic next week!
Don't forget to support Brenda Novak's Online Auction for Diabetes Research! Only 9 days left!!!
Mellanie Szereto
Romance...With A Kick!
Do you get sick to your stomach thinking about having to write one???
Good news! If you've been following my weekly posts, you're at least halfway done with your synopsis! Do you remember last month's GMC blog? How about last week's Timelines suggestions? Combine the two and you have a good portion of your rough draft.
A synopsis should tell the chronological order of your story, using your characters' goals, motivations, and conflicts to describe what each character wants, why he reacts the way he reacts, and how those decisions and behaviors affect him and his growth (character arc) through the events that happen. The synopsis also tells the progression of the plot and its resolution--whether it's permanent or temporary--and is written in present tense from a narrator's perspective (omniscient POV).
1) Define the situation and setting.
2) Use the cause and effect approach to tell what happens in the story.
3) Clearly tell the actions of the main characters and how they affect the plot.
4) Reveal the emotional cause and affect of the events.
5) Include the characters' goals, motivations, and conflicts.
6) Answer all questions the reader may have, including the ending.
Remember--The synopsis should present a plot with a complexity that matches the word count of your manuscript. It should make the reader want to read your book.
Synopses can be anywhere from a few hundred words to 15 or 20 pages. For a short synopsis, cut out all but the main characters' most important GMCs and the major plot points. For a long synopsis, include subplots and more details about the characters' GMCs.
A couple suggestions for Plotters:
Many plotters write the synopsis before the book. If you make changes to the plot/subplots as you write the story, make those adjustments in your synopsis. If a motivation doesn't seem strong enough in your character bio and you develop a stronger motivation, be sure to tweak your synopsis to reflect the change.
My best advice...Learn how to write a synopsis. It'll help you create cover and promo blurbs as well as taglines. Every writer needs to know how to create this useful tool.
Since I mentioned Character Arc, let's take a closer look at that topic next week!
Don't forget to support Brenda Novak's Online Auction for Diabetes Research! Only 9 days left!!!
Mellanie Szereto
Romance...With A Kick!
Wednesday, April 10, 2013
Writing Tip Wednesday--Pacing
Yes, I picked another tough topic! Pacing--the movement of your plot from beginning to end. You can have great pacing, where the reader absolutely can't put the book down because she can't find a slow part for stopping. Or you can have mediocre pacing, with sluggish scenes that don't move the story forward fast enough to keep the reader's interest.
While an action-packed romantic suspense or thriller lends itself to faster pacing by definition, you have to take advantage of the twists and turns to make it work. Use fewer drawn-out descriptions and focus on the suspense.
Typically, other genres need a little boost. Contemporary romance won't have the same tension a well-written RS has, but keeping the characters active and the plot moving forward can help maintain good flow. Remember backstory and info dumps??? Those slow down the pacing and give the reader opportunities to stop reading or lose interest.
Ways to create good pacing:
1) Keep your characters as active as possible. Don't allow them to spend much time thinking about things that have already happened. Avoid the cursed beginning-of-the-chapter recap.
2) Don't fall victim to backstory and/or info dumps. Ease tidbits of information into the story as needed--exposition!
3) Don't define pacing by action alone. Sexual tension, good opening and chapter-end hooks, and emotional ups and downs can produce a story that moves along at a steady pace.
4) Use your genre to help decide what good pacing means. It won't necessarily be the same for paranormal and historical.
5) Remember to use POV to your advantage. Show instead of tell. Use active rather than passive sentence structure. Be the character!
6) Avoid unnecessary description, movements, and dialogue.
7) Use tight writing, with minimal adjectives/adverbs and crutch words. Use contractions wherever possible.
8) Internal dialogue can draw the reader in and reveal important details about the character while keeping the pacing strong.
9) Keep GMC a vital part of characterization and the plot.
10) Use POV choice to create tension. Who has the most to lose in each scene?
Are you noticing how almost every part of writing craft ties into pacing? Actually, each aspect of craft overlaps with others. As one area improves, another will follow. The most important point is never stop trying to improve your craft. You didn't think I'd get all philosophical, did you??? :D
Let's take a look at genre definitions next week. Do you know what makes a paranormal a paranormal and not a contemporary or a historical?
Mellanie Szereto
Romance...With A Kick!
While an action-packed romantic suspense or thriller lends itself to faster pacing by definition, you have to take advantage of the twists and turns to make it work. Use fewer drawn-out descriptions and focus on the suspense.
Typically, other genres need a little boost. Contemporary romance won't have the same tension a well-written RS has, but keeping the characters active and the plot moving forward can help maintain good flow. Remember backstory and info dumps??? Those slow down the pacing and give the reader opportunities to stop reading or lose interest.
Ways to create good pacing:
1) Keep your characters as active as possible. Don't allow them to spend much time thinking about things that have already happened. Avoid the cursed beginning-of-the-chapter recap.
2) Don't fall victim to backstory and/or info dumps. Ease tidbits of information into the story as needed--exposition!
3) Don't define pacing by action alone. Sexual tension, good opening and chapter-end hooks, and emotional ups and downs can produce a story that moves along at a steady pace.
4) Use your genre to help decide what good pacing means. It won't necessarily be the same for paranormal and historical.
5) Remember to use POV to your advantage. Show instead of tell. Use active rather than passive sentence structure. Be the character!
6) Avoid unnecessary description, movements, and dialogue.
7) Use tight writing, with minimal adjectives/adverbs and crutch words. Use contractions wherever possible.
8) Internal dialogue can draw the reader in and reveal important details about the character while keeping the pacing strong.
9) Keep GMC a vital part of characterization and the plot.
10) Use POV choice to create tension. Who has the most to lose in each scene?
Are you noticing how almost every part of writing craft ties into pacing? Actually, each aspect of craft overlaps with others. As one area improves, another will follow. The most important point is never stop trying to improve your craft. You didn't think I'd get all philosophical, did you??? :D
Let's take a look at genre definitions next week. Do you know what makes a paranormal a paranormal and not a contemporary or a historical?
Mellanie Szereto
Romance...With A Kick!
Wednesday, April 3, 2013
Writing Tip Wednesday--GMC
This topic is a huge one for writers, and I'll say right off that I can't begin to cover every detail of GMC in a single blog. I'm going to stick to the basics here. I highly recommend buying/borrowing a copy of Deb Dixon's book on GMC--Goal, Motivation, and Conflict: The Building Blocks of Good Fiction. It's a great resource for all fiction writers, even those of us who are pantsers and plantsers!
Goal--What are your characters' goals? Define them, whether in your head or on paper. They can be general or specific, but they have to be part of the plot or subplot.
Motivation--Why does your character need to achieve this goal? What's in it for him/her? Does a past experience influence this motivation? Or maybe his current situation drives his need to accomplish his goal.
Conflict--What events will happen to prevent the character from reaching his/her goal? These can be internal and/or external. Internal conflicts provide the character with room to grow (the character arc) and a struggle against himself. External conflicts are outside influences that can directly or indirectly affect his path toward the goal.
Example:
Goals
Heroine, Sarah, wants to prevent her mother from remarrying.
Hero, Hank, wants to turn an empty factory into condos.
Motivations
Sarah believes the man is marrying her mother for money and property.
Hank thinks the building is an eyesore and can be put to better use. Plus, he could make some money to pay off his divorce lawyer.
Conflicts
Hank's father is the man who wants to marry Sarah's mother. (external)
After seeing the couple together, Sarah thinks the man might actually love her mother. (internal)
Sarah's mother owns the empty factory. (external)
Sarah is concerned the marriage is simply a way for Hank to get his hands on the property. (internal)
Sara wants her mother to donate the empty factory to the town for a new library. (external)
Do you get the idea of how GMC works?
Plotters, this process fits in with your outlines, character bios, story boards, etc.
Pantsers, be sure GMC is a part of your story as it unfolds.
Plantsers, use whatever combination of plotter and pantser tools you need to let that story tell itself.
Remember--without GMC, you have a series of unconnected events happening for no apparent reason!
Now I need to plant myself in my chair and write!!! Pacing is up next week!
Mellanie Szereto
Romance...With A Kick!
Goal--What are your characters' goals? Define them, whether in your head or on paper. They can be general or specific, but they have to be part of the plot or subplot.
Motivation--Why does your character need to achieve this goal? What's in it for him/her? Does a past experience influence this motivation? Or maybe his current situation drives his need to accomplish his goal.
Conflict--What events will happen to prevent the character from reaching his/her goal? These can be internal and/or external. Internal conflicts provide the character with room to grow (the character arc) and a struggle against himself. External conflicts are outside influences that can directly or indirectly affect his path toward the goal.
Example:
Goals
Heroine, Sarah, wants to prevent her mother from remarrying.
Hero, Hank, wants to turn an empty factory into condos.
Motivations
Sarah believes the man is marrying her mother for money and property.
Hank thinks the building is an eyesore and can be put to better use. Plus, he could make some money to pay off his divorce lawyer.
Conflicts
Hank's father is the man who wants to marry Sarah's mother. (external)
After seeing the couple together, Sarah thinks the man might actually love her mother. (internal)
Sarah's mother owns the empty factory. (external)
Sarah is concerned the marriage is simply a way for Hank to get his hands on the property. (internal)
Sara wants her mother to donate the empty factory to the town for a new library. (external)
Do you get the idea of how GMC works?
Plotters, this process fits in with your outlines, character bios, story boards, etc.
Pantsers, be sure GMC is a part of your story as it unfolds.
Plantsers, use whatever combination of plotter and pantser tools you need to let that story tell itself.
Remember--without GMC, you have a series of unconnected events happening for no apparent reason!
Now I need to plant myself in my chair and write!!! Pacing is up next week!
Mellanie Szereto
Romance...With A Kick!
Wednesday, March 6, 2013
Writing Tip Wednesday--Backstory vs. Exposition
**Last day to enter for a chance to win an e-book! Leave a comment on any Writing Tip Wednesday post or drop me an e-mail at mellanieszereto(at)hotmail(dot)com by midnight on March 6th!**
In recent months, I've noticed a lot of agents and editors commenting on Twitter about submissions they've rejected because the author either opened with page after page of backstory and no action or had a great opening action scene followed by pages of backstory. Some of the contest entries I've judged have had similar issues.
How much backstory is too much? And what is exposition?
You've thought of a fantastic idea for a story, so you start getting to know your characters. If you're a Plotter, you might create a character bio, listing physical characteristics of your hero/heroine and finding the perfect celebrity to represent him/her. You know this person's history--he's the oldest of four siblings, he's overprotective of his baby sister, his dog died when he was 12, etc. Is all of this information vital to your story?
Probably not. Some of it helps define your character's GMC (goals, motivation, and conflicts), but the reader doesn't need to know much of what you know about the hero/heroine. If the hero recognizes a smell, he might be reminded of his grandmother's kitchen at Thanksgiving. It can have a positive or negative affect. Do we also need to know that when he was eight years old, his grandmother spent weeks in the hospital from gall bladder surgery complications? That's a backstory dump unless the heroine is about to undergo gall bladder surgery and he's worried she might die.
By adding small instances of past experiences here and there, we get the information we need at the right time rather than a giant info dump. That's exposition. You expose pieces of the character's history when they're influencing current actions, reactions, and behavior.
Remember that info/backstory dumps can be in narrative or dialogue. If your character has a scar, is she going to talk about the details of how it happened with someone who was there or already knows the story? Not likely. As with POV, be the character. Think about her relationship with other characters in the scene. How much would she tell a stranger? Is she self-conscious of the scar? All these things influence how much exposition you should use in dialogue, whether spoken or internal.
Backstory and exposition, like many other aspects of writing craft, are best when used in moderation. Sure, you have to take more time and care when creating your story, but your end product will be better for the effort--and your readers will love you for it!
In writing this blog, I'm wondering if backstory tends to be a bigger problem for Plotters... If you have thorough knowledge of your character's life history, are you more likely to have problems with backstory dumps??? And what about Pantsers? If you don't know your character, do you have more issues with contradictory or inconsistent behavior???
Hmm... Something to think about until next week's post on Characterization.
Thanks for stopping by!
Mellanie Szereto
Romance...With A Kick!
In recent months, I've noticed a lot of agents and editors commenting on Twitter about submissions they've rejected because the author either opened with page after page of backstory and no action or had a great opening action scene followed by pages of backstory. Some of the contest entries I've judged have had similar issues.
How much backstory is too much? And what is exposition?
You've thought of a fantastic idea for a story, so you start getting to know your characters. If you're a Plotter, you might create a character bio, listing physical characteristics of your hero/heroine and finding the perfect celebrity to represent him/her. You know this person's history--he's the oldest of four siblings, he's overprotective of his baby sister, his dog died when he was 12, etc. Is all of this information vital to your story?
Probably not. Some of it helps define your character's GMC (goals, motivation, and conflicts), but the reader doesn't need to know much of what you know about the hero/heroine. If the hero recognizes a smell, he might be reminded of his grandmother's kitchen at Thanksgiving. It can have a positive or negative affect. Do we also need to know that when he was eight years old, his grandmother spent weeks in the hospital from gall bladder surgery complications? That's a backstory dump unless the heroine is about to undergo gall bladder surgery and he's worried she might die.
By adding small instances of past experiences here and there, we get the information we need at the right time rather than a giant info dump. That's exposition. You expose pieces of the character's history when they're influencing current actions, reactions, and behavior.
Remember that info/backstory dumps can be in narrative or dialogue. If your character has a scar, is she going to talk about the details of how it happened with someone who was there or already knows the story? Not likely. As with POV, be the character. Think about her relationship with other characters in the scene. How much would she tell a stranger? Is she self-conscious of the scar? All these things influence how much exposition you should use in dialogue, whether spoken or internal.
Backstory and exposition, like many other aspects of writing craft, are best when used in moderation. Sure, you have to take more time and care when creating your story, but your end product will be better for the effort--and your readers will love you for it!
In writing this blog, I'm wondering if backstory tends to be a bigger problem for Plotters... If you have thorough knowledge of your character's life history, are you more likely to have problems with backstory dumps??? And what about Pantsers? If you don't know your character, do you have more issues with contradictory or inconsistent behavior???
Hmm... Something to think about until next week's post on Characterization.
Thanks for stopping by!
Mellanie Szereto
Romance...With A Kick!
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