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If you’ve ever read a review that criticized a book for having stereotypical characters or ones that lacked depth, you know just how much it likely affected the reader’s rating and overall enjoyment of it. Flat characters are hard to relate to, and they can take even the most extraordinary plot and transform it into a cure for insomnia. No one wants to read (or write) a book like that, yet there continues to be an influx of published works that receive that very critique. So how can you, as a writer, avoid such a thing?

The short answer is to make your characters unique—a feat that’s far easier said than done. So here are five tips for transforming your cookie-cutter characters into three-dimensional beings that captivate readers and leave them dying to find out what happens next.

Pinpoint each character’s needs, wants, and motivation. Developing a strong character arc is key to giving your readers the dimension they crave. Not only are no two people alike, we’re all complex creatures with many things driving our actions. We succeed, we fail, and we make mistakes along the way. Our encounters with others not only shape our experiences in life, but they often influence the decisions we make. So why should your characters be any different?

Give your characters flaws. Shortcomings make characters incredibly realistic, and even more important, relatable. Everyone has flaws, even the most successful person you’ve ever met. That cute guy you’ve been staring at all week? I guarantee you there’s something annoying about him. And when you look closely enough, he probably doesn’t have perfect skin, perfect abs, or flawless teeth. Maybe he’s even got a scar or two or a crooked nose. Flaws aren’t just skin deep either—even the most popular girl in school has insecurities about herself and will long for something she doesn’t have. By giving your characters faults, you add depth to them and avoid falling into the trap of stereotypes.

Allow your characters to grow and evolve. Even if you have a well-developed character who’s easy to relate to and has adequate flaws, you’ll fall short if you don’t allow them to grow and evolve throughout the story. As I mentioned in the first tip, a character’s environment and interactions with other characters should impact them, even if the effect is subtle. Without that forward movement, characters can grow stale, much like plots do if there isn’t enough conflict or action. After all, it takes both characters and plot to drive a story forward. The best stories have mastered their pacing through a stellar balance of plot and character development.

Blur the line between good and evil. Is your main character an antagonist or a protagonist? Once you have that figured out, make them SWAP SIDES. Then contemplate what would have to happen to pull them back to their original side. Pretty cool, huh? When the line is blurred between black and white, your characters will naturally evolve into complex creatures. Playing both sides of the field can make your character incredibly relatable, even if they’re not necessarily likeable (more on that in an upcoming post in the series), which is incredibly valuable when it comes to fleshing out secondary characters as well.

Develop backstory that only you know as the author. When you have a rich backstory for each character, it’s much easier to see not only what drives them but also how they would react in multiple situations. The more you have established, the easier it is to keep them from falling flat. Character charts and questionnaires are a great place to start, but I’ve found that by focusing on their motivation and wants and needs first, then adding to the list of their traits as I write, I can give them an incredibly realistic depth through the process of writing in layers. But there are many ways of achieving this. If that sort of thing doesn’t float your boat, find another method that does. Also, don’t despair about the details that don’t make the final cut. Think of them as cool behind-the-scenes gems that only you and a select few people are privileged to know. They also make for great extras to include in your author newsletter if you have one!

In the previous post in this series, I talked about perspective, voice, and unexpected turns. This time, I’ll be focusing on themes, specifically how carefully tying each element in your story to your desired theme will strengthen the piece as a whole and bring unity to its core idea.

What is a theme?

A theme is the central idea or topic found overall in a piece of writing. It is what drives the surrounding content and weaves each subtopic into a uniform structure. In most stories, themes are depicted by the events that unfold rather than a direct statement from the narrator. Culture can also play into the theme, often by introducing viewpoints or circumstantial behavior that one might find in a close group of people or a community.

Finding Your Theme

A theme is not just a minor topic presented in the book. It usually manifests as a way of thinking or an attitude toward that topic, making some revelation in the process. For example, one theme we see in the Harry Potter series (a fantastic supernatural series) is this: choice and free will. Even those “fated” to a certain path can change their course because of the will we are given, and our actions have consequences.

Theme is often expressed through what characters or the reader learns throughout the story. In Rowling’s series, Harry and his friends learn more about the past and what is about to unfold. New themes are introduced, and the theme about choice remains. Harry must decide with each new piece of the puzzle what actions he will take and what effect that will have on those around him.

Most themes are difficult to state using a single line. They’re often paraphrased, showing expressing the idea by means of relating it to something we know. Idioms, such as “calling the kettle black” or “letting the cat out of the bag” are a great examples of this. There are many ways to express idioms, and in fact, most every culture has their own take on it. For example the American idiom, “A bird in the hand is worth two in the bush,” is expressed in German as, “Lieber ein Spatz in der Hand als eine Taube auf dem Dach,” which literally translates to, “A sparrow in the hand is better than the pigeon on the roof.” Similar concept, but much different wording. And just as there is more than one way to get the point of an idiom across, so is there for themes.

Theme are not always morals, nor are they always meant to teach us how to behave, though that is sometimes the case. Rather, themes are a viewpoint, a way of illustrating a particular stance on a topic. Some of the more complex and, in my opinion, interesting pieces of literature will often have more than one theme. One of my favorite examples of this is Charles Dickens’s A Christmas Carol, where he focuses on themes around the threat of time and the long-term consequences of our actions, family, social class, and tradition—all while weaving in supernatural elements to boot!

However, the thing to consider when tying in different themes to your story is to ensure that you only have one main theme. Otherwise, it might get lost in the shuffle.

Here is a list I found of common themes often found in literature that you might find helpful when getting started: http://homeworktips.about.com/od/writingabookreport/a/themelist.htm

Adding Dimension to a Theme

A theme often ties into the genre of the story, but it goes deeper than that. This is where the layering technique comes in. Your characters actions’ as well as the outcomes to those actions will normally feed into your chosen theme, thus “proving” it to readers. The various elements of the story should also tie-in, to paint a clear picture of the theme without ever stating it directly. For those of you who are familiar with the old “show, don’t tell” advice, it comes into play here as well.

Now, I know what some of you might be thinking, and I’ve been waiting for this argument. Do you really have to bother with a theme? Why get hung up on the literary concepts when you can just write?

The truth of the matter is, you’re probably crafting a theme without even knowing it when you’re writing. Initial ideas are usually silhouettes of a much larger and complete theme, and often times, it’s just hard to pinpoint that theme until the story is complete. I’ll admit that this was actually true for me when I first started writing The Porcleain Souls series. It took me a while to uncover each theme, and I discovered more with each scene. But if you find yourself struggling with which direction to take your story and the desired outcome you want to have, a good place to start really is by examining the theme—even if it’s only the one your story is leaning toward so far.

Themes Don’t Define an Author

There’s one last point I want to mention, because it’s one that is easy to forget when we’re lost in a good book. Authors don’t always support or agree with the themes they’ve created, and they don’t have to. The purpose of crafting a work of fiction is to tell a story. Sometimes that story will align with our own beliefs and experiences, and other times is won’t. And that’s okay. You should never have to feel guilty about what you’re writing, just because it might offend someone. Have you seen the list of banned books? I, for one, and am glad that many of the books that have made a banned list at one point or another were written. They’re some of the best books out there, because the authors of them weren’t afraid to tell the story that they wanted to write. They didn’t care who judged them or deemed their work unfit for public consumption. They wrote it anyway, and it paid off, because all the hype about the books being banned have actually spawned their popularity.

A huge challenge every fiction writer must face at one point or another is conjuring a unique idea to write about. It seems like everything under the sun has been written about, especially when it comes to the supernatural genre. Vampires and zombies have been plaguing the publishing and entertainment industry for several years now, and though tales about them have been floating about for hundreds of years, many readers beg for some new material, something that will set those books apart from the overused ideas that haunt modern-day writers.

So what is a writer to do? Well, Mark Twain would argue that the problem isn’t new ideas but rather the need for a new perspective.

“There is no such thing as a new idea. It is impossible. We simply take a lot of old ideas and put them into a sort of mental kaleidoscope. We give them a turn and they make new and curious combinations. We keep on turning and making new combinations indefinitely; but they are the same old pieces of colored glass that have been in use through all the ages.”

—Mark Twain

With that in mind, I’d like to propose to you that there are three elements you’ll need to craft a bestselling idea: unique perspective, a killer voice, and twists and turns.

Developing a Unique Perspective

Of the three, perspective is perhaps the hardest to master. Not only does it take some critical thinking to procure, but it takes time. Some of the best ideas are ones that people let sit and stew for ages before landing on just the right angle to play. With my most recent series, for example, I came up with the idea for the first part years ago. But it took months and months of tweaking and revamping it before it was finally ready for its debut.

Perspectives are usually shaped by our own life experiences and viewpoints. For some of us, writing is an outlet for our fears, wishes, frustration, and anything else that we’d otherwise keep bottled up. For others, it’s a way of sharing pieces of ourselves with others. Though, for many of us, it’s usually some wild combination of the two that comes into play. But the two things that must be considered when approaching a topic are audience and purpose. Who are you writing for, and what do you want to tell them? Even in fiction, you should think about your purpose for writing, whether it’s for entertainment's sake or for relaying a specific message to the readers. Once you have figured out those two things, you’re ready to hone in on your voice.

Crafting a Killer Voice

A voice, in writing, is a fancy way of saying style. It’s your unique approach to the narrative and how you want to tell the story. Many of our favorite authors have a place in our hearts simply because we connect so deeply with their voice. Without that strong voice, neither their characters nor their stories would be all that memorable. Take one of my favorite authors and biggest influences for example: Edgar Allan Poe. I think just about every person on the planet can recite at least part of "The Raven" from memory. But what is it about his poem that makes it so quotable? Is it the characters? The subject? The storyline? While all those things do play a role, I’d argue that the key factor in it—and in most of his writing—is his wonderful and unique voice.

Poe has a way of drawing us in, even from the very first stanza:

Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore— While I nodded, nearly napping, suddenly there came a tapping, As of someone gently rapping, rapping at my chamber door. "'Tis some visitor," I muttered, "tapping at my chamber door;     Only this and nothing more."

—Edgar Allan Poe, "The Raven"

Each line has a musical and soothing, if not a somewhat dreary, quality to it, an echo of precisely the story unfolding within it. As the poem progresses, we see sharp intervals of “Nevermore!” interrupting that solemn mood, and the pacing picks up as well. It’s a fantastic example of how you can blend music with writing, using cadence to enhance the mood.

This unique blend of cadence and melancholy is the driving factor behind a lot of Poe’s pieces, which has established the incredibly memorable and captivating voice that most of us have come to know, one that makes it easy to distinguish his work from that of others.

Incorporating Twists and Turns

Another component writers can weave into their supernatural writing (and that of other genres) is the element of surprise, usually in the form of some unexpected twist that leaves readers on the edge of their seat. In the previous post for this series, I covered different approaches for foreshadowing. Foreshadowing is, in fact, the key element for creating such stellar twists and turns. Though this will work for many genres, I’m going to focus on horror for a moment since it, along with the thriller genre, is particularly known for surprises. There are also some striking similarities between the two. If you do a search on Amazon for horror books, for example, you’ll come up with a multitude of stories ranging in everything from paranormal events to serial killers and everything else that goes bump in the night. So how do you create a story that is unique enough to stand out from all the others…especially if there are no “new” ideas to be had?

One possibility for approaching this is to switch up the perspective, as I’ve already mentioned. Say you have a story from the viewpoint of the killer rather than the victim. Take the series Dexter, for instance, which has received high acclaim both as a book series and as a television show. Each story is told from the perspective of a serial killer while honing in on the events revolving around his victims. This approach has gone over quite well with readers and viewers alike, earning both the books and the show an outstanding amount of praise.

But there is another option, and this is a personal favorite of mine. You can take a story whose outcome is largely already known by the readers and still make it quite enjoyable. This goes along the lines of the direct foreshadowing mentioned in my previous blog post. What’s the secret to making this method a success? It’s all about the twists and turns you include. For most readers, reading thrillers and horror stories isn’t just about discovering the outcome, though that is part of the experience; the main reason they read is for the journey it takes to get there. I’d even go so far as to say that’s the primary reason that most readers read: we want to get lost in the world that’s presented to us, to experience what the characters do, whether that’s triumph, loss, terror, devastation, hope, or any mix of those things. By expertly infusing dynamic scenes that leave you hooked up until the very end, you’ll have created a roller coaster of emotions, one that readers can’t wait to ride on again and again.

So to heck with new ideas. Take some old ideas and put your own spin on it! Look at what happened with the YA genre. It had just about worn out its welcome until the last decade or so, and now an astounding amount of bestsellers fall under that category. Living proof that old ideas can make be used to create awesome new books!

What books do you recommend that incorporate old ideas? Were they successful at their endeavors? Why or why not? I'd love to hear from you! Submit an ask to me with your feedback (or leave a comment below), and I'll feature you in my next newsletter. :)

And....here is my once-in-a-blue-moon plug for my own writing:

In one of my writing/editing tips, I mention the importance of foreshadowing in the supernatural genre. Foreshadowing warns about events soon to come, and it often builds tension. But finding a good balance can be difficult. You want to tease your readers, giving them a sneak preview without giving away too much of the information. So here are some tips for tackling foreshadowing to provide the optimal level of suspense without overdoing it.

Layering

In your initial draft, you might already have a few elements of good foreshadowing, particularly if you outlined your piece before you wrote it. But during the revision process, this is where you need to step up your game, because how well you weave in hints, backstory, and other elements can set your story apart from others in the genre, whether it be horror, crime, mystery, thriller, or even standard fiction. All genres use foreshadowing to some degree, but method I usually suggest for adding it in, especially for supernatural books, is layering.

Any of you who have viewed my bio on Twitter know that I’m an advocate of writing layers. And while it doesn’t work well for everyone, I’m one of those writers who likes to start with a solid skeleton then build from there. For me, it’s the easiest way to add multiple dimensions to the environment, characters, and even plot. I also use it when editing others’ work, because it’s a very effective way of separating each layer and enhancing them to strengthen the overall structure of the story.

Placement

Although foreshadowing elements are often at the beginning of a story or chapter, it’s beneficial to weave more in throughout. A great place to drop a few hints are during moments of casual activity, when readers might overlook the detail. This keeps the hints subtle while still being in plain view of the ongoing action. This works particularly well for supernatural stories, where you’ll likely keep the final outcome hidden from the reader until the very end. And if you want to give readers a stronger hint about an upcoming event, a good way to achieve that is to call attention to the element of foreshadowing either multiple times or in multiple ways, spread out over several pages or chapters. This makes its use intentional without being overt.

Balanced Details

One of the hardest things to achieve in foreshadowing is balancing the information given. Most of us can recall a few stories that we’ve been frustrated with, where it was easy to figure out the outcome way before it happened. And it’s even more irritating if the main character was slow on the uptake.

Knowing when and how much information to disclose is the trick to balancing elements of foreshadowing. You, as the writer, are going to know every detail of the background story and characters. However, the reader doesn’t need to. Especially for close third, first person, or other limited perspectives, the best approach is usually divulging small bits of information here and there as it relates to the ongoing action. This gives the reader an inside look without getting bogged down by huge info dumps.

The Hunger Games series has great examples of this. One instance that springs to mind is when Katniss is given the mockingjay pin. It is introduced as a reminder of her home, but it later symbolizes the districts’ revolution (and her leadership of it). It’s a prime example of an object being used to hint at future plot points.

Direct vs. Subtle

Foreshadowing elements can either be direct or subtle. Direct foreshadowing is usually placed at the beginning of a story, predicting flat-out what might happen. The story itself portrays the journey of the events leading up to that conclusion. Older literature in particular favors this method of foreshadowing, including many of the classics. Shakespeare is very well known for in fact, the most famous instance being the opening lines from Romeo and Juliet. Charles Dickens’s A Christmas Carol is another prime example of direct foreshadowing.

Modern books primarily use a subtler approach. In the Harry Potter series, for example, Rowling uses Harry’s scar as a precursor to the events that follow, making it and the events surrounding it a very prominent part of the overall plot. She then wove in other details, such as the tea leaves and Professor Trelawney’s prophecy, to further hint at the idea that he would one day die.

But there are many authors of the thriller and horror genres in particular who like to incorporate incredibly subtle foreshadowing, sometimes even reading leaders astray as a means of creating tension. (Think Jeffery Deaver and Stephen King.)

Red Herrings

When clues are planted to deter readers from the true plot, they are known as red herrings. Red herrings work well for any genre, but they are used most frequently in crime, mystery, horror, and supernatural books. As both a reader and a writer, I find red herrings to be the most enjoyable kind of foreshadowing. Twists and turns are enamoring for many readers, drawing them in and making the book an irresistible read. I adore books like that myself. But writing them is certainly a challenge.

When it comes to writing great red herrings, it all comes down to planning. You’ll often find them at the crux of subplots and even at the climax of the overall plot, giving you one last “Holy crap!” moment before everything is revealed. The best books incorporate them in a way that will convince readers that they are the undoubtedly the truth, usually driving them with circumstantial evidence until new proof comes into play.

At the end of this month, I’ll be launching the first newsletter for FMTP. It’ll include a recap of all the posts for the month, some extra writing and editing tips exclusive to subscribers, and in the near future, some worksheets for writers. Plus a bunch of other stuff of course. :)

There’s already a signup in place on the main page for this blog, but here is the direct link for signups as well: http://eepurl.com/bQNlzH.

You can also sign up via FMTP’s Facebook page: https://www.facebook.com/FromMindToPaperOnWritingAndEditing/

I usually put a link to the latest post on the Facebook page, and there’s more info about the blog on there as well. I’d be ecstatic if you guys would check it out and “like” the Facebook page if you haven’t dropped by yet.

For a lot of books, the genre is pretty clear the second you peek at its cover. Romance books often sport the image of a young couple or an item that is symbolic of love. Horror books display creepy houses and the like, along with strange fonts that instantly clue you into the book’s content. Supernatural books sometimes swing both ways though. You have beloved series like Harry Potter or Lord of the Rings, both of which have editions with well-known covers that depict creatures of fantasy and mythology. But there are also a few series I’ve read whose covers don’t necessarily indicate something paranormal, like April White’s Immortal Descendants series (one I’d highly recommend, by the way). That said, whether or not your book’s artwork depicts its genre, there’s one thing absolutely should: the first chapter. It doesn’t matter if your book is about ghosts or if it’s about elves who have to save the world from blood-sucking witches who are pregnant with the illegitimate son of a werewolf and a hippogriff. Point is, your intentions for the genre need to be transparent by the time the reader hits the second chapter.

Clear Intentions

Making your intentions clear doesn’t mean you should give away the plot. What it does mean is that you need to paint an image for your reader that instantly transports them to a world where they know something funky is up, even if they don’t know what it is right away. One of the best ways to do this is through environment. The first book in the Harry Potter series is an excellent example of this. In book one, we immediately see a multitude of things that let us know what we’re in for: a peculiar cat who can read, people dressed in ridiculous outfits, owls swooping around in broad daylight, a family secret being discussed among strangers, unusual words, street lights disappearing at the flick of silver lighter, a cat who can morph into a woman, and a flying motorcycle. Clearly, this isn’t going to be your average story—and that’s the type of message you want to get across if you’re crafting a supernatural tale.

Strong Characters

Another way to hint at the supernatural genre is by introducing strong characters. It doesn’t matter whether a female or a male is taking the lead; each should hold characteristics that make them unique and memorable in the reader’s mind. Sometimes supernatural series spawn characters that are rather eccentric to do this. Think Sherlock Holmes or the Mad Hatter. One of my favorite eccentric characters is actually the Doctor from Doctor Who. Though he’s a character on a TV show, he is so zany and memorable that he immediately creates a connection with viewers (and other characters) and draws them into his world. Not only that, but a flying police box that’s really an intergalactic spaceship? What about that doesn’t clue you into the fact that the show is supernatural?

Killer Secrets