I’m happy to share this excerpt from MAGDALENA, a new novel by Candi Sary. The excerpt and images are courtesy of Regal Publishing House.
“Magdalena once told me she knew how to cure sadness. She read on that little phone of hers that we all need fifteen minutes of sun every day and without it, depression could set in. Those of us here on the peninsula barely get fifteen minutes a week. The fog comes in over the cliffs in the morning, creeping through town, shrouding all neighborhoods with a thick graveyard effect. We don’t have an actual graveyard, but the landslide all those years ago took enough lives and left enough ghosts behind to bring on that kind of fog. If it does lift around midmorning, a heavy cloud cover still stays most of the day, keeping things gray. I’d always thought my sadness came from the unfortunate things that happened in my life, but according to Magdalena, my gloom might simply be a lack of vitamin D.”
Author Candi Sary
“From the day she got the phone, she stared into it constantly, seeking answers to all of her questions and even finding new questions she would have never thought of on her own. She fed on its information like meat.
“’Mushrooms,’” Magdalena said. ‘We need to eat mushrooms.’ The girl was my only visitor. When she spoke, I hung onto her every word. ‘If we eat enough of them, we’ll get the vitamin D we’re missing from the sun.’
I didn’t question her. For weeks, I based all my meals around mushrooms. I made mushroom casseroles, salads, risotto, soups, but I’m not sure it changed me. I’m not sure it changed her. How many mushrooms would it take to replace the sun? I wish I could ask the girl, but she’s gone. Three weeks ago, I lost her for good.
I pull up my sleeves and roll up my pants. My arms and legs are so pale in this light. They look like white maps with long blue roads leading to nowhere. The lighting in my house is soft enough to disguise my pallor, but here in the rest home, the deficiency is glaring. I quickly lower my sleeves and pants again.
‘Focus, Dottie.’ My command is quiet.
“I swallow down one of the tiny white pills and sit up straight in my chair. Pen in hand, I look around the dismal room I currently share with Mario. It is a holding cell for the dying. We aren’t dying like the old people in this nursing home. But our town is small. They had nowhere else to put my husband after the accident a decade ago. And they had nowhere else to put me after the devastating incident at my house last week. So now we live together again in room eleven with the beige walls, the brown and yellow floral comforters on our beds, and the slim, dark wood secretary desk beside the bathroom door. The old desk is where I currently sit as I tap my pen on the blank page, trying to gather my thoughts.”
I’m excited to share a post today from guest blogger Janice Hardy, author of the teen fantasy fiction trilogy, The Healing Wars. She’s also the founder of Fiction University, a writing instructor and a popular speaker at conferences and workshops. Janice, thanks so much for sharing this excerpt from your new book, Planning Your Novel: Ideas and Structure.
Is Your Novel Character-Driven or Plot-Driven?
By Janice Hardy, @Janice_Hardy
Writers (and novels) typically fall into one of two camps: character driven or plot driven, If you’re the kind of writer who comes up with characters first and figures out the plot as you write, then you might find it frustrating to try to work out a plot first. Just like a plot-driven writer might find it difficult to develop the characters first. Knowing which you are makes going forward much easier.
If your idea (or writing style) leans more toward one side than the other, don’t worry. Writing is a process, not a fill-in-the-blanks, one-size-fits-all template.
Are You Character-Driven?
Character driven means the focus is more on the character and her internal journey than the external issues of the plot. This doesn’t mean plot isn’t important, but the issues the character deals with are personal and often affect only that person or the people closest to her.
The main point of the novel is to show character growth and have the protagonist learn a valuable lesson about herself that allows her to be a better person (or points out a fatal flaw that causes her doom in a darker tale. Not every novel has to have a happy ending.)
Character-driven ideas typically manifest as a character with a problem first. This person has an issue that is central to the story and the journey to understand that issue is at the heart of the conflict. What that character is going to do isn’t always clear at first, because the journey and the emotional story arc is what matters more.
For example:
A woman with a fear of commitment must learn to let others in.
A selfish boy must learn to think about others.
A workaholic must learn to take time for family.
How this works with a plot: These problems are all internal, even though they likely have external problems due to these issues. A fear of commitment might translate to being alone and unhappy, selfishness could lead to having no friends, and working all the time often ends in divorce.
But the end goal isn’t as simple as “find someone to marry” or “make a friend” or “quit a job.” Those goals won’t solve the underlying problem until the character goes through her emotional journey. There will be goals and problems that allow the protagonist to grow and learn what she needs to learn to achieve a specific goal, and that’s where the focus lies.
Key Elements of a Character-Driven Novel
The protagonist is responsible for what happens to her and acts to make the novel happen.
Internal forces affect the protagonist.
Personal growth and emotional change of the protagonist are major parts of the resolution of the novel.
Are You Plot-Driven?
Plot-driven means the focus is more on the external elements forcing the characters to act than on the personal journey. The stakes are frequently higher and matter more on a larger scale. This doesn’t mean the characters are unimportant, but solving the problem is more important than character growth or lessons learned, though characters can grow and learn even in plot-driven novels.
Plot-driven ideas typically manifest as a situation or problem first. An interesting situation has occurred and someone is going to have to deal with it. Who that someone is might not matter at first, because resolving the problem is what matters more.
For example:
Terrorists are planning to blow up the Golden Gate Bridge
A plane goes down in the wilderness and a survivor has to make it to safety
A protest at a factory turns into a riot
How this works with characters: These problems are all external, even though each will focus around a character who will likely have personal issues to deal with as she resolves her problem. Stopping terrorists entails personal risk, survival in the wilderness draws on untapped strength or knowledge, dealing with a riot requires commitment and diplomacy.
But the end goal isn’t “face your fears to stop a terrorist” or “find your inner strength” or “redeem yourself for a terrible mistake.” The novel won’t be about the growth or lessons learned, even though the protagonist will likely change a little over the course of the novel as she resolves the external problem.
Key Elements of a Plot-Driven Novel
External forces trigger the plot and cause the protagonist to act by reacting to that event.
Resolving the external problem matters more than a personal change in the character.
Are You Both?
It is possible to have both—a strong protagonist with a compelling emotional journey who is put into an interesting situation that needs to be resolved. Through resolving the plot problem, the emotional journey of the protagonist is experienced and achieved.
This is a powerful combination and it’s not a bad thing to aim for with every novel. But don’t worry if your idea leans more to one side than the other at this stage. You’ll have plenty of time to develop both sides—character and plot—if you want to do both.
For example:
An FBI agent faces his own seditious past while trying to prevent a terrorist attack.
A timid girl discovers her own inner strengths when her plane crashes in the wilderness.
A workaholic realizes the value of family when a protest at work turns into a riot.
How this works with both: These all have external problems that are made more difficult by internal issues. Stopping a terrorist exposes a dark secret, survival in the wilderness triggers a realization of personal strength, a protest turns deadly and reveals what matters most. The external end goal is the catalyst that forces the protagonist to change internally. The novel is about the growth and lessons learned as the protagonist resolves the external problem. The two sides work in tandem to craft a plot arc and a character arc that depend on each other.
Key Elements of a Plot- and Character-Driven Novel
External forces trigger the plot and affect the protagonist in a personal way that forces her to act.
The protagonist can’t avoid the external problem because it would have serious repercussions on an internal issue.
Resolving the external problem is what will allow the protagonist to resolve her internal issue.
Books don’t have to be fully plot driven or fully character driven. These are just terms for common writing styles that can help you figure out how to approach writing a novel. Don’t feel you have to be one or the other or your novel won’t work, but if you do know you think a certain way (plots first or characters first), that can be an asset in the planning process.
*Excerpted from my book, Planning Your Novel: Ideas and Structure
Where do you fall on the character vs. plot scale?
Win a 10-Page Critique From Janice Hardy
Three Books. Three Months. Three Chances to Win.
To celebrate the release of my newest writing books, I’m going on a three-month blog tour–and each month, one lucky winner will receive a 10-page critique from me.
It’s easy to enter. Simply visit leave a comment and enter the drawing via Rafflecopter. One entry per blog, but you can enter on every stop on the tour. At the end of each month, I’ll randomly choose a winner.
We say that a lot here in the South, usually when we’re shaking our heads over some strange comment or behavior.
Right now, I’m faced with expanding some characters I’ve already written about. The agent who’s agreed to represent my middle grade novel wants another (let me pause here to take a deep breath) 10,000 words.
My entire manuscript is 25K, so he’s asking me to write the equivalent of another half a book.
That’s okay (even though it sounds daunting), because he tells me there’s a better chance of selling my story if it’s closer to the length of most mid-grade books. And besides, he’s not asking for a lot of new scenes or action; he just wants me to give the characters more time on stage.
So—how do you beef up your characters, and make them feel alive for your readers?
One way is by turning real life into art. Start by observing people around you.
Here’s an example. One Sunday afternoon, I noticed a striking woman in the grocery store. She wore a simple, black dress that fell to her calves, and her long, straight hair–which was also black– reached almost to her waist. She was pushing a buggy in the cereal aisle, checking out the Fruit Loops, when I noticed she had a pair of fuzzy, black bedroom scuffs on her feet.
She was probably in her 50s.
Until I got to the part about her slippers and age, you might have pictured her as a Goth.
But those shoes told me a lot. I know how it feels to wear high heels all day, and since it was lunchtime, I thought she’d probably just come from church. She may have stopped to pick up a few things and changed into scuffs because her feet hurt.
Maybe they hurt because she wears heels everyday to an office. Or maybe she’s not used to heels at all, and only wears them on Sundays.
Her black dress and long, unstyled hair also made me think she might attend a fundamentalist church.
It doesn’t really matter, because I’m writing fiction, and I can use details like those to flesh out my characters. You can, too; all you need is a good memory, or a pen and paper to jot down ideas for later.
Later I’ll share some prompts for writing memorable characters that I learned at a workshop given by award-winning Latina author Meg Medina. Stay tuned.
