Monthly Archives: June 2010

I recently have been thinking about gender roles, both in real life and in fiction. 

Like many, I grew up watching children’s programming – for me it was the early and mid-80s programming.  I watched Sesame Street, Smurfs, J.I. Joe, Transformers, Duck Tales, Chip and Dale’s Rescue Rangers, Inspector Gadget, Scooby-Doo, Scooby and Scrappy Doo, Ewoks, and Richie Rich.  My babysitter’s daughter watched Care Bears, so sometimes I saw the intro of that cartoon before heading to school.  What I can’t help but notice now is how many male influences there were in those cartoons and how few females, and most of the females were in traditional roles.  I had even started to notice this ‘conditioning’ by the age of 12 or 13.

I also read many of the classics as an adolescent.  Once again, most of the major characters were males.

Fast forward to a few weeks ago, I saw an article talking about driving and genders.  The article was quick to point out how many more accidents men get in compared to women, yet the article didn’t talk about the amount of driving men do compared to women.  I posted a question: “How many accidents do men get in per mile compared to women?”  It was an honest question, but it turned some people into very mean (evil) posters.  I was accused of being a sexist who belongs in the 60s, I was told to shut up, I was called things I won’t repeat here, and yet I was praised (maybe that’s an exaggeration) by some for bringing to light the real issue.  But I hadn’t said anything; I only asked a question.  Only one person tried to answer my question; the rest thought my question was a statement, reading more into what I had asked than what I meant based on their stereotyping and prejudices – and their assumptions about my stereotypes and prejudices.

People understand gender roles now in more complex and confusing ways than they have in the past.  Women are often expected to work outside the home but are still expected to take care of the same chores they always have had in the home.  A man’s role in children’s lives is starting to become acknowledged, yet the man is rarely the one blamed in child neglect cases.  More women are in college now than men, but the term “CEO” still brings a man’s image to most people’s minds.  Women are starting to make careers out of athletics, but if you turn on a sports channel you probably expect to see men’s sports.  Women have made up 60% or more of the voting public in the USA for the last 20 years, yet we still haven’t had a woman president or vice president.  What does all that mean?  I don’t know.

I have heard someone say, “Beware making a woman weak in fiction unless you also have an equally strong woman with a larger role in your manuscript.”  And you can add, “Don’t have a working father who does both dishes and laundry unless you can handle people saying, ‘This isn’t realistic.’” 

In reality, there is still a large group of people who see traditional gender roles in their daily lives, or people, like me, who grew up watching 80s cartoons or other programming that conditioned thought patterns.  There are also people who have no idea what ‘traditional gender roles’ means, people who have never known an outdoor dad and indoor mom.  How do you write to both groups?  I don’t know.

Like with the responses to my question about driving stats, readers will bring their own personal biases and make assumptions when you challenge what they see or desire in regarding gender roles.  You must think about how you want to approach your characters.

This post isn’t about telling you the solution, but to get you to think about the questions:

• How do I want to portray gender roles in my manuscript?
• When is my manuscript taking place and how should my characters reflect that?
• Who is reading my manuscript and what are they expecting?  What do I want to tell them?
•  How does my handling of male and female characters reflect on me?

Roh Morgon’s characters who impact and Roh’s Character Contest #1 is ending on the 27th… two days from now.  If you haven’t been to her blog, ‘musings of a moonlight writer,’ then you should head over there and try to pick up a prize while your at it.

I am trying to compile a list of forms of communication throughout history.  The reason for this is to have a single stop resource for authors.

Here’s my problem: while I can research many forms of communication, my experience and education is limited – I just won’t think of everything.  So I am asking, please, help me compile a list of communication forms.  Please be inventive: fog horn, smoke signal, Morse code, pony express, bullroarer (or rhombus or turndun), bell tower, pneumatic air tube, or whatever comes to mind.

Here are some examples of what I am looking for:

Calling Card: Notes left on entry tables in the 1800s to let people know they had been called on.  Mostly used by women (and maybe for women).  More info at: http://www.jamesfordmuseum.org/e_nineteen_cent_life.php

Signal Flag: Use of signal flags started sometime around late 1600s or early 1700s for communication between vessels.  These codes are still used, but at not as much now as other forms of communication are more effient.  More info at: http://en.wikipedia.org/wiki/International_Code_of_Signals and http://www.crwflags.com/fotw/flags/xf~sfh.html

I would like, as complete as possible, to list all forms of communication with information about when and where it is used and by whom.  I am hoping this will help writes place their time periods more accurately while researching projects.

Related post: Modes of Communication in Character Development

Lately, there has been a lot of discussion in my circle about speech.  Not just word choice, accents, or colloquial, but speech as a whole.

• This is too robotic
• No one talks like this
• He’s over-the-top cheesy
• I don’t like this accent
• I can’t see this word used here
• This phrase takes me out of the setting
• Where are the accents?
• It’s hard to write accents and it’s hard to read them
• A few colloquial words help a story
• Who says this?
• These new/strange words take me out of a story

Without dragging you through all the conversations and arguments I have had, and without pulling you (kicking and screaming) through my thought process (scary – don’t want to go there), I will give you my conclusions about speech use, and I open my comment section for opinions and (civilized) debate. 

Word choices, accents, colloquial words, pacing, contractions, and slang all give characters, and the narrator, a voice (yes, voice – I can’t think of a better term).  A properly chosen voice can put a character into a specific time and place while a poorly chosen voice can ruin a moment or a story.

Everyone writes with a specific voice, even if they don’t think they do:

• contraction usage (“We’re not going in there” is different than “We aren’t going in there”)
• spelling (“dialog” compared to “dialogue”)
• modified words (“I don’t want to go to…” as “I don’t wanna go to…” or “I don’t want ta’ go to…” or “I ain’t goin’ to…”)
• word choice (“One meter” versus “One yard” versus “One and a half cubits” versus “A walking stride”)
• slang (“Wicked” versus “The bomb” versus “Kickin’” versus “Cool” versus “Awesome” versus “Bomb Diggity”)
• expletives (won’t go there)

The list goes on.  To assume you don’t write in a voice, and therefore refuse to understand you are placing your characters in a specific time and place, is to deny your readers the full experience of the story being told.  You must change your characters voice if they are not from the same place or time as you or the realness of the character (and the story) goes away.

Now, if you are on board with me so far, I have to push the other way a little.  If you are intimately familiar with another voice than the one which is natural to you, then, by all means, write it out.  However, if you are not gifted that way, hold yourself back from going too far.  Using a voice you, and maybe your readers, are unfamiliar with is a matter of balance.  If you use too much slang and modify too many words, it may (will) do two things: be hard for the reader to read, and prove how much you don’t know.

When using alternate voices, you need to pick certain clues that can give the feel you want without distracting from the actual story.  For these clues, go to YouTube or Bing’s Video search, and find people who talk the way you want to have your characters talking.  Trying searching for someone explaining accents and slang in certain areas.  If possible, call the Chamber of Commerce or a University in the area of interest and just chat with someone.  Pay attention to what they are saying, how they are saying it, and which differences are important for giving the right feel. 

Once you have what you think you need, practice.  Try saying the lines aloud.  Try writing the lines and having friends and family read it.  Quiz people you are trying it on to see if it is too much or too little.  If you aren’t getting it right, go back to your sources and find different clues.  Experiment!

You don’t need to include everything, but giving a taste of an accent, a localized slang, or anything that puts the character (and the reader) into another time or place is well worth the effort of research and experimentation.  Putting the correct voice on a character is as important as the clothes they wear or the fears they hold – it is a part of who they are.

For more, read Guest Blogger: Ninja Cups and the Path to a Better World on P.D. Wright’s blog (by David Oliver) and Balance on C. Michael Fontes blog.

Other resources are:

“Using Slang and Accent When Writing Fictional Dialogue” by Todd Eastman

“How to Write Dialogue for Fictional Characters With a British Accent” bye Valerie David

“Do You Have an Accent?” on Readable Blog

I am working on an anthology project that will have me critiquing 92,000 words this month, and in my small group there is the potential for another 40,000+ words, plus I need to set aside time to work on my own fiction while maintaining a full time job, family, etc, so  I find myself strapped for time.  Beyond that, I am having a hard time focusing my thoughts on blog posts while so engrossed in line edits and story arcs.  Please forgive me if I am not as productive on my blog this month as I have been.

• Babies take a lot of patience… and I don’t know where they put it.  I’m still trying to find mine.
• If it were only possible to speak after you thought something through, some people wouldn’t talk at all.
• Practice makes perfect, but some people need more practice than others.
• It is easier to succeed if you focus on the goal rather than the distance.
• Stress takes a large, physical toll on the body.

There are two things to remember when executing your most beloved friend.  First, he knows it’s nothing personal – even when it is.  Second, …

“Mom.  Mom!  Come on!”  I chased her down the hall to her room, my (or her) boyfriend scrambling behind me.  “It’s not like that, really.  He was just showing me his…”

Fresh linens flapped on a clothes line just off one side of the patio and a broken rocking chair rested against the wall on the other side.  A lock on the door popped, a chain jingled, and the hinges creaked while the door opened.  Both uniformed officers removed their hats and made eye contact with the frail women as her hand came up to her mouth.  “Mrs. Stanpike, may we come in?” asked the smaller of two, his voice gentle.

Interesting week, these last seven days.

• Won a contest I didn’t enter – tangible prize and everything (yay!).  The original contest I entered rolled into another contest, which was pretty cool.  Thank you to Lee Crystal and Outpost 13.
• Played drums at church for the third time in 12 1/2 years.  I had told the worship leader that I don’t like to play music that’s in 3/4 time, just 4/4.  Well, there were three 3/4 songs, one 6/8 song, one 4/4 song (yay!), and one song that had a repeated pattern of five measures of 5/4 time and then one measure of 3/4 time.  The worship pastor hates me.  I know it, deep down he hates me.  It was so stressful.  I was told by many people that I did great, but I still want to crawl under a rock to recover.
• Finished Diamond of Darkhold (which finishes one series I’ve been reading), reading Jumper: Griffin’s Story (which finishes another series for me), and have The Short Second Life of Bree Tanner in the queue (which will finish that series, again).
• Decided I am going back to school next year for a Master’s… unless something unforeseen comes up.  I have off-and-on wanted to go back to school for four years now.  I’m finally at the point where I am willing to dedicate the time and energy.
• Made five commitments on my time this weekend, overlapping commitments.  It will be interesting to see how I survive.  Two weeks ago I didn’t have many weekend plans and it was the busiest weekend I can remember.  Maybe the one will work the other way around.
• Finished one round of edits on a short story for the FSFW anthology.  Some friends, C. Michael Fontes and P. D. Wright gave me a little feedback and, as improved as it was, there is still a lot of work to be done.

Have you ever vacationed by the ocean for an extended weekend and not seen a single wave, just gentle ripples in the water for hour after endless hour?

Have you ever been caught out in the desert when the wind picked up?  Had sand pelt your face, forcing your eyes to shut and your arms to rise defensively?

Have you ever expected a light dusting of snow on a romantic weekend getaway and received 42″ (without having chains)?

These are not just the mishaps of my vacations, but metaphors for stories too heavy on characters and/or plot.  Characters are what you see, like water.  Plot is the power behind what you see, like wind or storms. 

Without plot, the story can become drudgery instead of enjoyment – characters bobbing up-and-down without ever cresting or curling in exciting fashion. 

Without a good set of characters to connect to, the story arc is dry and it slaps at the reader’s face. 

When there is too much, dozens of characters who never get a chance to recover from the hundreds of plot elements, the reader is overwhelmed and misses the chance to fall in love (because they are thinking, “Where are my chains?  I can’t get traction.”).

Make your characters interesting, colorful, and dynamic.  Make your story arc full of action, adventure, or intrigue.  Give your story room to breathe, and in turn give your reader the same chance.

Give your reader the chance to experience the ebb and flow of your story with time to enjoy the crests, curls, and splashes of your characters’ experience against the driving power of the plot.

It’s time for my weekly post on Character Development and Introduction, but I’m not going to do one this week.  Instead I will be piggy backing off of a friend’s post, Roh Morgan’s “Characters Who Impact.”  Instead of working with your own characters, Roh is asking you to step back to acknowledge characters who have had an impact on you.  One great part about this post is, if you participate, you can win prizes, and who doesn’t like winning prizes?  So venture over to her site/contest and jump in.