Three Essential Questions to Ask Your Supporting Characters

                      

My drama teacher used to say, “There are no small parts. Only small actors.” While this might have been used at the time to assuage the ego of a rather precocious eight-grader, the truth of it nonetheless rings true. The supporting characters of any play, film, or novel are arguably one of the best ways to make your story well-rounded, timeless, and engaging. 

Imagine Harry Potter without Neville or Luna. Imagine Pride and Prejudice without Lydia. Imagine Romeo and Juliet without Mercutio. Imagine Step Up II without Moose.

Across genre, style, and century, supporting characters are the legs that hold the story-table up. But character development of any kind is tough, and the smaller roles are usually the first to be neglected.

Don’t fall into that trap.

How To Handle Criticism (As A Writer)

Dealing with criticism can be a seriously tricky business as a writer. After all, the words we put on paper are us. They're our thoughts, our hearts, our words, our souls. Criticism of your words can feel like criticism of your very person.

This, in fact, is one of the reasons many writers get stuck. We don’t want to take risks, or--if we do--we don’t want to show anyone those risks. When we do share our work, if it’s not met with unabashed aplomb, we often react with either severe pain (retreating and licking our wounds, kicking ourselves and vowing never to write again) or anger (a harrumph and a growl, a vow that your reader is uncultured swine and just doesn’t understand your genius).

Both reactions, it might be noted, are rooted in fear. Fear that we’re not good enough. Fear that we don’t measure up.

The 'Show, Don't Tell' Monster

You’ve heard it before, a thousand times, from the instant you decided to write. Haven’t you? Show, don’t tell! The snarky little catchphrase that seems to haunt your every edit. You could have sworn you were showing in that last draft, but upon rereading...nope, you were telling. And telling. And telling. And now you feel like you’re the worst writer in the world and so why should you even bother??!

Anyone else kind of want to pull their hair out when things get like this?

I know I do. Which, I realize, does not make me the most expert of writers to preach upon such a subject. But I’ve had this three-word stalker crouching behind me for a significant chunk of years now, so I've collected a few thoughts about it. Some ways to avoid it’s breathy snarl. Because, honestly, when I first started hearing it, I had no flipping clue what these people were talking about.

Here’s some ideas on how to figure out what people mean when they throw this at you like a pitchfork in the middle of your writing group.

10 Ways to Keep Your Focus While You Edit

Editing is one of those things that will either feel like swimming with dolphins through a rainbow sea or trudging with Artax through the Swamp of Sadness. It can be horribly demoralizing watching your baby sink to the depths of what looks like depravity. You're editing and suddenly you think, "This is awful. Why am I bothering?" or "What was I thinking?" or "This is driving me crazy, and I wrote it! What will a reader think?"

With every negative thought, your project looks like it's sinking deeper and deeper into that pile of mud. But you've got to remember (spoiler alert): At the end of the movie, Atreyu is riding happily across a meadow on the back of his beloved Artax. You know why? Because he didn't give up. To that end, I've compiled a happy little list of ways to keep you from giving up when it feels like you just can't go any further with this $%*#@ editing process.

Editing The Bob Ross Way

Happy Trees. 

When you imagine a painter at work, does he start at one corner of the canvas and do every single detail for every single square inch, moving across the field in this manner as though putting together a puzzle? No? Then why do so many writers approach editing this way? 

Painting happens in layers. A painter will lay the bare bones of an image first--maybe some base lines with only a few colors. Then she'll add another layer that includes depth and a few more images. Then another layer for texture and even more images. You get the idea. If not, go watch this time-lapse Bob Ross video. Bob Ross is the bomb.