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Final Post on GMC

This will be my last post on GMC. Sad, I know. If you’re interested in purchasing Goal, Motivation, and Conflict by Debra Dixon, click on the link to purchase it. It’s really an eye-opening read.

I thought for my closing post, we could do a little recap.

G stands for goal. Every main character needs one. External and Internal. What does your character want? And what’s at stake if your MC doesn’t reach her goal? The higher the stakes, the better. (check out the G in GMC)

M stands for motivation. Every goal needs one. Why does your character want what he wants? The motivation needs to be believable. You can make your character want anything, as long as the motivation behind the goal is compelling. (check out the M in GMC)

C stands for conflict. Every story needs one. What stands in the way of your character reaching her goals? (check out the C in GMC)

Every scene you write needs to advance your character’s GMC in some way. If one of your scenes doesn’t address a G, or an M, or a C, then you must ask yourself, why is the scene in the book?

Some fun little, helpful add-ons Debra Dixon includes within the GMC chart are: a tag line and a dominant impression. She writes the tag line above the chart and the dominant impression below the character’s name.

The tag line is the overall theme, or message of the story. This can be stated in one sentence.

The dominant impression is two words – an adjective and a noun – describing the essence of your character. For the adjective, you want to avoid physical description. I love the dominant impression, because it’s an excellent two-word description to go back to when checking for character consistency.

Here are the examples Debra gives from the movie, The Wizard of Oz
Tag line: There’s no place like home.
Dominant impression (Dorothy): unhappy teenager

The GMC is the road map to your story, guiding you as you work through the plot. Once you have a strong, focused GMC, writing the elevator pitch for your novel is a piece of cake.

The basic outline of an elevator pitch: Character wants (goal) because (motivation), but (conflict).

Here’s an example from Beneath a Velvet Sky, my third novel:
An up and coming architect wants to associate herself with the innovation and grandeur she never knew as a child. But when tragedy forces her home, her ambitions are challenged by an estranged best friend, a farm she doesn’t want, and the handsome man who lives there.

Here’s an example from The Wizard of Oz:
An unhappy teenager wants to get home because her aunt is sick, but first she must fight a witch and win her broom in order to get help from the wizard.

Today’s Challenge:
I thought it might be fun to play around with some GMCs. Here’s the only rule: no using whatever you are currently working on. Make something up! Have fun! Think of something outrageous. Something heart-wrenching. Something absurd. What GMCs are rolling around in your mind today?

Here’s my crack at it:
Dominant impression: sensitive writer (AKA Jimmy John)
Goal: to win a pie eating contest and prove he’s a man
Motivation: to show his dad that skinny guys can eat too
Conflict: he has the appetite of a bird and he’s competing against his big, burly brother who has the appetite of a horse

Elevator Pitch: A sensitive writer wants to win the local pie eating contest in order to prove to his dad that he’s a man, but he’s never been able to eat more than a sugar snap pea without getting full, and he’s competing against his big brother, a world champion sumo wrestler.

If that’s not the next best seller, I don’t know what is. Have fun!removetweetmeme

Color Me Some Passions

“Three-dimensional characters in novels require three dimensional emotions, for in real life no person is entirely one thing.”

-Brandilyn Collins from her book, Getting Into Character.
While there are many ways to color passions, for the sake of brevity, I’m only going to focus on one particular aspect. If you want to learn the rest, you’ll just have to read Brandilyn’s book.
One way to color passions is to set the passion against its opposite. Allow me to explain…
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In this chapter, Brandilyn makes an analogy involving a pearl necklace. What happens if you wear a pearl necklace against a white sweater? Will the necklace stand out? No, of course not. But what happens if you wear the pearl necklace against a black velvet dress? Now we’re talkin’. Suddenly, the pearls in the necklace pop! We notice them. Why? Because we set them against their opposite.

Let’s say we make a character in our story cruel. Maybe it’s an abusive husband who physically and emotionally abuses his wife. We write a scene where he flies into a rage because his wife shrunk his favorite shirt in the wash. Let’s say he’s so angry, he backhands her, kicks her while she’s on the ground, and leaves her crumpled on the floor, weeping. Okay, so we know he’s a cruel guy. What could we do next? There are a lot of possibilities. But let’s imagine this…

After slamming the door and storming out of the house, he finds an abandoned baby bird in a fallen nest near his driveway. Let’s say this husband bends over, coddles the baby bird to his chest, and gently pets its beak. Does this action take away from his cruelty? Actually, quite the opposite. We’ve just taken the pearl necklace and set it against black velvet. His cruelty toward his wife is magnified. This is one way to color passions. Pretty cool, huh?
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Question to ponder: What are your favorite of all time characters? Why? I bet if you look closely, it’s because this character had colorful, three-dimensional passions.

removetweetmeme

What Makes Me Put Down a Book

Lately, I have put down two books. Couldn’t finish ’em. I got about a little less than halfway through (I was trying very hard), but just had to say, “Fuggetaboutit”. I decided to ask myself why? What made these books putdownable? I came up with two reasons.

For the first book: The main character did something in her past that literally made my skin boil. Instant turn off. Whatever sympathies I had for her vanished. I put down the book and got this funny look on my face and thought, “Why in the world did the author do this?” I’m all for edgy inspirational fiction. I’m all for giving my characters flaws and murky pasts (that’s real life!). I do this with my own characters. So why did this particular character make me cringe? I don’t think it was the action itself, as much as it was the motivation behind the action. The motivation that drove this character to do what she did… it wasn’t there. At least not enough. So I put the book down.

For the second book: My disbelief was not suspended. I knew I was reading a book. Instead of getting sucked into the world, I knew I still sat in my living room, reading words off a page. What fun is that?

What lessons can I take from these two books?
1. If I have my characters do something bad, something a lot of people do not agree with, I better give that character one strong, compelling motivation to have done it.

2. My story world needs to be realistic. My characters need to be three-dimensional and my dialogue realistic. Disbelief needs to be suspended.

This first one is a little easier to fix. The second one… that’s a little tougher.

Question to Ponder: What makes you put down a book?removetweetmeme