A Mentor Character Can Work Wonders for Your Story

“The role of mentor is a powerful one, and can help you steer your protagonist in new directions without having to lay much ground work.” —Elizabeth Sims (Writer’s Digest May/June 2015)

 

image by ErikaWittlieb

image by ErikaWittlieb

A mentor is a special secondary character whose basic purposes are the same as other secondary characters:

  • exists to support a main character
  • fleshes out a main character’s identity
  • helps move the story along
  • gives a main character someone to talk to so internal reflection is limited
image by Unsplash

image by Unsplash

However, the mentor, who’s wiser than a main character at certain moments or in particular areas, has some added jobs. He/she can:

  • assist a main character traverse obstacles in his journey
  • help a main character change when nothing else works
  • be a main character’s fount of inspiration
  • help with a main character’s fears
  • give a main character specific advice
  • equip the main character physically
  • teach the main character skills

Example: A mentor who satisfied the above jobs is Larry in Dry as Rain by Gina Holmes.

Larry is Eric’s best friend. They work as car salesmen. Larry is a straight arrow. Eric is a mess. Eric stays with Larry because of his affair in an unusual circumstance.

Larry speaks truth to Eric, even though Eric doesn’t want to hear it and harasses Larry.

image by geralt

image by geralt

Larry boldly tells Eric he’s doing wrong, could lose his job, and could make things worse for his marriage. Larry says at one point: “You’re talking to someone who’s been cheated on. The damage you’re getting ready to do can’t be undone.”

Eric doesn’t want to hear the truth and pushes back. He says to Larry, “You’re my friend, not my mother.”

Larry doesn’t give up. He understands how uptight Eric is. He drags Eric to a batting cage. After batting balls to exhaustion, Eric admits he feels better. Larry knew he would because he did this during his wife’s affair.

Larry continues to be a thorn to Eric’s conscience. In one instance, he asks Eric if he’d like to talk about his problem. Eric replies with a cruel statement about Larry. Larry says, “How about lunch?”

image by neshom

image by neshom

On the way to lunch, Larry reveals something about Eric he’s weathered silently for a while. He gives examples from their friendship. Eric glimpses possibilities of why everything goes wrong. He cracks his emotional door and opens up a little to Larry.

Soon, Eric asks for Larry’s advice and admits he’s screwed up, but when Larry talks of faith, Eric becomes defensive.

Slowly, Eric comes around to asking Larry for real help. And Larry now asks permission before he gives Eric advice. Eric allows it but still balks before he realizes Larry’s right. This leads to a heart-to-heart discussion.

This all takes place intermittently in the first half of the book as Eric deals with his unusual situation. The mentoring and resistance reappear, especially closer to the end.

Holmes’s use of Larry helps the reader see into Eric’s heart and growth. Larry’s appearances keep the story and Eric’s journey moving. In each scene in which Larry appears, Holmes has specific plot and character purposes for his presence.

I’m uncertain Eric could reach the other side of what he’s going through without Larry.

A mentor character may be what your story needs. Click to tweet.

Can you name some great mentors in novels?

5 Techniques to Add Suspense to Your Story in Any Genre

“Every novel needs a narrative engine, a reason for people to keep reading to the end, whatever the subject, style, genre or approach.” —Lee Child

 

Something was missing from my romance. Through prayer and research, I realized I hadn’t created enough suspense in my story.

Although many others exist, these suspense-adding techniques ignited me with new excitement in my story. Consider where in your story you might add one.

image by ambroochizafer

image by ambroochizafer

1. Have Character 1 lead Character 2 someplace. Character 2 doesn’t know where they’re going or the reason or purpose. The destination can be sinister, but not necessarily.

Make sure what waits Character 2 is a worthy payoff for the reader. Something the reader and character don’t expect. Also, add plausible obstacles that delay them from reaching the destination. This ups the anticipation, as the reader waits for the pay off.

Example: The hero leads the heroine to a magazine editor’s office. She thinks she’ll get her first article assignment. The elevator is full, so they take the stairs. Once inside, her sister, whom she thought was dead, rushes to embrace her.

2. Have Character 1 tell Character 2 his plans. It could be a threat, a scheduled truth-revealing meeting, or a plan to confront someone. The reader will have delicious anticipation or angst knowing the event is ahead.

image by Unsplash

image by Unsplash

Example: The hero tells the heroine he’ll be at Marcelle’s Café at 3 p.m. He’ll reveal why he left her at the altar.

3. Have a potential disaster set up in an earlier scene. Make sure it’s memorable and the consequences important enough to make the reader worry it’ll happen. And, of course, it does. 

 

Example: The heroine throws the positive pregnancy test in the trashcan. Garbage day is tomorrow and her husband, who doesn’t want children, won’t return until the day after. The reader could worry that the husband will come home early, the heroine will forget to take the trash out, or another person in the household will wander in and see the pregnancy test.

4. Have the reader expect an event to happen, but it doesn’t occur. Then have the same expectation, but make it the character who now expects it to happen. Again, it doesn’t materialize. On a third time, let the feared event occur, but worse than the reader or character expected. 

Example: The babysitting heroine checks that the stairway child guard is secure and leaves the hero’s toddler to put the clothes in the dryer. She returns and the tot is playing with his toys. Then the heroine runs to retrieve her ringing cell, and hears a noise. She races to the child to find him happily banging a toy hammer on the floor. When the kitchen timer beeps, she leaves to remove a pie from the oven. When she returns, the child’s clothes lie on the floor, but he’s gone.

5. Have the character face a potentially unpleasant situation alone.

image by jp26jp

image by jp26jp

Example: The heroine housesits her aunt’s cottage. She needs time alone to decide whether she can trust the hero with her heart. She sees ominous headlights approach the cottage. It’s the hero’s stalking ex-girlfriend come to confront the heroine.

Ways to add suspense and get excited about your story. Click to tweet.

How have you added suspense to ordinary situations?

Why You Should Murder Your Darling Words, Phrases & Ideas

“If I come across anything in my work that smacks of ‘good writing,’ I immediately strike it out.” —Elmore Leonard

 

image by ClkerFreeVectorImages

image by ClkerFreeVectorImages

Who Said It

Most writers have heard British journalist, critic, and novelist Sir Arthur Quiller-Couch’s saying, “Murder your darlings.” 

Quiller-Couch (1863-1944) said: “Style, for example, is not—can never be—extraneous Ornament. … Whenever you feel an impulse to perpetrate a piece of exceptionally fine writing, obey it—wholeheartedly—and delete it before sending your manuscript to press. Murder your darlings.

Who Didn’t Say It (except in different words)

Collectively, the authors of several articles mentioned the quote has been attributed to:

Allen Ginsberg,
   William Faulkner,
       Oscar Wilde,
           Eudora Welty,
              G.K. Chesterton,
                 Anton Chekov,
                    Stephen King,
                        Mark Twain,
                           Ernest Hemmingway,
                              George Orwell,
                                  W. H. Auden,
                                    Samuel Johnson,
                                       Scott Fitzgerald, and
                                           Vladimir Nabokov.

This makes a point:

“But it’s not surprising that other smart, successful writers would echo the professor’s suggestion. After all, they know the inevitability of getting a little blood on their hands.” —Daphne Gray-Grant

image by khunaspix

Image courtesy of khunaspix at FreeDigitalPhotos.net

What It Means

“Eliminate all words or phrases, no matter how pleasing, that draw undue attention to themselves (or the writer) at the expense of the narrative flow.” —David Corbett (Writer’s Digest May/June 2013 “Clearing Out the Clutter”)

“Darling” writing—and by that I mean writing that is clever, self-conscious, inappropriately literary or writing that otherwise calls undue attention to itself—usually sounds forced and labored.”
Daphne Gray-Grant

image by condesign

image by condesign

Why Writers Write Darlings

“When you start out, every word you write is precious. The words are torn from you. You wrestle with them, forcing them to express what you’re trying to say. … To you the writing shines with inner radiance and significance.”
Rob Parnell

 

“It says, ‘look at me,’ instead of, ‘keep reading.’” —David Corbett (Writer’s Digest May/June 2013 “Clearing Out the Clutter”)

“When you’re in love with what you’ve written you’re like the 16-year-old who can’t spot the flaws in her own boyfriend. … ‘Darling’ phrases, if we’re honest, are usually about showing off a bit.” —Daphne Gray-Grant

image by Unsplash

image by Unsplash

How to Deal With It

“It is a metaphor for how you should behave toward your writing while you are revising it. The idea is to proceed objectively without sentiment. Just like you would if you were to kill a loved one.” —Seth Fried

“But after a while [after editors hack your darlings], you realize you’re being helped. That it’s not the words that matter so much as what you’re trying to communicate.” —Rob Parnell

“Try to train yourself to read your own work as a disinterested party … Read your work out loud.” —David Corbett (Writer’s Digest May/June 2013 “Clearing Out the Clutter”)

Example

My heroine opens the door to a new neighbor. He hurt her in high school, but he doesn’t recognize her now.

“Do you have a razor blade I could borrow?”

“Not if you’re contemplating slitting your wrists.”

An insensitive comeback to the character and possibly the reader.

Possible rewrite:

“Sugar, yes. Razor blade, not so sure.”

Sometimes you need to take an axe to your “clever” writing. Click to tweet.

What is a darling you had to murder?

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American Christian Fiction Writers

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