I may have gone a bit C Crazy but once I started, I just couldn’t stop.
As we all know the very best stories spring from the motivations, needs, strengths and weaknesses of the Central Character. The most important part of the word Character is the ACT in the middle. Action reveals the truth of who this person is. Not what they look like, though this gives us clues. Not what they say, though this can be great and very useful if juxtaposed with what they do.
The Character must ACT, not react. They must Choose an action at some point, and they must Change or refuse to Change. This is what makes a protagonist the main character really.
So, the C WORD METHOD.
A Character needs to have a CURSE, a CAUSE, CRAVING or a CALLING. They can have all four if you like but they must have at least one. This Curse, Cause, Craving or Calling – which in not C word terms would be your story goal or the character’s “desire” – usually springs from a CRISIS in their past. A wound or scar in their backstory that has shaped who they have become.
For example, Madonna the pop star may have been a neglected middle child, always searching for her father’s approval so she CRAVED attention and sought it from the applause of strangers.
Harry Potter has a CURSE – the lightning bolt on his forehead is proof of this imbuing him with a piece of Voldemort. He also has a CAUSE – to save the world from the curse of Voldemort’s darkness and a CALLING – to lead the forces of good and defeat Voldemort.
A story I recently wrote set during the reforming of the Catholic church through Vatican 11 in the 1960s was about a nun who CRAVED divine connection, was CURSED by her childhood in an orphanage and had once felt a CALLING but now found it lacking.
Figuring out your character’s C words will help form the plot of your story. Whether it’s flash fiction or a full-length novel.
The C WORD METHOD continues as follows:
Start with your CHARACTER with a Cause, Curse, Calling or Craving
Then throw them a CALL TO ACTION – otherwise known as the inciting incident (also nice use of Cs) or CRISIS that spurs them to pursue their C word.
Then all you have to do is pile up COMPLICATIONS, CONFLICTS OR CHALLENGES into a CRESCENDO until you reach the
CLIMAX and then show us the CHANGE in the CHARACTER in the
A cacophony of crazy Cs to create a cool, character-driven, competition-catapulting (fingers crossed) story!
I don’t know about you, but I have a bottom drawer full of old manuscripts. Actually, I have a whole chest full. The first novel I ever wrote, “A Lesson in Darkness” will never see the light of day, it was my real training ground. It’s never even had a second draft. But I have three other projects that were precious book babies at some point but then, because of rejections real or imagined, became too hard to look at and were relegated to the bottom drawer.
What I’ve learnt over my twenty years of writing practice is never ever to give up on a piece of writing. Short pieces that were rejected for years, even decades, suddenly find the prefect home in better places than I’d ever dreamed of. “Mrs Sunshine” had done the rounds of many literary journals and competitions and then finally found a place in Best Australian Stories 2014. Other stories too, battle worn and bruised have risen to be published and paid for.
Even Thrill Seekers was resurrected from the dead after Barbara Mobbs, my then agent, told me to forget about it, put it in the bottom drawer and move on, after it was rejected by only one publisher. I wasn’t going to give up on it that easily. I submitted it to a worldwide call out and scored a contract with Ransom Publishing UK. It then went on to be shortlisted for the NSW Premier’s Awards. It wouldn’t have, if I’d taken Barbara’s advice and let it perish unseen.
It takes courage to resurrect old writing, especially when it’s done the rounds a few times and faced a lot of rejection. “Remember,” I have to tell myself, “rejection doesn’t mean the work is bad, only that it hasn’t found the right home, or the right shape yet.”
I am not short on courage. I feel the fear and do things anyway. You have to be a risk taker to be a writer. But reviving “Dear Madman” and starting to work on it again after a break of some years has taken all my strength. When a book has been rejected, it’s not just the book that’s bruised, but the writer (actually, the book probably feels okay!). Sometimes you’ll have a loving spouse to drag the manuscript out of the rubbish bin, as Stephen King’s wife famously did for Carrie, his first breakthrough hit. But sometimes you have to be your own loving friend and do the same.
I have been working on “Dear Madman” on and off for over ten years. Yes, that long. This project is dear to, and deep inside, my heart. It began life as a memoir about the murder of my maternal grandmother’s sister as a child in the Lockyer Valley in 1912 but then evolved into a novel. The characters demanded it. I couldn’t shut them up. Besides, I felt the story was best portrayed as I saw it playing out in my mind – in scenes. I thought it worked well, but publishers didn’t agree. My agent at that time, Zeitgeist Media Group, were tireless in their efforts but couldn’t get it over the line. The rejection of this manuscript broke my heart. I started to believe it was cursed. That I was. And that’s never a good idea.
Recently, I attended Kris Olsson’s Memoir Bootcamp at the QLD Writers Centre with more recent memoir projects on my mind. However, once I started doing some of the preliminary exercises, I knew that the ghost of “Dear Madman” had called me there. Kris inspired me to take another look, to redo it as the memoir I’d originally intended, keeping the novelistic scenes if I wanted. That was weeks ago.
It took those weeks for me to gird my loins in order to tackle what seemed like a monumental task, the most difficult puzzle of my writing career. How to do it? The question loomed in my mind larger than the book itself. “Just do it!” I told myself like a sportswear commercial. “Feel the fear and do it anyway.”
I dug up the old files, the original memoir strand of 24 000 words, journal extracts from the time of my researching and writing, and the novel it all morphed into. Then I started fresh. I opened a new document and called it, “Dear Madman 2022” (I know, I know, we’re not there yet, but I’ll still be working on it then I know). Most importantly I added ROUGH DRAFT in very big letters. “Just muck around with it and play,” I intoned like a mantra.
So I played. I’m still playing. Anything goes. I’m shoving bits in, weaving things together. Writing new bits, writing about the process. Talking to the reader as if they know how tricky it is to braid these disparate strands. And guess what? It’s fun! I’m enjoying myself. After the first few days of timidity and self-criticism, noticing where I’d overwritten and made things worse, I’ve reached a stage where I’ve regained my creative confidence and my belief in the project. YAY! It’s all a huge schmozzle right now, but I have faith that it is becoming more like it is intended to be. It’s finding it’s shape at last and I’m enjoying the challenge.
And, quite literally, I’m resurrecting the dead as I write, or at least giving them another life on the page. Through writing, I’ve given that little murdered girl the chance to laugh and play with her sisters one more time.
If you have stories or novels or memoirs clogging up that bottom drawer, especially those that hurt to look at, especially them, dig them out and expose them to the air. Gird your loins, put on your grown-up pants, and tell yourself you’re just going to play and see what happens. Start a new document and dive right on in. Anything and everything goes. You can do no wrong.
Repeat after me, “I am confident and capable in my creative work.” You can do it! Who knows? You may even have fun.
What projects have you buried that deserve a second chance at life? What projects have you resurrected? Any success stories out there? I’d love to hear them!