Category: writing

The Heart of the Matter: Figuring out Your Character’s True Desire

Posted on by Katie Ganshert

As wonderful as craft books are, a lot of times, our best teacher is life and our keen observance of it.

Lately, I’ve been reading this book called Live a Praying Life by Jennifer Kennedy Dean. I’m not reading it to improve my writing. I’m reading it to better understand God’s design for prayer. But as writers, we usually have that third eye (or ear) open and observant and aware. Ready to soak up some juicy insight. Some truth, some reflection of the human condition that we can apply to our characters and our stories. 

So when I came upon this, I immediately switched into writing mode:

Jennifer writes, “Usually, what we call ‘the desire of my heart’ is really a secondary desire orbiting around the true desire. Usually, what we think we desire is really the way we have imagined the true desire will be met.”

She goes on to say, “We think we are asking for the desire of our hearts, but we are really asking for the desire of the moment. Often, in order to give you the desire of your heart, God will withhold the desire of the moment. He only says no as a prelude to a higher yes.”

Wow. I don’t know about you, but I see major truth in these words. 

Truth that points to an overarching human condition. 

For us. And most definitely our characters.

Getting to that truth involves a little digging. It involves going beyond what we find at the surface.

On the Sand: What does your character want?

Every protagonist needs a goal, something for which they are striving. What is your protagonist trying to accomplish throughout the story? 

Let’s say your character gets on her knees in the morning, clasps her hands together, and begs you–her creator–for something. What is she petitioning for? 

Often times, these petitions are the desires of the moment. The moment that becomes our story. These tend to be external things. Like…

Please, give me this promotion. Please, make this guy fall in love with me. Please, let me get this scholarship. 

The possibilities are endless.

Digging Deeper: Why does your character want this?

Here’s what we know – or should know – that our character doesn’t. 

This thing she is “praying” for? It’s not really the desire of her heart. It reflects a deeper desire. One she’s most likely unaware of.

So go deeper. 

Why does your character want this promotion? Why does your character want the guy to fall in love with her? Why does your character want a scholarship?

In the very depth of her soul, what does your character really want? What is she craving?

Find the Treasure: What is the desire of your character’s heart?

The promotion will mean she’s not a failure. She will finally make her husband proud. The promotion becomes a matter of acceptance. 

Getting the guy to love her will mean she’s desirable. It will mean she’s wanted. Getting the guy to love her becomes a matter of worth.

Getting the scholarship means paying her own way for college. She won’t have to answer to her parents anymore. Getting the scholarship becomes a matter of freedom.

Usually, these heart desires can be summed up in one or two words and they tend to be universal. Something most of us crave in one form or another.  

Now think….

How can we, as authors, withhold the desire of the moment? How can we tell our characters no? And while they keep striving, how can we make our characters see something deeper? Something beyond the temporary? And how can we meet this true desire in a way that is exceedingly better than what our character imagined?

Let’s Talk: I brought up three heart desires: Acceptance. Worth. Freedom. Can you think of others? In your current WIP, what is your character’s true desire? 
 

What Writers Can Learn from Gilmore Girls

Posted on by Katie Ganshert
A good friend recently introduced me to a show called Gilmore Girls. I know, I know. I’m late to this particular party. But better late than never, right?
 
I’m just starting season four, and I have to tell you, this show is a great study for fiction writers. Because it has….
 
A cast of quirky characters
 
From Sookie the chef, to Jackson the produce guy, to Babette the cat-loving neighbor, to Kirk who pretty much works everywhere. This show is teaming with a cast of quirky and lovable characters. Each character is different and completely memorable.
  • Application for writers: What quirks can you give your characters to set them apart and make them more memorable for your readers?
Witty dialogue
 
This show has witty, fast-paced dialogue down to an art form. In fact, it’s dished out so quickly that I find myself paying extra careful attention so I don’t miss anything. Not only are these exchanges entertaining, they do so much to flesh out each of the quirky characters.
  • Application for writers: Are you giving the dialogue in your story the attention it deserves? Are you bringing your characters to life through dialogue?
Two steps forward, one step back
 
Lorelai’s relationship with her parents. Lorelai’s relationship with Luke. As viewers, we’re hoping for progress. We want Lorelai and her parents to have a breakthrough. We want Lorelai and Luke to admit they love each other. Each episode gives us little glimpses, tantalizing tastes. And then something happens to thwart the progress, leaving us hungry for more. 
 
Too much satisfaction leads to boredom. Too much tension leads to frustration. But a good balance between the two leads to hooked viewers.
  • Application for writers: Are you maintaining the delicate balance between tension and satisfaction in your story? Or are the scales tipped to heavily to one side?
Charming setting
 
Luke’s Diner, Lorelai and Rory’s home away from home. Miss Patty’s Dance Studio, where the hilarious town meetings take place. Taylor’s grocery store, where Rory and Dean first kissed. The setting is just as much a character in this show as the people. Stars Hollow is charming and quirky and somewhere I’d love to visit.
  • Application for writers: Are you giving the setting in your novel a distinct personality?
I could keep going. Because the show has other things too. Like dynamic relationships. Interesting subplots. And all kinds of romance. But for the sake of brevity, I’ll stop with these take-away tips. Quirky characters, witty dialogue, a healthy tension/satisfaction ratio, and a charming setting. 
 
Let’s Talk: What shows do you like? What have these shows taught you about writing?
 

Formulaic Writing: When Craft Books Hinder

Posted on by Katie Ganshert

A few summers ago, I spent three months devouring every craft book known to man. You name it, I read it. I gobbled up the words of Donald Maass, James Scott Bell, and Dwight Swain like a malnourished turkey.

I have no doubt it made me a better writer.

I have no doubt that without those books and the ginormous learning curve that came with them, I wouldn’t be where I am today. 

I highly recommend craft books to writers. In fact, I recommend several on my writing page.

With that said, can there be too much of a good thing? 

I wrote my fourth novel shortly after my craft-book binge. When I finished, I was convinced it was the best of all my novels. 

It had the necessary landmarks: the disturbance, the point of no return, the black moment, the epiphany, the climax. I put tension on every page. I had a hero and heroine with clear goals. Every scene had conflict. Every scene ended in disaster. Every scene raised the stakes.

This story was structurally impeccable.

I loved it.

Until a couple months ago.

When I read it again. And as I read, my confidence curdled. 

It felt so formulaic. So predictable. So….not fresh. With each scene playing out like the one before it. 

Character has goal. Character goes after goal. Something challenges goal. Scene ends in disaster. Stakes escalate. Character comes up with new goal. Character goes after new goal. Something challenges new goal. Scene ends in disaster. Stakes escalate….

Lather. Rinse. Repeat. Ad nauseum.

So what’s the point of this post?

It’s not to discourage writers from telling stories via scenes. Because that’s how stories should be told. It’s not to suggest that scenes shouldn’t have conflict, because they should. It’s not to say that stakes shouldn’t escalate, because they need to.

I’m simply saying that sometimes, we can get so caught up in doing everything by the book, that our stories turn sterile.

The longer I write, the more I realize that the must-have’s are simple:

A clear beginning and end.

Engaging characters.

Forward momentum.

Some sort of conflict.

And a theme that matters. 

The longer I write, the more I realize it’s okay to step outside the guidelines. It’s okay to experiment. It’s okay to take literary risks. Mastering craft and story structure just helps us do it more effectively. 

I think some of the best literary works, the stories that stick with me the longest, are those that step outside of the formula. The Help. Room. Little Bee. Peace Like a River. The Language of Flowers.

None of these are by the book. Yet all of them touched me deeply.

Let’s Talk: What are some of your all-time favorite books? What made them so memorable? Do you think its possible to overdose on craft books? Would you add a must-have to my list?  

Fellow blogger, Ruth Douthitt, interviews me on her blog today. She asks some fun questions, so come on over and say hi!