Jerks & A-Holes

**My theme for this year's A to Z Challenge is THE REVISION PROJECT. Topics I come across while I write the third draft of my novel, Uneven Lines.**

“First, he beats you up. Then he tells the whole school you’re gay and it turns out to be true? Everyone hates him.”

Not all characters have to be good guys, or even all that likable. How else would we have villains, after all? But if you have a character who's just a complete jerk, then you probably want a reason for it.

I've recently been rewriting the first chapter of UL and as I started the second scene, I realized something: Jordan sounded way more negative than I intended. He hates everything and everyone and isn't afraid to tell you. I don't necessarily think it's the end of the world, but I think he was coming on a little too strong. He does start the book by telling you how he's been manipulating one of his teachers just for the fun of it. I can't really start it any other way, but I worry that he comes off as a jerk and no one will like him.

I think I could sum up Jordan's world view as this: "everything is terrible but I really don't give a crap." (Except replace 'crap' with a stronger word). He's usually just trying to find something that isn't going to bore him to death. The thing that I think works is that underneath his tough outer shell is actually a very vulnerable person, even though he'll never ever admit it. I guess that's what makes first person tricky in this type of situation. You're only going to get what he puts out there. To see that softer side, you'll have to read between the lines.

I think if you put a character who isn't quite as strong in Jordan's shoes, they could fall apart. I know I probably would. He has a terribly depressing home life. I've realized things about him like the fact that he's never had a birthday party or believed in Santa or anything normal children should experience. He's not necessarily struggling with his sexuality, but he's definitely hiding it. That's not an easy thing to deal with. You would probably feel bad for him, but he just won't let you. So does that work? Or does that tough exterior make him seem like a complete a-hole?

There's another character who's definitely a jerk. If my story had a bad guy (and considering the fact that Jordan is the protagonist so it's not him), it would probably be his friend, Brian. Brian is just your typical obnoxious teenager. He wants to be popular but doesn't really want to admit it. Jordan gets the impression that Brian is jealous of him, but since he never says so, how do we know it's true? Why is he such a jerk and a bully?

Maybe he has a crappy home life but doesn't tell anyone. Well, Jordan isn't exactly the kind of person to care even if Brian was the kind of person to open up about it. So do I just let the reader know what Jordan believes? That Brian is a jerk for no good reason? Do I have him ponder it for half a second, or maybe have another character (Eric, most likely) clue him in? I actually do want the reader to dislike Brian, but I also want them to believe that he could exist. If he's too over the top with his jerkiness, he may not seem all that believable.

Do you have characters who are jerks? Do you think there should be a reason behind it?

Isolation

**My theme for this year's A to Z Challenge is THE REVISION PROJECT. Topics I come across while I write the third draft of my novel, Uneven Lines.**

He expected the whole world to come crashing down on us, and still there was nothing. Everyone lived in their own little bubble, and we weren’t even worth noticing.

Every so often, amidst all the plot holes and inconsistencies and things to fix, you realize you may have gotten something right. Some element of your story that just works, even though you may not have even tried to put it there in the first place. But once you figure it out, you want to keep working on it so that one element is as perfect as it could possibly be.

I don't usually plan on putting themes or symbols into my writing, but every so often they pop up without me even trying. One of those things I think I got right in UL is this idea of isolation. And it works on a few different levels. Well, my characters have to be isolated, since they're carrying out a secret relationship. That part was always obvious. But I think my characters are even more isolated than they realize.

Even though Jordan technically lives with his mother, she is hardly ever home. He basically lives his life on his own. He has school and friends, but most of the time, he's alone. He doesn't necessarily have a problem with this, either. Tom, on the other hand, forces isolation upon himself. Besides working his job, he chooses to be completely alone, mostly because he's terrified of himself and doesn't want other people to really know him. Part of the appeal of their relationship is that only when they are with each other can they be completely 100% themselves, and also not be alone.

Setting plays a big role in this as well. The book takes place in New York City (more on setting in a later post!). I always liked this juxtaposition of having this busy, lively city all around the characters, and yet they are completely isolated from the world, both together and alone. The world getting in could ruin everything, so they have to keep it out.

But it's on the individual level where I think the isolation really works. It's sad whenever someone feels they have to hide who they are or keep the world away. But sometimes it's just out of that person's control. By the end of the novel, one character is branching out, putting himself out there more and finding his place in the world. For the other, that place may never exist. But there are always sequels...

Have you ever had an isolated character? Do you ever put themes in your stories?

Habits, Hobbies, & Other Human Traits

**My theme for this year's A to Z Challenge is THE REVISION PROJECT. Topics I come across while I write the third draft of my novel, Uneven Lines.**

Since I couldn’t go anywhere, I rolled my eyes, looking off to the side as if there was something more interesting that grabbed my attention. Really, paint drying would have been more interesting. 

Every character has different quirks that make them unique, just like real people. Someone may roll their eyes a lot, for instance, when they're annoyed (especially a teenager!). A character may have something they like to do that may pop up every now and then throughout the story. No matter who your characters are, they should have unique traits that make them feel like real people.

The way each character speaks and acts should be unique to who they are. You wouldn't want every character to be exactly the same, would you? That would probably be boring, and maybe even a little confusing. When you have two characters speaking to each other, you'll want each voice to stand out on its own.

So how do you make each character unique? Think about all the things about you that make you different from other people. Are you shy and awkward or confident and outgoing? A shy person may not speak much at all, will probably blush more easily than others, and maybe will use more "uhs" and "ums" when they speak. A more bold person may say things more directly and be willing to take more risks and try new things. Even the language a character uses makes them unique. I have one character who swears all the time (guess who!) and one who almost never does, so that when he actually does swear, it stands out and is kind of amusing.

Think about what your characters like to do. A hobby may be a fun little quirk that can fit into your story. I have one character who likes to cook, another one plays the guitar. One character just likes to go for walks, although I'm still trying to figure out what exactly that says about him. If you want to feature hobbies for characters, it really should fit into the story. If it's just there for the sake of it, it may seem strange. For instance, the cooking hobby actually plays a huge role throughout the story. But if my character did something that didn't forward the story at all, I may not want to mention it.

The ultimate goal is to make each character feel like a real, unique human being. But also to be believable and interesting, while still making sense for the story you're writing.

How do you give each character unique traits? Do your characters have any fun hobbies?

Gay Young Adult Romance Something or Other

**My theme for this year's A to Z Challenge is THE REVISION PROJECT. Topics I come across while I write the third draft of my novel, Uneven Lines.**

Well, I could have always come out of the closet. That certainly would have made for an interesting day. 

I've always had a hard time figuring out exactly what type of book UL is. It always seems to be everything it's not. Because it's young adult, but it's not. And it's kind of a romance, but it's not. And it's also gay fiction, but not. I kinda want to pitch it as literary fiction, but I feel it has all these elements that may turn off some readers who are looking for something more straightforward.

One thing I've already decided is to not try to sell this book as young adult. Yes, it's from the point of view of a fifteen-year-old. And no, it's not from some future perspective. It sounds like a fifteen-year-old's voice. But there are some pretty adult moments throughout the book. I think the only part that really completely reads young adult is the subplot concerning Jordan's friends. I also wouldn't really want young people to read it. While an adult book written from a young adult perspective may be a tough sell, I think it's the right decision for this particular book.

Then there's the romance aspect. I've always called it a "demented" romance. There's the age difference between the characters, of course. Their relationship definitely isn't straightforward by any means. And your typical romance novel usually has a happy ending. While the end of UL certainly isn't some epic tragedy, it's definitely not happy, either. So while there are some romantic elements in the book, it definitely doesn't follow your typical romance novel structure.

I think out of all the things that it's not, the label that fits the most is gay fiction. My characters are gay, after all. But I've always thought that it's an important aspect to the characters, but not the story itself. I could switch out the genders and sexuality and still have basically the same story. Obviously some details would change and the dynamic between the characters would be different, but the same basic plot line would still be there. I wouldn't change it of course, because I've been with these characters for so long that changing them to something completely different would just feel wrong.

So does the story need that label? I think it probably does. If someone had no interest in reading a story with gay characters, no matter what it was about, they would probably want that label there so they would know not to read it. Same goes for the opposite--someone who wants to read about those characters. They want to be able to find those books more easily. But is that all I get to call it? What other label fits my book? Contemporary? Something else entirely? Or do I just call it gay fiction and call it a day? If I knew I wouldn't ask so many questions. But I guess I should worry about finishing it first.

Where does my book fit in? Have you ever written a book you couldn't figure out a label for?

Family & Friends

**My theme for this year's A to Z Challenge is THE REVISION PROJECT. Topics I come across while I write the third draft of my novel, Uneven Lines.**

I couldn’t even say the easy part, even though the timing seemed perfect. We seemed to be having a moment. It might never happen again. Mom, I like boys. I just took another spoonful of ice cream. 

Everyone has a certain group of people in their lives that they're relatively close to, who they probably see every day. This group is usually made up of family and friends. If you're writing about a fictional character, chances are he or she will come across these people every now and again throughout the story. How do you fit in these characters? How do the relationships enhance the story? 

The family aspect has always been an interesting one when it comes to my book. Jordan has exactly one family member: his mother. He never comes close to mentioning any other family member because they don't exist for him. I wonder if that will be strange for the reader. I just figure at this point in his life any questions he may have had are way in the past and he just doesn't care. Why would he take the time to explain something to the reader if he doesn't care about it? 

At the same time, the relationship with his mother is a huge factor in the book. With this story, there are obviously a lot of issues regarding a person's age and maturity, and her character highlights these as well. She was actually a teenager when Jordan was born, so that helps to show this idea of having to grow up too soon. But their relationship is also very dysfunctional. She's basically never around (making Jordan's secret relationship with Tom much easier) and even does a few things that help advance the main plot. So is she a vital character? I'd say so. But there are still some things I struggle with. 

I guess, like most things that happen in the last third of the book, it's something I still haven't figured out yet. I know Jordan's mom is flawed, which isn't necessarily a bad thing. I'm just trying to figure out how to make that realistic and yet interesting at the same time. I know I'm going to end the book with their relationship incredibly fractured, possibly beyond repair. I wonder if that's something readers will be ok with. While this plot line will have an ending, it definitely is not wrapped up in a pretty bow. It's messy and open-ended. Things could change in the future or they could stay the same. There's really no way of knowing (unless I write a sequel...). 

And then there are friends, of course. Jordan's friends are more part of their own subplot than the main plot. Sometimes I wonder if I need them at all, because I'm afraid their scenes seem forced. At the same time, it would feel strange without them. Doesn't everyone have friends, particularly someone in high school who also claims to be popular? Even if he doesn't like them, they should still exist. I also worry that the end of this particular subplot is too over the top. Jordan has two close friends throughout the book, one of which he becomes even closer to by the end, the other he completely destroys, all while furthering his own agenda. I guess it shows his evil side, which is an important part to his character. 

So I guess family and friends are especially important when they're showing different aspects to your main character. How does he act differently when he's with them? How do they move the story forward? As long as they're serving a purpose, then they're important characters.

Do you show family and friends in your stories? Do they help show different sides to the main character?

Evolving

**My theme for this year's A to Z Challenge is THE REVISION PROJECT. Topics I come across while I write the third draft of my novel, Uneven Lines.**

Today's post is also a tie-in for the Insecure Writer's Support Group! Click here to learn more and sign up! 

I used to go out with girls, if you can believe it. Like, a lot. Crazy, I know. 

Most people don't stay the same over the course of their entire lives. You've probably changed a lot at this point in your life and will continue to do so as you get older. The same can be said for characters. They are supposed to be like real people after all, right? Sometimes the point of the story is for a character to evolve. But what if the characters or the story evolve without you even realizing or meaning to? 

I've noticed a ton of changes from the very first draft of UL up until now. And not just the ones I made on purpose. Because there were a lot of those (and more to come). I've noticed that not only have my characters evolved from where they started, but I've also evolved quite a bit as a writer. I guess that's just what happens when you spend over five years on the same story. 

My characters have changed quite a bit. In the very first draft, Jordan was basically a sociopath and was definitely bisexual (bwahahahaahaha...sorry, it makes me laugh). He's softened over the years (although he's still quite the manipulative little SOB) and although he's dated a few girls before the novel begins, it was just for show (there is a brief encounter with a girl about halfway through the book, but that is another post!). I know sometimes I complain about spending so long on the same story, but without that amount of time developing every single detail, I don't think he would have become the character he was supposed to be. He would have been a different person entirely.

When I first started this story, I thought it was the best thing I had ever written. It started as a short story (although it was a bit on the long side). Eventually I decided to change it into a novel, to be able to flesh out those parts that were rushed and add in more details. So the story was evolving from the very beginning. What I didn't expect was to eventually feel so differently about that first draft. Because now I hate it. 

I'm sure most people are frightened by their first drafts. They can often be a mess. Every time I look at that original story, I cringe. I can probably count on one hand the number of lines that have made it through all the drafts untouched (and they're probably all dialogue). So why did I think it was so good at the time? Maybe the answer is that it was. Maybe it was the best thing I had written up to that point. That doesn't mean it was perfect. It just means I was improving as a writer. I still had a long way to go. What was good about it wasn't necessarily the exact words on the page, but the story they told. And that was something worth working on. 

So my characters have evolved, my story's evolved, I've evolved. And I'm sure we're not done. 

Have your characters evolved as you write your stories? How have you evolved as a writer?

Dialogue

**My theme for this year's A to Z Challenge is THE REVISION PROJECT. Topics I come across while I write the third draft of my novel, Uneven Lines.**

Sometimes I hated words. There were so many better things you could do with your mouth than talk. 

You probably thought I'd share some witty snippet of dialogue, right? Well, that would have been difficult. I love dialogue. Loooooove it. Finding my favorite line of dialogue to share would have taken months. I'm a dialogue abuser. Sometimes (ok, most times), I first start out a scene by writing all the dialogue and then filling in everything that happens in between. Dialogue comes the easiest to me, especially if I'm struggling with the blank page. But why is that?

Maybe sometimes it's easier to think of what people would say rather than what they would do or think. Especially when you're only in one character's head; you can't actually say what anyone else is thinking. Only the narrator's thoughts can be told. So dialogue helps in finding out information from other characters.

My issue is usually using too much dialogue. If I write out a full page of it and try to fill in some exposition in between, there are only so many shrugs and sighs and reaction thoughts I can squeeze in until it just seems silly. So sometimes you have to cut back on the dialogue. Only show what is entirely necessary.

The weird thing about dialogue in a story is that it's kind of like real life, but it isn't. You want your dialogue to sound realistic, like it's something a real person would actually say. But at the same time, you don't want to fill your pages with the kind of boring, everyday conversations that fill most of our lives. You just want those juicy, interesting moments. You want dialogue to move the story forward. Maybe a character learns something new from another one. Maybe two characters figure out something together by talking. But they should never be talking about the weather or something that's going to put your reader to sleep.

My other issue is info dumping. There are quite a few times where my characters have to reveal something to one another. One character in particular has a secret that he first confesses in one chapter, and then as the story goes one, gives more and more details regarding this secret and how it came to be. These moments are usually filled with dialogue, and it's hard to work around it. My narrator doesn't know what's going on in the other character's head. So he can only get that information through dialogue. But sometimes I feel like it's still too much.

I guess the way to go about it is to always make sure whatever's being said is important and moves the story forward. If you can find a way to do the same thing with less dialogue or no dialogue at all, then you should probably do it.

Do you think less is more when it comes to dialogue? Or are you a dialogue abuser like me?