Kristen Lamb

Author, Blogger, Social Media Jedi

Kristen Lamb — Photo

Posts Categorized: Character

It’s back to school for everyone – not just kids. Vacation’s over. Fun’s over…or maybe the fun is just beginning.

This fall, W.A.N.A. is back with new classes, new instructors, and lots of exciting announcements coming up. Bookmark W.A.N.A. and make sure to subscribe to my blog to stay up-to-date with all the news!

Don’t forget to hop on over to the W.A.N.A. Tribe to join in our daily writing sprints in the chat room! The Tribe is a thriving community, and we are planning on some awesome upgrades to the entire Tribe experience this fall.

NEW CLASSES FOR SEPTEMBER 2017

More than Gore - How to Write Horror. $35.00 USD. Tuesday, September 5, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Bullies and Baddies - Understanding the Antagonist. $50.00 USD. Thursday, September 7, 2017. 7:00-9:00 p.m. Click the image to register!
Backstory: The Yarn Behind the Book. $45.00 USD. Friday, September 8, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Historical not Hysterical: Creating Authentic Female Characters. $45.00 USD. Saturday, September 9, 2017. 11:00 a.m.-1:00 p.m. EST. Click the link to register!
Beyond Lipstick and Swords: Writing Strong Female Characters. $40.00 USD. Saturday, September 9, 2017. 2:00-4:00 p.m. EST. Click the image to register!
Villains & Anti-Heroes: The Characters We Love and Hate. $45.00 USD. Tuesday, September 12, 2017. 7:00-9:00 p.m. EST. Click the image to register!
From the Ground Up: Putting the "World" in World-Building for Fantasy. $60.00 USD. Wednesday, September 13, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Hooked: Catching Readers in the First Five Pages. $40.00 USD. Thursday, September 14, 2017. 7:00-9:00 p.m. EST. Click the image to register!
How to Dominate Your Sex Scenes (No Safe Words Here). $45.00 USD. Friday, September 15, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Painting With Words: Using Description and Sensory Details. $40.00 USD. Saturday, September 16, 2017. 2:00-4:00 p.m. EST. Click the image to register!
Elements of Literary Fiction. $40.00 USD. Tuesday, September 19, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Getting to Work: Professions, Politics, and Production in Fantasy World-Building. $60.00 USD. Wednesday, September 20, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Social Media for Writers. $35.00 USD. Thursday, September 21, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Blurb Writing Blows - But, It Doesn’t Have To. $45.00 USD. Friday, September 22, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Turn Your Passion Into A Business: Making Money As A Writer. $40.00 USD. Monday, September 25, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Guilty Pleasures: Writing Suspense, Thrillers, and Crime. Tuesday, September 26, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Romps and Revels: Entertainment, Leisure, and Culture in Fantasy World Building. Wednesday, September 27, 2017. 7:00-9:00 p.m. EST. Click the image to register!
When Your Name Alone Can Sell: Branding for Authors. $35.00 USD. Thursday, September 28, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Outside the Box: How to Read More, Write Less, and Up Your Fiction Game. Friday, September 29, 2017. 7:00-9:00 p.m. EST. Click the image to register!

 

 

Why is it so many new novels are—to be blunt—crap? How can we find an author we love with one book, then all the love goes away with the next? What’s going wrong? What’s missing? Where did everything go wrong?

How can we learn and do better?

First and foremost, to be an author it’s imperative to embrace some healthy sadism. We’ll chat briefly on this so the “wrong turns” in story can become far easier to spot.

We MUST Go Against Our Nature

Humans have all kinds of intricate biological wiring that propels us to AVOID CONFLICT/PAIN. Now this is great namely because our desire to avoid pain is what keeps us alive and gainfully employed. It’s also how many of us are able to endure the holidays when forced to see family.

This said, it is human to avoid conflict and to smooth everything over and civilization would implode if we didn’t heed our biology. We feel the rising anxiety and our nature steps in to “fix” everything and return to a nice comfortable homeostasis.

Avoiding conflict and pain can be healthy in life, but it spells death for fiction.

So here are a couple reasons your story might suck. Btw, remember while I have one finger pointing at you? Three are pointing back at me. I use these guideposts in my own work when I sense it’s starting to seriously suck.

#1—We Have Decoration Devoid of Substance

I’m going to let you in on a little secret. Novels are not pretty sentences or even pretty words. Sure, it’s nice to have them, but they’re not entirely necessary.

It’s like a cake. Some cakes are so intricate they’re literally works of art, but cake is meant for people to EAT. So I’d much prefer a plain cake that is so yummy angels sing than to bite into a work of “art” and get a revolting mouthful of sugar-laden lard.

Same with stories. Stories, too, are meant to be ingested, to FEED us emotionally.

Fiction is about one thing and one thing only—PROBLEMS.

PROBLEMS are the “cake” of story.

I don’t emotionally connect to a cerulean sky or a painstakingly accurate description of a forest or an 18th century tea setting. I have zip-nada invested in an outfit, a garden or the layout of a room (that’s “icing”). Most people prefer cake with icing and readers like stories with description, setting, superlative prose etc. (though to the degree varies with reader preference).

All that “stuff” can make a story better, but they are NOT story, just like icing is not cake.

#2—We Have No Plot

Plot is basically a fancy way of saying we have a core problem in need of resolution (cake) and a plan (recipe) to do just that.

I cannot connect emotionally with a detailed description of a designer outfit, but I can connect with the woman who’s wearing this outfit. I don’t care all that much about the outfit, I care about the woman and the why behind the outfit.

What is she hiding? What is she up against? What must she face to become whole?

Is she in this outfit because she desperately needs a job? Because it hides the bruises from her emotionally and physically abusive husband who controls her life? The one she must find the courage (and job) to escape?

This is why I’m a huge believer in writers being able to articulate what their story is about in ONE sentence. If we can’t do that? Odds are we have icing and no cake. Or maybe a cake that’s half-baked or missing key ingredients.

#3—We Have No Clear Plot Goal

All stories have ONE CLEAR FINAL goal. And I don’t want to hear the BS copout of:

“Well, my story is literary and character-driven. Her goal is she wants to find out who she is.”

Aside from the fact that literary and character-driven stories don’t automatically get a pass on a plot, why do we care? What happens if the protagonist doesn’t find out ‘who she is’? Why is it important? What are the stakes? Why should I (the reader) root for her?

Besides that is the wrong question entirely.

Regardless of genre, the protagonist is never finding out who she is, rather what she is made of.

For that to happen? We need a PLOT PROBLEM.

Clear plot problems offer context. If I (reader) have not been clearly shown the story problem, then I’ll be quickly bored because I lack context that makes any setback a setback.

It’s like showing me a guy driving off for a destination and not telling me where he’s going. Yet, if I know he’s driving to Canada from Texas, then accidentally turning down I-35 South because he’s arguing with his ex on the phone MEANS SOMETHING.

I can clearly SEE he’s headed for MEXICO, not Canada. The wrong turn means something and so does every setback which creates bigger and badder problems (which turns pages, btw).

By DEFINITION a setback can only happen when there is an actual goal.

We need a Death Star, a Mount Doom, and a Labyrinth or….meh.

Same in character-driven stories. We root for Evelyn Couch in Fried Green Tomatoes because we know the final goal is her growing a spine. We know she has “won” when she stands up to her bullies and to the husband who’s disrespecting her.

Bad situations are not a plot. It’s soap opera writing. Soap operas get forty years and go into infinity. Novels don’t have that luxury.

#4—Too MUCH SUGAR

We’re being way too nice. I see way too many new manuscripts and the reason they’re boring the paint off the walls is nothing is happening and everything is too easy. Everyone gets along is super sweet and lots of colorful pretty descriptions and empty calories that make us sick.

Humans have fears and faults and failures that will collide, especially under pressure. I see far too many manuscripts where nothing is happening. People talking.

Description not friction. No friction? No traction.

#5—We’re Making it TOO Easy

Yes, your protagonist has ONE core story goal in need of resolution, but there should be a ton of hardship, suffering, setbacks and pain along the way. Our protagonist must work for everything and earn every reward, even the small ones with blood, sweat and sacrifice. NOTHING should be easy. Ever.

Authors deal in solid gold rewards, not plastic participation trophies.

If our protagonist is being spoon fed the answers (dreams, journals, letters, flashbacks, “super helpful” ancillary characters) that’s cheating. If the protagonist is rescued constantly by others and it never pushes any pain points? Where’s the glory in that?

When I was in Brazilian Jiu Jitsu, most people don’t last a month. Most females never make it past white belt. It takes a YEAR to earn blue belt. I had to do this grappling men twice my size.

It took me a year and a half of busted lips, blood, bruises, and strains. It also cost me a broken nose and a dislocated knee…but guess what’s framed in my office?

I can tell you that had I been handed a blue belt for attendance, it would be in some junk drawer along with the piles of other worthless awards.

Same in fiction. We revel in the protagonist’s victory only when the title of “HERO” is earned.

#6—We Forgot to Turn on the Heat

The greater the stakes the better the story. No heat and we don’t have cake, we have batter. Same in fiction. Turn on the heat.

A friend of mine had a brilliant idea for a story, but her niceness kept killing it. She emailed me that her story is about an artist who has five years to make it in NYC or he has to return to his family’s house-painting business.

I replied: NOOOOOOOOOOO!

If our artist has five years in the beginning? We aren’t too worried. There’s time. But if we know he’s at the end of five years and has only one final narrow window? Everything changes.

If the stakes are he returns to an occupation close to what he loves (painting) and also limited seasonally (house painting in NY) it isn’t that big of a deal. He can dream away what he longs to create while on a ladder touching up eaves. He also will have seasons he can still create art.

But, what if he’s returning to a job that is not only the opposite of what he loves, but can potentially drain every creative molecule from his soul? A stressful occupation that might just kill him with seventy-hour work weeks (accounting firm)? Or physically endanger his hands/ability to paint (family auto repair business)?

And while we are at it? He’ll have to return to a family that never really was supportive and will be delighted he failed and relish rubbing it in.

NOW we have a story 😉 .

Crank up that heat. Shorten timelines and up the stakes, both physical and emotional.

If your protagonist fails, it isn’t simply a failure, it needs to be an extinction event.

In the end, I have a mantra: Make it worse until you make it weird.

What are your thoughts? Have you been too easy on your characters? Maybe indulging in flashbacks to “explain” why a character is a certain way instead of making the reader work to uncover it? Have you been too nice? Unclear? What ways can you wind that tension tighter? Shorten the timeline or up the stakes? We only will value what COSTS a lot. No one values free and easy 😉 .

I love hearing from you!

For the month of AUGUST, for everyone who leaves a comment, I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

July’s winner will be listed next time I post. Sorry, lots to do getting ready for New Zealand and I am behind.

****And MAKE SURE to check out the NEW CLASSES classes below including the final class I will teach before taking off for NEW ZEALAND! I’m keynoting there for the Romance Writers of New Zealand, which while SUPER COOL….I’d be lying if I didn’t say the trip wasn’t making me more than a tad nervous.

Speculative fiction is an umbrella term used to describe narrative fiction with supernatural or futuristic elements. This includes but it not necessarily limited to fantasy, science fiction, horror, utopian, dystopian, alternate history, apocalyptic fiction, post-apocalyptic fiction.

Basically, all the weird stuff.

Gizmos, gadgets, magic, chainsaws, demons, fantastical worlds and creatures are not enough and never have been. Whether our story is set on Planet X, in the sixth dimension of hell, on a parallel world, or on Earth after Amazon Prime gained sentience and enslaved us all, we still must have a core human story that is compelling and relatable.

In this class we will cover:

  • Discovering the core human story problem.
  • How to plot these unique genres.
  • Ways to create dimensional and compelling characters.
  • How to harness the power of fear and use psychology to add depth and layers to our story.
  • How to use world-building to enhance the story, not distract from it.

All classes come with a FREE recording!

We’ve added in classes on erotica/high heat romance, fantasy, how to write strong female characters and MORE! Classes with me, with USA Today Best-Selling Author Cait Reynolds and award-winning author and journalist Lisa-Hall Wilson. So click on a tile and sign up!

OMG! Like, How to Write On Fleek YA. $40.00 USD. Wednesday, August 23, 2017. 7:00-9:00 p.m. EST. Click the image to register!
How to Dominate Your Sex Scenes (No Safe Words Here). $45.00 USD. Wednesday, August 30, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Class Title: Beyond Lipstick and Swords: Creating Strong Female Characters. $40.00 USD. Saturday, September 9, 2017. 2:00-4:00 p.m. EST. Click the image to register!

I am a sucker for a strong female character and these gun-wielding, sword-swinging gals are skyrocketing in popularity both in books and film. 2017 has served up both Wonder Woman and Atomic Blonde, two characters who are as different as Amarillo and the moon, and this has given me a lot of food for thought.

What makes a female character truly bad@$$?

Last week I watched the pilot for Midnight, Texas and, like most shows, I’m undecided how I feel about it. It usually takes at least three episodes for me to get a clear picture of whether I want to remain or bail.

I loved True Blood and am a fan of Charlaine Harris. As a Texan and an author who writes stories set in Texas, this series of course piqued my interest.

Overall I enjoyed the pilot, but there was one scene that bugged the dickens out of me and thus prompted me to write a post about creating strong female characters.

More about Midnight later and what hit the sour note.

There’s No Mystery Why the Bad@$$ Female Has Gained Appeal

Being an older gal, I remember a time when every woman in every show twisted an ankle. She huddled in a corner panicking and weeping waiting for a man to save her instead of standing up and being useful instead of just decorative. I also recall being a seriously ticked off five-year-old.

Why was she just sobbing in a pile instead of picking up the gun? Tire iron? Whatever.

As a kid of the 80s our female action heroines were Charlie’s Angels *rolls eyes* but it was a start…even though this magazine cover (below) gives me gun safety apoplexy.

*Kristen breathes into paper bag*

But back in the day it was a fresh idea. Take some pretty women with lots of lipgloss and even more hairspray, hand them guns and —> POWER.

Oh-kay….

Terminator & The Tectonic Shift

For me, Terminator 2 was a tectonic shift in how women could be viewed in terms of an “action hero” especially since I was the only girl in 1985 taking martial arts instead of ballet. When I initially competed in karate, there were no “girls” divisions so I competed against boys.

With T2, finally there was a female action hero for me!

Yet, it seemed like Hollywood completely missed the point of Sarah Connor. Yes, in T2 she is all buff and devoid of emotion, fixated on a singular objective and willing to use any means to get there.

But that was because the STORY compelled such a character. After what Sarah endured, witnessed and survived in T1, she inadvertently became the very thing she sought to destroy. In her desire to defeat the Terminator, she’d become the very thing she hated.

Kyle Reese gives us the foreshadowing of this in T1.

It can’t be bargained with. It can’t be reasoned with. It doesn’t feel pity, or remorse, or fear! And it absolutely will not stop, ever, until you are dead!

He says these words regarding the Terminator, yet this is eerily prophetic regarding Sarah in T2.

The Sarah Connor of T2 was a METAPHOR, not the singular template for what makes a bad@$$ female action hero.

Yet, T2 set the pattern for over two decades of one-dimensional, bitter, unfeeling and often unlikable female action heroes from Lara Croft in Tomb Raider, to Evelyn Salt in Salt, to the female assassin Fox in Wanted and now we get Lorraine Broughton in Atomic Blonde.

Though I haven’t seen Atomic Blonde yet, I’ve watched enough clips and trailers to know she’s basically John Wick with boobs. Which *shrugs* is cool.

To be clear, I watch and enjoy a lot of these movies and I think they have a place. For instance, no one expects James Bond or Ethan Hunt (Mission Impossible) to be dimensional.

We expect these guys to have fast cars, cool gadgets, woo beautiful and often dangerous women, and take out the bad guy in new and creative ways. I’m certain Atomic Blonde will deliver the same, because that’s the movie’s goal.

Yet, in my POV, the female action hero who can shoot and fight as well or better than any man has gone from breaking ground (and glass ceilings) and devolved into a die cut trope. In short, this assembly-line character is low-hanging fruit when it comes to storytelling.

I’m sure Atomic Blonde will have all kinds of cool fight scenes and I’m beyond impressed with Charlize Theron and what she did to prepare for the role. Atomic Blonde is groundbreaking for me in that Hollywood cast an over-forty female and not some twenty-something Megan Fox clone.

For that? They get major applause from me.

I know Lorraine Broughton will thrill and electrify me. She will not, however, be my hero which makes me wonder WHY?

Why Wonder Woman is STILL My Hero

One of the many reasons the newest rendition of Wonder Woman had me in tears through most of the movie is the creators ignored the low-hanging fruit and reached higher…MUCH MUCH higher.

We weren’t handed (yet again) what boiled down essentially to a man with girl parts. We had a fully realized and definitively feminine heroine. Additionally, her femininity didn’t “lessen” her.

The story showed us that a woman wasn’t required to become a man in order to be powerful.

THIS is what I feel is a superlative example of a female action hero. Yes, she is amazing with her fighting skills and ability with weapons etc. but the creators didn’t stop there. What made Diana even more powerful (to me) was she possessed innocence and naivete and was motivated by love and compassion not some bitter backstory.

For me, Wonder Woman demonstrated more power in a singular act of undeserved mercy than every Jolie female bad@$$ combined. Being powerful is more than the ability to be violent.

In fact, authentic power is often the opposite.

Back to Midnight, Texas

As mentioned earlier, I enjoyed the pilot and look forward to more episodes, but one scene really rubbed me the wrong way and if the show wants me to root for Olivia, they are off to a bad start. There’s a scene where the band of “supers” for lack of a better word, need to detain protagonist Manfred Bernardo to pepper him with questions when he unexpectedly moves to the town.

Okay, fair enough.

But Manfred is a psychic with the demeanor and physical prowess of a high school English teacher. Why then did Olivia (resident female bad@$$) find it necessary to sucker punch him in the face with brass knuckles to knock him out/detain him?

First of all, no one bothered, I dunno, asking him to come for a chat. Maybe start there? Over some chips and salsa? Even some salsa dosed with Benadryl?

With so many other options, why brass knuckles? Brass knuckles would have crushed his nose and likely cracked orbital sockets and cheekbones. The sheer factual inaccuracy of the results of such a blow irritated me.

Manfred wouldn’t have been simply rendered unconscious, he’d more likely be in surgery to cobble his face back together with wire and bone grafts.

Also, sucker punching a man who’s done nothing wrong (and who’s only been amiable) in the face with brass knuckles was overkill. It was needless and not what truly powerful characters do, especially ones I’m supposed to root for.

Olivia can show off all she wants with throwing knives and shooting arrows indoors and all of her bitchiness and brooding doesn’t make her a better character, it makes her a tiresome trope. And authentic bad@$$es don’t ambush unarmed people who’ve done nothing wrong and assault them.

Though so far I like the story concept and other characters, this gal is off to a real bad start with me.

I dislike Olivia for the same reasons I stopped rooting for Arya Stark (though Game of Thrones is chock full of despicable characters). I was on Arya’s side and could ignore a lot of bad things she did (she was a survivor). I was able to overlook a lot of brutality…until she was needlessly cruel, then? I was done.

In the end, there will always be audiences eager for the emotionless femme fatale who’s as volatile as she is violent. But, I feel there is great opportunity for writers to dig deeper and reach higher and offer us a wider range of female bad@$$es. If we don’t, then we are like painters who only use black paint, and thus are limiting what we can create.

Wonder Woman has shown us there is a middle-ground between the helpless victim and the pointless brute.

For me? I desire to create strong female bad@$$es characters I wouldn’t mind little girls aspiring to be, and I feel we need more of these women. I would want my daughter to be like Wonder Woman. Evelyn Salt? Atomic Blonde?

Um, yeah. No thanks.

What are your thoughts? Do you have mixed feelings about many of the female bad@$$es? I don’t mind them, but come on! Can we get something different? What do you think makes a female character powerful?

Who are your favorites? Did you cry all through Wonder Woman too? I was so elated to see my childhood role model portrayed so brilliantly. And I loved that all the Amazons were different ages, shapes, sizes, races and that’s another post. But WOW!

I love hearing from you! And I am not above bribery to hear your thoughts 😀 .

For the month of JULY, for everyone who leaves a comment, I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

****And MAKE SURE to check out the NEW CLASSES classes below (including writing layered characters and strong females) and sign up!

Summer school! YAY! We’ve added in classes on erotica/high heat romance, fantasy, how to write strong female characters and MORE! Classes with me, with USA Today Best-Selling Author Cait Reynolds and award-winning author and journalist Lisa-Hall Wilson. So click on a tile and sign up!

OMG! Like, How to Write On Fleek YA. $40.00 USD. Wednesday, August 23, 2017. 7:00-9:00 p.m. EST. Click the image to register!
How to Dominate Your Sex Scenes (No Safe Words Here). $45.00 USD. Wednesday, August 30, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Class Title: Beyond Lipstick and Swords: Creating Strong Female Characters. $40.00 USD. Saturday, September 9, 2017. 2:00-4:00 p.m. EST. Click the image to register!