Last night, I didn't sleep one wink, and my two remaining brain cells are rebelling. Could I pick some great books to mention? Sure. Could I say why they're fab? Not in any coherent fashion. So instead, I am rerunning a column from 2018 about the importance of being mean to your characters. I hope it helps.
And now ...
They Must Suffer!
Authors in the mystery community are generally known for being nice folks. Helpful, welcoming, even pleasant. But when it comes to their work, successful writers are mean. They have to be.
An author who likes her characters too much might be inclined to make
things easy for them. The sleuth quickly finds the killer. She's never
in any real danger. In fact, there's no murder at all in the story or
book. Just an attempted murder, but the sleuth's best friend pulls
through just fine.
These scenarios may be all well and good in Happily Ever After Land. But in Crime Land, they result in a book without tension that's probably going to be way too short. That's why editors often tell mystery authors to make their characters suffer.
Yet that can be easier said than done. If you're basing a character on someone you don't like, then you might have a grand time writing every punch, broken bone, and funeral. But not every character can be based on an enemy. And sometimes characters seem to plead from the page, "Don't do that to me."
It's happened to me. I once started writing a certain story a. I had a great first page, and then I got stuck. No matter how I tried to write the next several sentences, they didn't work. So I walked away from the computer. Sometimes I find a break can help a writing logjam. But not this time. In the end, I found I simply couldn't write the story I'd planned because, you see, that plan had included the death of a cat. And I just couldn't do it.
The publication I was aiming the story for would have been fine with a story that included a dead animal. But I wasn't fine with it. And I knew my regular readers wouldn't like it either. Sure animals die in real life, and sometimes they die in fiction too. But those deaths should be key to the story. The Yearling wouldn't work if the deer didn't die. And Old Yeller needed the dog to die too.
But not all stories need animal jeopardy. And that's the key question: is it necessary? In the story I was writing about the cat it wasn't, and I knew it in my gut, even if I didn't know it in my head at first. That's why I couldn't bring myself to write the story as planned. Instead, with the help of a friend, I found another way to make the story work, one without any harm to animals.
It's not the first time something like that has happened to me. I oncewrote a story called "Suffer the Little Children" (published in my collection, Don't Get Mad, Get Even). This is the first story of mine involving a female sheriff name Ellen Wescott. She's smart and honest and way different than I'd planned. Originally she was supposed to be a corrupt man. But as I was thinking through the plot during my planning stage, I heard that male sheriff say in my head, "Don't make me do that. I don't want to do that." Spooky, right?
While part of me immediately responded, "too bad,"--he had to
suffer--another part of me knew that when characters talk back like
that, it's because my subconscious knows what I'm planning isn't going
to work. Either it won't work for the readers, as with the cat I
couldn't kill. Or it won't work for the plot, as was the case with this
sheriff story. So my corrupt male sheriff became an honorable female
sheriff, and large parts of the plot changed. My female sheriff faced
obstacles, but she was a good person. That was a compromise my gut could
live with.
Readers, I'd love to hear about stories and books you've enjoyed that involved a plot event you didn't love, yet you accepted it because you knew it was important to the story. And writers, I'd love to hear about times you couldn't bring yourself to write something. What was it? And why?
These scenarios may be all well and good in Happily Ever After Land. But in Crime Land, they result in a book without tension that's probably going to be way too short. That's why editors often tell mystery authors to make their characters suffer.
Yet that can be easier said than done. If you're basing a character on someone you don't like, then you might have a grand time writing every punch, broken bone, and funeral. But not every character can be based on an enemy. And sometimes characters seem to plead from the page, "Don't do that to me."
It's happened to me. I once started writing a certain story a. I had a great first page, and then I got stuck. No matter how I tried to write the next several sentences, they didn't work. So I walked away from the computer. Sometimes I find a break can help a writing logjam. But not this time. In the end, I found I simply couldn't write the story I'd planned because, you see, that plan had included the death of a cat. And I just couldn't do it.
 |
| Don't do it! |
The publication I was aiming the story for would have been fine with a story that included a dead animal. But I wasn't fine with it. And I knew my regular readers wouldn't like it either. Sure animals die in real life, and sometimes they die in fiction too. But those deaths should be key to the story. The Yearling wouldn't work if the deer didn't die. And Old Yeller needed the dog to die too.
But not all stories need animal jeopardy. And that's the key question: is it necessary? In the story I was writing about the cat it wasn't, and I knew it in my gut, even if I didn't know it in my head at first. That's why I couldn't bring myself to write the story as planned. Instead, with the help of a friend, I found another way to make the story work, one without any harm to animals.
It's not the first time something like that has happened to me. I oncewrote a story called "Suffer the Little Children" (published in my collection, Don't Get Mad, Get Even). This is the first story of mine involving a female sheriff name Ellen Wescott. She's smart and honest and way different than I'd planned. Originally she was supposed to be a corrupt man. But as I was thinking through the plot during my planning stage, I heard that male sheriff say in my head, "Don't make me do that. I don't want to do that." Spooky, right?
 | |
| Sometimes characters just have to be nice |
Readers, I'd love to hear about stories and books you've enjoyed that involved a plot event you didn't love, yet you accepted it because you knew it was important to the story. And writers, I'd love to hear about times you couldn't bring yourself to write something. What was it? And why?
No comments:
Post a Comment
Welcome. Please feel free to comment.
Our corporate secretary is notoriously lax when it comes to comments trapped in the spam folder. It may take Velma a few days to notice, usually after digging in a bottom drawer for a packet of seamed hose, a .38, her flask, or a cigarette.
She’s also sarcastically flip-lipped, but where else can a P.I. find a gal who can wield a candlestick phone, a typewriter, and a gat all at the same time? So bear with us, we value your comment. Once she finishes her Fatima Long Gold.
You can format HTML codes of <b>bold</b>, <i>italics</i>, and links: <a href="https://about.me/SleuthSayers">SleuthSayers</a>