These Acting Tips Will Make You a Better Writer

When it comes to writing, we all have our own unique approaches. Some of us spend hours working on plot and theme. Then once satisfied with where they story’s going we begin to write.

Others, like me, have a rough idea of where we’re headed and let the characters take us on the journey.

What ever your approach, I’m sure your characters have gotten themselves stuck in places you don’t know how to write them out of, or they may take a completely different road than you ever imagined.

It can be tricky to figure out the solution and sometimes it can lead to “writers block”. Or it can increase our days of procrastination when we should be writing.

I’d like to do something a little different today and show you how an actor approaches a character, in the hopes it helps you get your character “unstuck” or help you to avoid days of procrastination.

The first question an actor asks themselves is, “What is my Super-Objective?”

A super-objective is the characters ultimate goal. The think they want most.

Figuring this out for every character in our novels can give us vital tools on how to write them.

It’s the thing that carries them forward. They may have several smaller objectives for each scene (in fact they should) but everything they say, every choice they make and even some of the random habits or mannerisms we give our characters will have a direct correlation to their Super-Objective.

Another question the actor asks themselves when preparing for a role is, “Where am I coming from and where am I going?

As much as our character’s are driven by their Super-Objective, there are other things that get in the way. And often it’s circumstantial. Even if we really want something we sabotage that want because of the kind of day or week we’ve had. Or the belief we have about ourselves.

Our characters can run into the same problem. We may not write about every scene of their life, but we should have an idea of where they’ve come from and where they’re going.

They will act differently depending on where they’ve come from and where they’re going. Even if it’s something small like they stubbed their toe on the way to answer the door. We may actually start writing the scene from the moment they open the door, but they’re gonna treat whoever is at the door differently depending on how sore their toe is.

Which leads me to another great question actors ask, “What is my relationship to the other characters in this scene?”

If we go back to the last example of knowing where your character has just come from, you know their reaction is going to be different depending on who’s at the door.

If it’s a good friend who they’ve known for years, they may bounce around on one foot while they yell at their friend to not just stand there, but to go get some ice.

Whereas if they were answering the door to the blind date their friend set them up on, they’re probably going to try to hide some of that pain and use some of those excellent habits and mannerisms we painstakingly gave to them to dodge any further embarrassment.

There are so many other questions an actor asks about their character, but this is the one I want to end on, “What obstacle is in the way and what action will I take to get what I want?”

When I studied acting, one of my teachers passed me a list of verbs and explained that we all try several different approaches to get what we want in life. Everyone does it. We try to coax a secret out of our friend and when we don’t get what we want we move to another approach. Perhaps we try to inspire them to tell us their secret and if that doesn’t work we may try something a bit more drastic like threatening to withhold the last piece of chocolate until they talk.

Our characters should be the same.

Every great story is rife with conflict, so our characters are going to need to try several different approaches to get what they want. I highly recommend you google “actors verb list” and use it to help you figure out the several different ways your character can approach getting what they want. Make them really fight for that want and you’ll hold your readers attention more.

These are just a few of the tricks I use in writing, what are some of yours?






Charis Joy Jackson is working as a missionary with Youth With a Mission (YWAM) a non-profit organization & is part of The Initiative Production Company. She loves creating stories & is currently writing a novel, which she hopes to create into a seven part series.

Here's to a life lived in awe & wonder.
Welcome to the adventure.

www.charisjoyjackson.com

Get Real

In my writing workshops, I often discuss character weaknesses and how we writers can use these vulnerabilities to engage our readers. By ‘reader connection’ I don’t mean a collective whole, rather a ‘this could be me or my best friend’ type of significance. But how?

November 1, 2016, I celebrated the release of the final book in my young adult techno-crime thriller trilogy. Activate completed the set, easing tensions from Replicate’s rocket-ride action and loose-ended resolution, whilst bringing full circle the story of Integrate’s Blaine Colton, teenage GMO and survivor of mitochondrial disease (mito).

In creating Blaine, I was inspired by a real life mito hero. But this week I learned a friend had died from one of the types of mito I’d referenced to construct for Blaine a uniquely complex version of the disease. I’d known this friend for years, but our lives had taken different paths. Despite remaining in contact via social media, I’d never realised they had mito. When I heard of their death, I felt … numb. It couldn’t be true! Someone was playing a cruel joke and any moment, as I scoured my friend’s Facebook wall, I’d find it was a mistake and somehow, silly me, I’d misinterpreted the message. Instead, I found words of grief and sympathy. Suddenly Blaine was in my world, only it wasn’t Blaine. It was my friend. And they were dead.

This moment confronted me, forced me to revisit the power of writing authentic characters. It was like my advice was working in reverse, where suddenly I was being drawn into my character’s world through reality.

Mid last year I was privileged enough to be one of 180 poets included in the Veils, Halos & Shackles international poetry anthology, a collection of poems depicting the wounds and struggles of women worldwide, presented as raw, personally impacting experiences. The influence of works such as this makes me increasingly convinced a significant key to connecting deeply with our readers involves a willingness to give voice to our own vulnerabilities. Yet, our modern society doesn’t like the impracticalities of a candid response. ‘How are you?’ is often a rhetorical question, asked while keeping up a brave front.
Was this how I’d missed my friend’s illness?

By writing out of the honest, messy reality of our brokenness, we may not necessarily create characters that are all peaches and sparkles. But maybe, like Blaine turning up in my real world, we can allow readers a place to cry in the ashes with characters that will turn up in their world.

I know other authors have created such a place for me over the years. Perhaps our willingness to become vulnerable as writers will give our readers permission to agonise with our characters, experiencing their challenges, and give room to identify mutual pain. And knowing the hope we’ve found in even the darkest moments, maybe we can also use our vulnerabilities to share comfort and invite them to journey with us along the path to healing.

Queensland author Adele Jones writes young adult and historical novels, poetry and short inspirational, fiction and non-fiction works. Her first YA novel Integrate was awarded the 2013 CALEB Prize for unpublished manuscript. Her writing explores issues of social justice, humanity, faith, natural beauty and meaning in life’s journey, and as a speaker she seeks to present a practical and encouraging message by drawing on these themes. For more visit www.adelejonesauthor.com or contact@adelejonesauthor.com

A Life of Their Own

Have you ever felt as if your characters have taken over your story? In one of my works in progress my characters keep taking over the narrative. I want the tale to go in a certain direction and voila I wake up the next day and the characters insist on doing their own thing. I mean, how rude? I’m the author and so I should be the boss of my story. Right?

I suspect something like this is happening:

It was quiet. The author had gone to bed but Chloe couldn’t sleep—not now that she’d found out what could happen to her. She stared at the screen that was the barrier between herself and her creator. What could she do? She didn’t want to die.

It was a conundrum. She had only just become aware of the screen and that there was someone on the other side determining her destiny. What right had the author to dictate her fate? That she could die in 1952? It wasn’t fair and it wasn’t right. But, other than Ethan possibly saving her, what could she do about it? She had to save herself.

Chloe reached out and touched the screen. She thought it might have been electrified but it was cool to the touch. She placed both hands on the shimmering surface and to her astonishment they went through the iridescence. She stumbled forward and found herself in another realm.

She caught her breath. How could this be possible? Then again she’d travelled in time and space from present day Melbourne to 1950s France. That hadn’t been impossible—not according to the author—so why couldn’t she leap beyond the story? She was real—in all the ways that mattered—and she could determine her own destiny.

Chloe glanced around the room. She was in a house not that much bigger than her own. She smiled to herself at the snoring coming from what must be the bedroom then jumped as a little voice behind her said, “Hello.” She let out a nervous giggle when she realised it was a small, pet bird.

The snoring stopped and she held her breath, cursing her lack of self-control. What would she do if she were discovered? But the snoring resumed again and all was well.

Chloe turned her attention to the computer. She’d memorised the password from the last log on and it was simple to find the file. She frowned as she read through the latest chapter. This would never do. She pondered for a moment. If she erased the text, the author would just rewrite it. Chloe didn’t know if she’d be able to escape from the pages again any time soon. The author usually shut the computer down at night. She bit her lip as she searched through the other files. Research … character … outline ... . That was it!

Chloe opened the file. Her eyebrows lifted as she read. She hadn’t thought of that outcome! She chewed on her lip again and a small smile quirked on her lips as she began typing.

The sky outside held the first blush of dawn when Chloe finished her work. She stood, stretched and placed both hands on the cool screen. In an instant she was back in her own world. At least now her destiny was surer.

The antagonist watched as Chloe reappeared through the shimmering screen and hurried away down a dark street. He’d been waiting for his chance ever since he’d seen her disappear into that other world. He placed his hands on the screen as she had done and leapt. He smiled with delight as he sat at the desk, cracked his knuckles and began to type.

Several hours later, the author plonked down into her seat and placed a steaming mug of coffee on the desk next to her computer. She yawned as she logged on but the yawn developed into a sigh. The outline file was open—again. Who was it this time? Last week it was Ethan who seemed to have a life of his own. Didn’t these characters realise that she, the author, was in charge? Why did they always want to take over? She pondered for a while then decided that this would be a great topic for a blog.

It fascinates me that this phenomenon happens again and again when I write. Well … characters don’t literally leap out of the screen and rewrite the story. Mind you, sometimes it would be good if they could. It would help me dig myself out of those dreaded plot holes. But most of us have experienced the protagonist who refuses to behave in the way we want them to. The characters take over the story and leave us, the creators of the work, to clean up the mess.

I once heard author Diana Gabaldon talk about the writing of her Outlander series. In the initial stages she tried hard to give Claire, her female protagonist, an eighteenth century voice but she kept sounding like a 20th century nurse. In the end Diana gave up and constructed a scenario where she could get this 20th century woman into the eighteenth century. The rest, as they say, is history.

There is an element to every creative process that goes beyond the normal workings of our rational mind. The creative brain (mind, soul, spirit) reaches into places we would never have dreamed of going ourselves (or maybe we would only have gone there in a dream). It makes writing a wonderful, crazy voyage of discovery.

How about you? Have you had characters take over your story. Do they have a life of their own? Did it help or hinder the story? Please let me know in the comments below :).

Sue Jeffrey was born in Scotland but moved to Brisbane, Australia with her family when she was just a wee lass. After a childhood spent reading, drawing and accumulating stray animals, Sue studied veterinary science and later moved to Adelaide where she worked as both a vet and a pastor. After a sojourn of several years in the Australian Capital Territory, Sue returned to Adelaide with two dogs, a very nice husband, and a deepdesire to write. Sue has a MA in creative writing and her short stories and poems have appeared in several anthologies including Tales of the Upper Room, Something in the Blood: Vampire Stories With a Christian Bite and Glimpses of Light. Sue won the 'short' category in the inaugural Tabor Adelaide/ Life FM 'Stories of Life' award and her e-book, 'Ruthless The Killer: A Short Story,' is available from Amazon.com. Sue also paints animal portraits.

WORDS OF OUR FATHERS. by Shane Brigg

Several of the characters that I am creating in my story writing are defined significantly by the crucible of their relationship with their Fathers. 

A pre-teen girl living on a drought stricken sheep property in northern New South Wales describes her memories of the dust, the smoke from fires and her Father’s sweat after saving her from disaster. An aboriginal boy admires his Dad who sacrifices his own comfort every day to do the long hard slog into town to work so his family is supported. Another character avoids any reference to his father because of the pain, grief, and sense of shame it causes.

To show the depth of these interactions I have had some fun with the phrases that these Dads used regularly. This brings insight into their lives, but especially the development of their children (my main characters). A poll of 2000 dads by Twentieth Century Fox Entertainment revealed the top 'dad phrases' – Cliche phrases like: 'I'm not going to tell you again!!!' ,  'Were you raised in a tent ? !' and 'Don't talk back to your mother', were classic ‘dadisms’. The top two phrases were money-related - being: 'Do you think I'm made of money' and 'Money doesn't grow on trees'. Next on the list was: 'When I was your age ...' The classic dad question of 'If you were told to jump of a cliff, would you?' was also included and 'They don't make them like they used to' finishing off the top ten.

What 'dadisms' did your own father use? 

What our Dads say shape our lives. The good, the bad, and the ugly.

When developing my characters I realised I needed to take their growth seriously by delving in to what their Dads had input into their lives.

Consider this story in the Gospels and what a father has to say:

Take a read of MARK 9:14–28; 30–32pp—Mt 17:14–19; 22,23; Lk 9:37–45

Jesus Heals a Boy Possessed by an Evil Spirit.

Think about the words of this boy’s Father. There is so much meaning in the father’s reply to Jesus, in v24. ‘I do believe, help my unbelief.’ A weak faith can still take hold of a strong Saviour. The Dad had made some mistakes – an example might be in recognising simply that this father had brought his son to Banias which was the centre of the occult. Interesting that the first words of this Father are (paraphrased) “Teacher I have a problem”. For dads this is often a silent cry for help. They are human. They are going to face human frailty. Our characters need to as well if our readers are going to connect with the narrative.  

It’s important that our characters seek help – the father asked the disciples to deal with the boy’s sickness. It’s important to show that previous attempts didn’t work. It’s important for our characters to be real about what they are going through- Be Honest and Authentic. It’s important to show that maybe they are willing to have another go, even with unexpectant perspectives.

The 2nd Word of this Father is “HELP!”

This might inform not just our writing but our own journeys as well. No matter what you are facing.  No matter what mistakes you have made. No matter what you have tried before. Bring it to Jesus. It’s a sign of strength to ask for help. This story helps us understand that it is okay to say that you are struggling with your belief.

The third words of this Father are effectively “I Believe, but I have trust issues”

Be real. Be honest. Be authentic.

Consider my paraphrase of the father’s words :

 1)  The 1st Words of the Father are “TEACHER I HAVE A PROBLEM”

 2)  The 2nd Word of the Father is “HELP” !

 3)  The Third Words of the Father are “I BELIEVE, BUT I HAVE TRUST ISSUES”

They are summed up in these six words in verse 24:

 ‘I do believe, help my unbelief.’

Just 6 words: expressive of a weak faith, a faltering and flickering faith.

 But a real faith, and a sincere faith. Even a weak faith can lay hold of a strong Saviour. This desperate man has put himself in precisely the position where he can receive Christ’s help. I am weak, but he is strong. The father pleads with Jesus, v22: “If you can do anything, take pity on us and help us.”

The fact is that the sick boy at the centre of this narrative may never have known what his dad had said. But in this story we get to understand the boy by understanding what the dad had said and done. Let’s revisit the heart of this father.

  1)   I love my son and I want him better

  2) He’s been like this since he was little, and I’m over it.

  3)  I want the best for my son.

  4)  He’s my only son , He’s my life

  5) I’ve made mistakes but I want to fix it now

  6)  I can’t fix it on my own

  7)   I’ve been trying to get help

  8) Other things haven’t worked 
  9)    I’m struggling with my belief

 10) But Jesus you can do it !

And then we don’t hear from that father again.

We often only remember the dumb things, or the hurtful things our own fathers have said about us. There is sometimes another conversation going on though.

The statements of this father who made mistakes, and faltering quests for help are transformed by the presence of Jesus. Jesus’ questions and statements lead to the transformed boy. Despite the shortcomings of his father.

This means so much for our creative writing character developments; but it also means so much in reflecting our own, real character development.

Selah.