Why Do We Love 'Em?

By Robin Weaver

This blog was intended to be about my favorite character. A.k.a. Castiel from the hit series Supernatural—a cross between Chris Helmsworth, a Maltese puppy, Sheldon Cooper, and Columbo. Only this addled brain started to ponder--exactly why did I like the quirky angel?

Likeable is subjective.  Determining what makes a heroine likeable is about as easy as figuring out why Kim Kardashian is famous. 

Let’s use Harry Potter as an example.  He’s a ten-year-old boy, a bit moody, wears thick glasses and sports a scar on his forehead.  He gets into fights easily and doesn’t listen to his mentors.  Seriously, if you didn’t know the story, would your first thought be: “Wow.  There’s a character who will make millions for his author?”  However, mention Harry is a boy wizard who is despised by his human guardians and we begin to relate.  Not because we’re into abracadabra, but because frustration is something we’ve all experienced.  Throw in his parents died fighting evil when Harry was just a baby and, then describe the dreaded Dursleys... We’re hooked.

Obviously, one key to a relate-able character is making sure she is an understandable character.  The advertising world frequently resorts to icons with universal appeal--puppies and babies (and angels--).  Beer commercials resort to the age-old appeal of sexuality (a.k.a. tatas).   Unfortunately, giving your heroine a boob job, a newborn twin on each hip, and a basset hound gnawing on her Louboutin heels probably won’t be enough to make contemporary women relate (although the shoes might help).  Again, likeable is subjective.

So how do we fix un-likeable characters? 

First, get feedback.  Lots of feedback.  Expand your critique group to non-writers.  Just because the main character gets a less than stellar rating from one group doesn’t mean she won’t appeal to another demographic.  Ask any author her opinion of Fifty Shades of Grey and you'll probably get very different results from the movie-go'er reviews. Still, If none of the readers find your heroine appealing, fageddaboutit.  If they hate her, don't give up. A character who gets strong reactions, both positive and negative, is not going to be boring.

If however, you get mostly negative, or worse, blasé feedback, ask the reader, “What makes you think my heroine’s a bitch?” (Okay, you’ll probably want to word that a bit better J).  Readers will be able to point out obvious flaws:  the heroine is too perfect (what woman has time to cure cancer, organically kill tomato worms and still have a flawless manicure?);  she’s unfair; the witch comes across as preachy; etc., etc.

What if readers don’t like your heroine, but can’t pinpoint why?  Don’t despair, dig deeper.  Humans can be very forgiving creatures, so often they simply don’t understand your heroine.  Is her motivation clear?  Does she have depth or is she one-dimensional?  Maybe her goals aren’t consistent with her actions.

The best approach may be to simply write characters you like.  Listen to criticism with an objective ear and make changes only if the modifications feel right.  If the character doesn’t work out, you can always start over.  After all, this is fiction. 

She says she didn't do it.

The evidence says otherwise.

Styrofoam Corpse is available at Amazon.com.

Ebenezer Scrooge -- Defying the Rules of Good Writing?

By Robin Weaver

Say “Ebenezer Scrooge,” and odds are most folks will immediately envision a selfish, miserly old man with no appreciation for fun or kindness. One-hundred-seventy-two years after his creation, the main character from Charles Dickens’ A Christmas Carol is not only instantly recognizable, but almost universally hated, evidenced by our society’s continued use of the term “Scrooge” to describe a miserable penny pincher.

Which makes me wonder why we continue to read after page one. According to the guidelines of good writing, the hero must be someone to whom we can relate, a person we can envision being. Thank goodness no one told Charles Dickens the main character had to be likeable.

Clearly we don’t like Scrooge, so why does Ebenezer work as the main character?

**Does Scrooge work because Tiny Tim is introduced early in the manuscript?  Ask anyone in advertising--babies and puppies sell. If you want a story to tug at the old heart strings, insert a spunky handicapped child. Works almost as well as a cute little Maltese (even when that child is played by Mary Lou Retton).

**Perhaps Dickens’ self-promotion contributed to the success of A Christmas Carol. Charlie was the first famous writer to read his work in public (at least, he was the first one according to my research).  And our self-promotion guru didn’t just read, he performed, creating a special version of history just for public recitation—with stage directions scribbled all over his script. Dickens dressed for the occasion as well, always wearing full evening dress, with a bright buttonhole, a purple waistcoat and a glittering watch-chain. And you thought creating a trailer was hard work. J

**Some might say A Christmas Carol works because. Ebenezer grows and changes. It’s fairly easy to identify the stages of The Hero’s Journey in Dickens’ tale. Only does Scrooge really change? Our hero only “sees the light” after some imaginary ghosts scare the Dickens out of him. Scrooge “changes” to save his own hide so is that really changing?  Sounds like a new version of selfish to me.  Furthermore, we all know how the story ends, but do we ever think of the “made-over” Scrooge? Nope, he’s the old miser who won’t say “Happy Christmas” to little Timmy Cratchit.

**Or maybe, just maybe—the main character doesn’t have to be likeable. Let’s face it, we American’s like our dirty Christmas stockings.  How else can we explain our fascination with the Sopranos, America’s Most Wanted and Keeping up with Kardashians (etc., etc.).  Let’s be honest, there’s a bit of self-righteous appeal in being morally superior—even it that superiority is graded on the curve.

Whatever the reason for the enduring popularity of A Christmas Carol, Dickens (in this blog author’s humble opinion) illustrates that of all the rules of writing, only one universally applies: If you tell a good story, you can break all the rules.

My Holiday Release....
FULL CONTACT DECORATING
Katarina Snodgrass believes she can get her life back on track. If she can regain her title as the Christmas Tree Contest champion and re-snare the man of her dreams. Too bad soap-opera star, Tripp Anthony, isn’t interested—at least he’s indifferent until Hunter Montgomery arrives and convinces Katrina she needs to make her former flame jealous.The plan succeeds, but Katrina finds herself equally attracted to Tripp and Hunter, the man she loves to hate. Her heart is torn, but can she truly choose either man while she guards a horrible secret?

Ebook available via Amazon November 30.

Print version available now at The Wild Rose Press.