#amrevising

… and having no one to share it with yet.

Wow. Did I do that?

We all have a type. (Mine is tall, light-haired, and goofy. To each their own.) 

Even our protagonists fulfill a type. (For the sake of simplicity, I’m using the female pronoun.) We spend a lot of time thinking about the main star of our book—her appearance, her likes and dislikes, her quirks, her goals, and her deepest desires.

And we also think about whether our protagonist is going to change or not throughout our story.

We often hear about character arcs and how important they are to map out. A character arc is the mental status of a character as she unfolds in the story. It’s when she begins with a particular mindset, and through a series of events, she changes that mindset by the end. This arc usually peaks at the climax of the plot, and the resolution shows the character as a changed person.

However, you might be surprised that there are many successful stories in which characters don’t change. But we’ll get to that in a minute. 

If we know what type of protagonist we’re building, the kind that changes or the kind that doesn’t, then we can plan for what type of story we want to tell. Will this story stand alone? Will it become a series? Do we want a strong character arc, a strong plot arc, or both?

All of these answers become clearer once we know what protagonist we’re dealing with.

The Classic Character Change

If your protagonist is going to have a life-changing realization near the end of your story, then you’re going to have a classic character arc. This is when your protagonist starts out with a certain outlook, and by the end she changes that outlook and solves the conflict of the story (inner conflict or outer conflict).

The simplest way to figure out the character arc is to ask the golden question: What is my protagonist willing to do in the end that she wasn’t willing to do in the beginning?

This change usually has a sense of “I’ve been a damn fool” as the truth about herself hits her like an oncoming train. Then she gathers her wits and newfound strength, and prepares to overcome the conflict—the one thing that’s interfering with her survival and happiness.

The Gradual Character Change

The gradual change is slightly (only slightly) unusual in that it’s not contained in one book, but can stretch over the course of many books.

If you’ve ever read the In Death series by J.D. Robb (aka Nora Roberts), you might notice that her protagonist, Eve Dallas, doesn’t always have a defining character arc in each book. The arc pertains more to the plot.

There is still a sense of “I’ve been a damn fool” as the main character solves the mystery, finally seeing what she didn’t see before.

But emotionally, Eve Dallas grows throughout the series in little ways, from learning to trust a man to depending on him in ways that make this self-sufficient, independent woman uncomfortable. She grows into herself little by little while solving many murder cases.

This character change is a little bit different than a classic change for a couple of reasons.

First, the timing of the changes aren’t limited to a 3-Act structure, but nudged along over many books when small conflicts arise.

Second, all you have are good writing techniques to pull it off. You’re less dependent on structure and more dependent on honing emotional cues, the action-reaction-reflection-decision formula. And logic.

The character changes should still make sense within the story (triggered by events), but the arc may apply more to the plot. This type of character change seems to work best in a series format.

Practically Perfect in Every Way

This “non character arc” is interesting in that the arc is pronounced in either the plot or results in the character’s demise.

How can you have a story without a protagonist changing? Is that possible?

Sure it is, and those stories are all around us. This is when a character remains the same and the people around her change. The big realization/arc happens in the plot, or the character dies from events because she’s unwilling to change.

I think of Mary Poppins, a main character who never changes, but there’s still an intriguing story between the children and their parents. She’s the type of character in which others change around her. (The Banks family is forever changed by having Mary Poppins in their lives.)

Or if you’ve read the Amelia Peabody novels by Elizabeth Peters, you might notice that Amelia is always a daring, brilliant woman who prides herself on logical deductions and an imaginative mind to solve mysteries.

Readers don’t want Mary Poppins or Amelia Peabody to change. They’re fun characters. They can survive any situation because of who they are. This type of character can sustain a standalone novel or a series.

The other side of this coin is the character who meets her own destruction because she can’t change, or she’s left dissatisfied at the end. You may find this outcome usually in literary or general fiction, and cautionary tales. For some authors, “what not to do” this is their message for readers to take away.

Decisions, Decisions.

At this point, maybe you’re leaning toward one over the others. And that’s the idea. Know what’s out there and then decide what works for you and your story.

Your characterization (traits, habits, personality, past experiences, present outlook, etc.) will be directed by the type of protagonist you’re writing.

If you’re writing toward a classic character arc, then every scene works toward a personal realization. You set up the protagonist’s inner conflict and little by little reveal information to create an emotional progression toward change.

If you’re writing a character who doesn’t change, then every scene works toward showing how awesome your character already is while working to solve an outer conflict.

Happy plotting!

Need help with your story? I got you covered.

Revising a novel can feel like you’re standing at the beginning of an unending, cracked desert and have no idea how to get to the other side. Your mouth goes dry. As does every other impulse.

But in order to get from a crappy first draft to a polished manuscript, you have to go through that desert. Well equipped.

Step 1: Play the Reader

Spend at least two weeks away from your completed first draft. You’ve just written The End so… Get drunk. Take that shower. Feed the cat. And get fresh perspective. Then forget that you’re this fabulous writer orchestrating your story’s destiny.

You heard me. Forget it.

Take a backseat and simply be a reader, settling into your book as if for the first time. And read your entire story from beginning to end.

And when you do this, make time. You want to read, if not all at once, then in big chunks. Don’t take long breaks. This will allow you to keep the entire story in your head in a short amount of time and really give you that broad view of the plot, characters, and overall flow.

Step 2: Take Notes, Notes, Notes

You’ve stepped back from all the details to see what you’ve really created. (Ahhh, my trainwreck.) There were some jewels, but maybe it’s not as good as you thought it was.

Don’t despair. Resist the I’M A TERRIBLE WRITER AND WILL DIE ALONE IN A DARK ALLEY WHILE CATS EAT MY CARCASS feeling. And take a deep breath.

Any story problem can be fixed.Trust me, I’m a professional.

Besides, you wrote a full draft! Most people haven’t even done that. They were binge-netflixing House Hunters instead. (I should really quit that show.)

The good news is: while you were reading, you were mentally gathering first impressions.

And with all the pens at your disposal, or highlighting tool, or commenting tool, now’s the time to jot down these impressions—any big story elements you found problematic. Ideas and areas that strike you as odd or not yet right.

Maybe you have too many unnecessary scenes that can be combined or deleted to tighten the pacing.

Character goals weren’t clearly stated.

The plot is like an unmanned airplane taking a nosedive.

The middle is lagging, dragging, sagging.

Things feels too safe and boring.

Or maybe an idea needs further exploration and time in the story.

The BIG stuff.  

When you take your notes, resist the temptation to go deep into your manuscript and lose your way. Just jot them down, and keep going.

Step 3: Re-imagine, Rewrite, or Search and Destroy

This is where you’ll do the most heavy lifting in your manuscript. Think of it as fixing the holes in your ship before picking out the window treatments.

The good news is:

When you made all of your notes, you were giving yourself a map to follow.

But what might some big issues really look like?

I love examples. Examples save lives.

Maybe you’re noticing your hero, Kevin, lacks integrity throughout his journey. He’s declared to the reader he’s a nice guy. But in the next chapter, he’s impatiently banging his fist on a door to a lawyer’s office, and when a lowly clerk shows him in with a stuttering apology, Kevin thinks “You idiot!” You notice things like this are happening from scene to scene. And Kevin isn’t schizophrenic. (I see this too often in alpha heroes.)

Maybe your heroine Lisa keeps running into all sorts of trouble (late to a meeting, forgets a baby shower gift, gets stuck in traffic) and while there are all these difficulties, you realize there’s not one moment of real conflict driving the story. Then you get to the Saggy Middle of Doom. And somehow the story, broken pieces and all, coasts to the HEA ending.

Maybe there are dumps of info scattered throughout the book. And backstory seems poorly timed, but you don’t know where to put it. Or the info isn’t directly relating to the plot, but you like it. Or there’s too much info and it’s repeating everywhere.

The thing with big issues is: they’re easy to diagnose.

With Kevin, he simply needs to be straightened out, where he makes kinder decisions (kindness through strength), where the telling and showing need to match up better. You can follow his thread from scene to scene and make the necessary adjustments. All of this may affect his character arc too.

With Lisa, poor Lisa, she has no antagonist creating obstacles or pushing against her. OR she doesn’t know what she wants. What’s motivating her? What does she want that the antagonist keeps dangling just out of her reach? You may have to do some rewrites to make sure that conflict is prevalent in every chapter. That she is making it harder for the antagonist and that the antagonist is making it harder for her (like a seesaw).

As with info dumps and fat lumps, we’ve all got them. Paragraphs of backstory maybe aren’t fitting the way you want them to because the info isn’t prompted by a character’s thoughts or actions. It just feels random. Once you supply those prompts and triggers, and clear away repetitions, the story will flow in a natural way.

Ta-da!

Let’s review:

1. Read your manuscript with fresh eyes.

2. Take notes of your first impressions (this is your road map!)

3. Brainstorm new solutions, rewrite, or destroy.

After the big stuff is fixed, you can focus on the emotional cues, adjust the smaller beats, pretty-up the setting, play with words—the FUN stuff.

As for the fat lumps, I’m still convinced wine is the answer.

Maybe you have the meet-cute down, but struggled with the climax(ooh-la-la). Maybe your characters have wit but lack chemistry. Maybe the chemistry is hot, but the plot is lukewarm. Maybe you’re incredibly frustrated with not knowing what to revise.

Or maybe you’re the opposite: You have a solid novel with just a few kinks.

Whatever your writing woes entail, one thing is certain: Your book deserves a professional editor to give you quality feedback on the meat of your story, to unearth the excellentandeh about your novel, and recommend fresh and creative ideas for fixing problems.

Enter: The Developmental Report

Affordable developmental editing packaged into a lengthy letter. This report gives you amazing feedback about your story and the freedom to revise on your own. Painlessly.

Because when your story is bulletproof and quality, it gets you farther than the marketing blitz in an overcrowded industry.

Despite the dying cries of publishing companies and retailers, the market is saturated with new books every year—especially by the romance genre. In 2014, romance generated 1.44 billion dollars and is the highest selling genre worldwide. (Second highest is mystery, which made HALF that amount.)

That means you’re competing in an already fertile playground where intelligent, discerning readers have an abundance of traditionally published and self-published romances to choose from.

If your book isn’t standing out, then it’s dragging with the herd.

The single most important factor readers use when deciding to buy a romance novel is: the story.

And that’s what The Developmental Report is all about.

• Develop characters that make readers care.
• Perfectly time your plot and turning points.
• Move your plot forward with every single scene.
• Bring your fictional world to life with setting and sensory details.
• Pace your story, not too rushed or lagged, but just right.
• Give readers a satisfying ending they’ll never forget.

You can make sure your book is true to your vision and working for you.

This is the perfect opportunity to get me and my experience without a long editing process (which, as you may know, can cost thousands of dollars, and take months of your time).

I’ll share your goals, celebrate your strengths, and encourage your efforts. Because sometimes it’s nice to have a little extra support. Sometimes your life partner and friends are tired of hearing about your problem-child book. Sometimes it’s better to have a caring human expert on your side than to go it alone.

And sometimes…it’s just good sense to cover your butt before you publish.

Don’t miss a chance to get The Developmental Report for your manuscript.