Documents of Tabat: Flowers of Tabat

We talked last week about story shapes and arcs as well as what gets set up in the beginning of a story. This week we talked about characters and dialogue, and how the first shapes the story. One of the points made was that a character is not something you stick in a slot of a story – the character shapes the entire story. For example, the story of someone encountering a werewolf is very different if your protagonist is a little old lady who hates dogs because they’re messy than if that protagonist is an emo-teen determined to become a werewolf in order to get revenge on someone that wronged them.

The main character usually changes in some way over the course of the story, but that change must feel organic and natural. You can set up a big change of mind with foreshadowing and having them change on some smaller matter, showing that such change is possible, so it doesn’t throw the reader out of the story when it occurs.

We discussed approaches to learning more about your characters. I recommended the book Writing The Other by Nisi Shawl and Cynthia Ward, which talks about writing characters who are a different sex, race, or class background than yourself. I also recommended people-watching and reading pop psychology (or even more sciencey stuff, which will provide all sorts of story ideas.

One of the quickest ways to turn an editor off is with improperly punctuated dialogue, so learn the rules and use them. We went over things like speech tags, how to punctuate internal dialogue, why you don’t need to come up with a bunch of synonyms for “said,” and how to make voices distinctive. I suggested that people watch the wonderful adaptation of Terry Bisson’s “They’re Made Out of Meat” – here is the original text, and here is the film made from it.

If you really want to focus on dialogue, read good plays, which are pure dialogue. If you want to write in a particular historical voice, one of the best ways is to read deeply in that period so you absorb it. Doing so may make you aware how much what we read and watch creeps into our writing – that’s one very good reason to read some high quality stuff now and again.

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Today I have been writing! Costa Rica is fabulous, and we’re enjoying Jaco. Walked out for breakfast this morning and later on to the super mercado for groceries. My high school Spanish is, luckily, coming back in leaps and bounds.

I’ve been working not on a story set here, though, but one in Vegas. Here’s the beginning of what is looking like it will hit novelette length at least, “Carpe Glitter.”

Carpe glitter, my grandmother always said. Seize the glitter.

And that was what I remembered best about her: the glitter. A dazzle of rhinestone, a waft of Patou Joy, lipstick like a red banner across her mouth. Underneath all that, a worry little old lay with silver hair and vampire-pale skin.

Not that she was one, of course. But grandmother hung with everyone during her days in the Vegas crowd. Celebrities, presidents, they all came to her show at the Sparkle Dome, watched her strut her stuff in a black top hat and fishnet stockings, conjuring flames and doves (never card tricks, which she hated), making ghosts speak to loved ones in the audience and when she stepped off the stage, she left in a scintillating dazzle, like a fairy queen stepping off her throne.

All that shine. And at home?

She hoarded.

I mopped sweat off my forehead with the hem of my t-shirt and attacked another pile of magazines. No cat pee – I’d been spared that in these back rooms, closed off for at least a couple of decades. Grandmother had bought the house when she was at the height of her first fortune, just burst onto the stage magician scene, a woman from Brooklyn who’d trained herself in sleight of hand and studied under the most famous female stage of her time.

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