Tag Archives: Short Stories

5 Tips For Bringing Characters to Life

12 Tuesday Sep 2017

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(Previously published at Flash Fiction Chronicles 2013)

Compelling fiction thrives on convincing characters. They are the flypaper that snares us mid-flight, the bones of every plot and story. The more realistic they are, the more vivid the reader’s window will be into their world. With a quick Google search, it isn’t hard to find lists of advice about the development of strong characters (give them motivations, histories, weaknesses, and hunger, among others), but my goal here is to shirk those broader tenets in favor of some less obvious techniques.

Here’s my list of five tips for bringing characters to life:

 

Tip #1: Give Them Senses

Close your eyes. Can you isolate three unique sounds? Is there an aftertaste of the last thing you drank still coating the palate? Is there a small pebble in your shoe, nipping your feet?

While omniscient narrators can show us everything, the characters force us to live the story. Clearly, as writers, we can’t overindulge. Not only can this convolute and bog down the plot, the human mind naturally focuses on only a few senses at a time in order to protect itself from sensory overload. But by mentioning unexpected senses, we color the world with meaningful details through the characters themselves:

Beijing was not new to pollution. Xui Li often called it the city of clouds, in jest. But it wasn’t the gray pall or even its acrid stench that bothered her. It was the taste, the air’s grit coating her tongue that brought her to wear the unsightly mask.

Likewise, in Flash, where every word counts, a simple reference of a familiar sense can evoke a distinct personality or even an implied history with just a few words:

Stepping off the bus, my Father’s brisk hug swallowed me in Jovan Musk – the stench a stale reminder of cold dinners and Sunday School.

 

Tip #2: Give Them Quirks

A character without strengths, weaknesses and motivations is not a character at all. But where these attributes give characters depth, quirks make them stand out in a crowd.

Quirks add a great dynamic that effectively frames a character’s history and personality without requiring a lot of investment in word count. But more importantly, they make characters memorable and likable.

Think about the people in your life. What is it about them that stands out the most? Try not to focus on bigger traits, like how Bob donates to charities, or Vanessa does missionary work in Chile. Think more along the lines of how Jim is a forty-year-old Justin Bieber fan, or how Katy, being an obsessive movie goer, always compares events to scenes of classic flicks.

Most quirks don’t need an explanation, but some deserve it. If Vicki wears an eye patch, there’s a history there that requires some explanation, and it may even be central to the plot. But unless it is a core aspect of the story, a good rule of thumb for flash is to keep it simple, keep it unique, and let the characters use them how they will.

 

Tip: #3 Make Them Move

None of us simply stand still when we talk. We move, walk around, drink, and smoke, often without even thinking about it. As an experiment, try going to a friend’s house for coffee and spend twenty minutes discussing whatever you want. But casually, secretly, watch the other person. There are more than words being spoken: there’s the language of body movement, emphasizing and ever implying.

Having characters coil fingers in the cord while on the phone, taking intermittent sips as they talk or even butting a lit cigarette halfway through the discussion is a great way to pump blood into the dialogue. These little motions add a certain realism which piques the readers’ attention and keeps them in the world.

Sure, you could write this:

‘Right,’ Terry said. ‘I’ll just run a system scan and it should be good to go.’

But by adding a small action, you spark even the tiniest moment:

‘Right,’ Terry pushed his glasses up the crook of his nose. ‘I’ll just run a system scan and it should be good to go.’

 

Tip #4: Let Them Speak For Themselves

As a writer, it’s important to always remember that this isn’t about you, it’s about the characters. So, give them the freedom to express their thoughts and feelings. Just as movements are a great way to keep characters active, they can also be effective means of showing what characters think or feel. Never tell what they’re experiencing when dialogue or actions can deliver the same point.

This could capture the character’s emotions:

‘At least you still have the girls,’ Carol said.

‘I know,’ Gina nodded. But it still hurt. There was a void where her baby once was, and he wasn’t any less of a child in her heart. 

But the character could easily convey the same information without pushing the reader into her mind:

‘At least you still have the girls,’ Carol said.

‘I know,’ Gina whispered, touching the void where her belly once swelled. ‘He just…he was still my baby boy.’

Naturally, we shouldn’t force characters to express themselves when they normally wouldn’t want to; some thoughts are best kept in the head. But showing instead of telling goes a long way in fiction, and it grants characters personal freedom to make their own impact.

 

Tip #5: Challenge Them

How much do you know about your characters before starting the story? No matter the answer, the reader knows nothing, so giving them opportunities to learn more about the characters is paramount. Life is full of little complications, and how we react says a lot about us: how patient we are, how forgiving, how sympathetic. The same applies here. As an exercise, try challenging your characters with seemingly unnecessary complications to help bring their personalities to life.

Have someone cut him off on the ride home; have a homeless man accidentally bump into her on the subway; have him spill coffee on his newspaper. These little occurrences can prime the readers’ understanding of whom these characters are, which further validates how they react to larger events.

When Pastor Johnson gets cut off, he curses, telling us he may not hold as much conviction to his faith; when Judge Roberts goes to work, she condemns the homeless man his accident, telling us she’s quick to, well, judge; and when Bruce, the mailman, spills coffee on his paper, he gives a heavy sigh and cleans it up, explaining why he doesn’t go into a rage when told he’s lost his job.

In flash, minutia is crucial, and a few hints at a character’s humanity can work wonders for a robust personality. By giving them the ability to experience their own world; to be whatever quirky self they may be; to stretch their arms on a long drive; to express their own thoughts and feelings; and the opportunity take on little challenges, you give them life.

An Interview with Milo James Fowler

20 Friday Sep 2013

Posted by in Interviews

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Elton John was right. It is lonely in outer space.

I sigh at the vidscreen, its image a sweeping portrayal of star spangled darkness. There’s not much to do out here, floating in the vast, infinite nothing. Just a man, alone in the heavens (Squawk!), abandoned to his thoughts and ruminating on past loves (“Screech!”), missed opportunities, indelible regrets… (Moo!)

“Can you guys shut up?” I shout at the myriad aliens cluttering the galactic transport shuttle. “I’m trying to think here!”

They go on with their raucous mumblings, apathetic to my plea.

“Major Tom,” I call to the cockpit, “how much longer until we get to the Space Station?”

Maybe it’s because he doesn’t like me, or maybe because he’s just a large eye with tentacles, but Tom doesn’t answer. Either way, the ship settles into dock shortly afterward, and I soon find myself wandering the station’s halls in search of the infamous Milo James Fowler.

Milo is an enigma of the universe. He doesn’t sleep. A teacher by day, he spends his nights writing. And he writes. A lot. After only a few years of submitting, he’s amassed sixty-five published short stories, including “Soulless in His Sight” (Shimmerzine), with another ten forthcoming. He’s seen a successful release of his first novella, Immaterial Evidence (Musa Publishing), and even made it into the SFWA.

I’m out here to interview him about his story, “The Cost of Freedom” which was recently released as part of the pulp-speculative collection, The Kennedy Curse (Exter Press). Well, that, and I was hoping he could foot the bill for my ride back to earth.

I find Milo’s classroom empty, save for the janitor sitting at the desk. He’s a pleasant fellow, very casual and calm.

I say, “Excuse me, can you tell me where I can find Mr. Fowler?”

“That’s me,” he smiles.

“What? That’s not possible!” I cry. “You’re far too…normal! Fowler is a machine. You don’t look like a machine.” I squint.

He chuckles and leans back in his chair. “No, I guess I don’t, but I’m definitely Milo Fowler.”

Clearly I’m being tested. The aliens are watching me, playing a game with my head! But I won’t buckle to their trickery. I’ll play along. And maybe, just maybe, I can still get that shuttle fare.

“Er…alright! I’ve come to interview you about your new story.”

With a glance at his watch, he nods, saying, “Sure. I have time. Pull up a seat.”

I do, and then I say:

Thanks for giving me the time to chat. I mean, even though you’re a machine and all, time is tough to come by. So, what is it about writing that draws you to the craft? What does it do for you, and what got you into it?

And here I was thinking these wet-works were a clever disguise. Writing? I guess I enjoy creating imaginary worlds, populating them with imaginary people, and giving them imaginary conflicts to overcome. It’s a great way to escape real life while, at the same time, explore real life issues in a fictional setting.

I guess I enjoy creating imaginary worlds, populating them with imaginary people, and giving them imaginary conflicts to overcome.

What is your writing process like? Do you have a ritual or habit, or is it more spontaneous? Does it require a battery?

Batteries not included. I try to write 1K a day while I’m in the middle of a project, and the rest of the time, I’m usually revising — or writing flash-sized tales in spontaneous bursts.

So, tell me about The Cost of Freedom. Is it expensive and can I get some on the black markets of Goobalox Five?

It might take all you’ve got. Like most Americans, I’ve always been curious about the Kennedy assassination. There were so many factors involved and so many factions that disliked the President. In “The Cost of Freedom,” those factions are still present — along with an alien threat. Kennedy wants to save the world from invasion, and he knows he may have to die in order to unite his people.

JFK was a huge figure in American Presidential history. What was your favorite aspect of writing about him?

I enjoyed the research — and that was the part I was dreading. I write speculative fiction, so I don’t usually have to research anything; I make everything up. But with this story, I wanted all the details to be authentic from the Oval Office to the Texas School Book Depository. Unlike most Presidents, Kennedy passed away before his presidency could sour. In “The Cost of Freedom,” he’s not only an American icon; he’s a pulp hero.

…with this story, I wanted all the details to be authentic from the Oval Office to the Texas School Book Depository.

I hear you have plans for a much anticipated follow up to Immaterial Evidence. Any news on when we can expect that to appear?

Funny you should ask. I sent the synopsis and first twenty pages to the publisher today, so I should hear back from them in a couple months. The working title is Yakuza Territory, and it picks up the story just a few days after Immaterial Evidence.But while Immaterial Evidence was Blade Runner meets The Maltese Falcon, Yakuza Territory is more like Assault on Precinct 13 with mandroids and a telepathic suprahuman.

You’re a man that never sleeps. It’s not a question, it’s an irrefutable fact. So, what other projects do you have in the works?

Guess I’ll sleep when I’m dead. Currently, I’m in the process of finding good homes for twenty-five short stories and six novels, and I’m revising a weird novella I wrote earlier this year.

Who shot first, Han or Greedo?

Han — Greedo had to go.

That was a “Voight-Kampff” question. You’re design is impressive, very convincing. Moving on: Who or what are some of your biggest influences?

Radio shows and serials from the 1950’s; Ray Bradbury, Stephen King, and China Mieville.

Do you have any advice for aspiring authors?

Write every day, and don’t let your body of work sit on a hard drive or in a box. Get it out there where it belongs. Join Write1Sub1 for the challenge, and stay for the community.

Write every day, and don’t let your body of work sit on a hard drive or in a box.

Okay, final question: I’m a bit short on credits. Is there any chance you can give me a ride back to earth?

Sure thing. I’ve got papers to grade, but you can borrow my Cody 5000 jetpack. It should get you there in one piece.

Woah, this can’t be cheap. Thanks Milo! And thanks again for letting me insinuate you’re lying about being a human!

To the readers: You can follow Milo on Facebook and Twitter, and be sure to pick up your copy of The Kennedy Curse, available now through Exter Press, or find more of Milo’s work here.

miloJFK

An Interview with D.B. Tarpley

26 Monday Aug 2013

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Once upon a time, it was a dark night and stormy night, I wrote. Leaning back, I glanced out the window at the gleeful puppy playing in the sunlight. It wagged its tale and hopped around a tree.

“I just don’t get it!” I cried, slamming my laptop shut.

I had been reading a lot of DB Tarpley lately, and in light of the release of “Lick the Razor” (Germinal Press), his new fifteen-story collection of anus fracturing, Lovecraftian evil, I was determined to grasp his gift for the visceral brutality of Splatterpunk.

But how?

I sighed. There could be only one way into Tarpley’s brain, and that would require a private room, a hand saw, and some Mentos.

The plan was simple: I’d break into his house, kidnap him, stop for some Taco Bell, and then carve his skull like a cantaloupe. Simple, sure. So, why am I now strapped onto a chair with my eye’s taped open, in a room of infinite shadows that’s broken only by a single shaft of light?

“I hope the Slobberdobber didn’t hurt you…much,” he says. He’s nude as he stands at a table, eyeing a plethora of dull surgery tools.

“It was…er…licky,” I say, testing my bonds.

“So, what brings you here?” He’s brushing a thumb along the blade of a rusty straight razor now.

“I, um, wanted to interview you!”

D.B. stops, turns my way. He doesn’t look insane. If anything, he looks bored. But there’s genius behind that steady gaze. Then he nods, says, “Alright. Why didn’t you say so?”

With that, he pulls a stool from the darkness and sits his bare, hairy ass down in front of me.

“So, what would you like to know?”

That’s when I say:

Thanks for giving me the opportunity to pick your brain, and without even having to remove any flesh! So, let’s start simple: What is it about writing that draws you to the craft? What does it do for you, and what got you into it?

I think that a true writer isn’t really drawn to the craft they are more or less shoved toward it on a daily basis.  We have all these stories and ideas inside us which scream to get out and we are not satisfied unless we can get them out of our head and breathe life into the corpsified words.  The craft comes in translating that to the fullest extent of your satisfaction.  I can’t tell you how many times I have had a great idea fly south once I attempt to express it on the paper.  The more you write though, the easier it is to catch the damn thing and pin its bloody wings to the page.  It is a catharsis.  I got into writing because I was an extreme social introvert with a near terminal case of social anxiety disorder growing up and it became a way for my voice to be heard, even by myself.  Sometimes I don’t know how I feel about a subject until I write it down and re-read it.  I am often surprised.

When that switch is flipped on it is like I have a virus and I can’t feel whole again until the entire thing has been completed. 

What is your writing process like? Do you have a ritual or habit, or is it more spontaneous?

The nearest thing I have to a ritual is I listen to music as I write.  It keeps me entertained when I hit a wall which is often.  I write in spurts.  I can stop and not write anything for like a year; then I sit down one day and spill it out for months on end.  I become feverish about it sometimes.  When that switch is flipped on it is like I have a virus and I can’t feel whole again until the entire thing has been completed. 

So, tell me about Lick the Razor. What inspired this collection?

The collection was initially called ‘The Devil’s Teat’ and contained twice as many stories.  I can be quite prolific when I am in one of my moods.  My publisher and I agreed that the old title was a bit clunky on the brain so I re-titled the collection after one of the included stories.  The collection for me was thematic, dealing mostly with the concept of where inspiration comes from for the writer… i.e., the devil’s teat.  Many of the stories play with the concepts of ideas and inspiration and the power we give ideas.  Of course they scare the shit out of you while discussing these themes.  For me, story always comes first.  I like to experiment with style and utilize a unique methodology from tale to tale, but in the end without story you have nothing.  This collection was very personal to me as I abstractly discussed and developed my style as a writer.  Though I have been writing for approximately 25 years I still feel I am a relatively young writer and I am proud to have developed a sense of ‘voice’ at this early stage in the game.

For me, story always comes first.  I like to experiment with style and utilize a unique methodology from tale to tale, but in the end without story you have nothing.

What would you say was the most difficult part of writing this book? 

I had, well I suppose I always have a self-imposed deadline when I write.  I am all about order, even though the nut of how I write is spontaneous flow.  I usually allow one word to dictate the next and often do not have any idea how a story will end once it is begun.  But I still have a deadline for the book, and this often weighs heavy on my brain.  In the case of this book in particular, I had a very specific number of tales I wanted to tell and I was behind at the end.  This caused a flurry of writing which turned out to produce the best stories I had written to date.  I was very surprised.  I guess there is a place you can tap into sometimes and when you do it is a beautiful thing.  I think most of the time, as writers, we all are trying to reach this place… like a drug addict perpetually attempting to achieve that first high.

Are there any stories in the collection that really stand out for you? Any that rise above the rest?

Well you have to remember that for this collection, my publisher and I cut the story count down from 37 to 15.  Not that the other stories were necessarily waste, we just wanted a reasonable book for the format and picked the best of the best.  So all the stories in this collection rock balls.  There is not a weak one in the lot.  Still, there is one story which I think has come closer than anything I have written before to satisfying me, ‘Everyone Knows’.  I just think it is a very mature piece of writing which most encapsulates the ‘Splatterpunk’ movement I strive to be identified with.  It is the story that I finished and read and just sat back going, “Yes.”

Inquiring minds must know: Boxers or briefs?

I have a custom designed codpiece constructed of old rusty cheese graters.  It is welded shut so I never have to worry about dirty laundry.

Sorry about that. Not sure where that came from. So, anyway, how about your future works? A little bird told me you’re working on a novel. Can you tell us anything about that, or anything else you got going on? Also, should I see a shrink because birds talk to me?

I am in fact working on a larger piece.  I have primarily worked on short fiction to date so I am finally taking the plunge into the long form.  Btu I figure go big or go home so I am working on a trilogy.  They are all outlined and that is as far as I will go into regarding the specifics of the story.  I will just say that they are extremely bloody with just the right amount of humor, action, and social commentary.  The titles are:   THE DEATH OF FEAR, THE DEATH OF LOVE, and THE DEATH OF DEATH.

I just go for it.  I don’t try to offend; I just say what I think.

Who or what are some of your biggest influences?

Growing up, I read King exclusively.  I consumed everything he put out.  And when I read hacks like Koontz I quickly realized they were just pretenders to the throne, Radiohead/ Coldplay and all that.  I later became fascinated with Howard and Lovecraft and other pulp writers of the day.  Then Kesey blew me away with his raw open naked honesty and I strive to achieve even a tenth of that in my writing.  But what really opened my eyes, I mean what really blew me away and made me want to spill my life essence out onto the paper were a pair of anthologies called ‘Splatterpunks’, and ‘Splatterpunks 2’.  It was a brutal introduction to a movement I had not previously been privy to which seemed to throw out all the rules and just go for it.  That is what I try to do when I write.  I just go for it.  I don’t try to offend; I just say what I think.  And anyone who says what they think will inevitably offend in a society where we speak in repetitive social niceties on a daily basis.

Do you have any advice for aspiring authors?

Just write.  Write as often as you can until you find your own voice.  And reread your words often.  Rewriting is the soul of any good piece.  Read it over and over again until the words make sense to you… until every syllable is in the right place.  And if you like what you read… then fuck everyone else.   Always write for yourself.  I write the stories I want to read.

Okay, final question: Is there any hope for my survival after finishing this interview?

What do you think?

That I will, and you’ll give me cookies and wish me the best as you send me on my way!

Anyway, thanks again for giving me the opportunity to ask some question, D.B. And to the readers: Be sure to check out Lick the Razor available now from Germinal Press.

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