I was looking over this week's class on Creating a Character and found my instructions for students to write "fast" by revealing their characters through their
F- Feelings
A- Action
S- Speech
T- Thoughts
Besides teaching, I am also deep into the second draft of my historical young adult novel, Half-Truths. I am fortunate to have Rebecca Petruck as a writing coach; she consistently pushes me to reveal who my characters are.
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Rebecca & I recently talked shop at the Whole Foods in Wilmington, NC |
In my opening chapter I had written a scene where Lillie, my protagonist, overhears her grandmother's employers arguing with one another. I had written:
“What’s going on?” Lillie asked.
“Missus Dinsmore is fussing at Mr.
Dinsmore like usual,” Big Momma said, fanning herself with her apron. “Telling
him that while his grandchildren are visiting he’s got to get his nose out of
his books and stop playing around with his glass thingamajigs.”
Rebecca commented, "We don't have much from her other than to be present and watch what's happening. I want her reaction to things, her interpretation of the world around her. This is her chapter, so we need to get to know her more. [I want to see more] of Lillie's internal experience."
I could have slapped myself "upside the head" (as a character in my book might say). I had forgotten the "T" in FAST. In fact, there wasn't much "F" (feelings/emotion) in this snippet either!
Several rewrites later, this passage now reads:
In between claps of thunder, Lillie heard
bickering coming from the other side of the kitchen wall. “Mr. and Missus
Dinsmore fussing again?” Lillie asked. Missus Dinsmore was always acting better
than everyone else. But Lillie had
overhead enough arguments to know that she could be as nasty as a barnyard dog.
Big Momma fanned herself with her apron. “Missus
Dinsmore be reminding him to get his nose out of his books and stop playing around
with his glass thingamajigs while his grandchildren are visiting.” Lillie knew exactly what Big Momma was
talking about. A few times Mr. Dinsmore had invited her into the library to
look at the different colored glass pieces displayed on his shelf. Cullet, he
called it. Leftover glass from factories he’d worked at as a boy. Missus
Dinsmore didn’t appreciate her husband’s glassmaking stories the way Lillie
did.
I thanked Rebecca for helping me to instill more internalization in my story and she wrote back:
"I think calling it internalization isn't really correct because it is a very active connection with the protagonist--we are in her mind, trying to process the world, understand the why of things. That's where the story is for us, much less so than the actual stuff that happens."
Along with providing helpful insights into my manuscript, Rebecca encouraged me to read Wired for Story by Lisa Cron, retyping sections of other books in a similar genre, and reading when the Show, Don't Tell rule may be broken.
I have learned a great deal working with Rebecca from her critiques as I write, revise, and write again. (Here is a helpful handout from Teaching the Story that demonstrates the revision process.) Her suggestions reminded me of to Lorin Oberweger's handout on Deep Point of View that was part of the Your Best Book packet. And a recent post on Janice Hardy's blog, also offered excellent advice on how to include internalization in your story.

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