Dictionary definitions of paranoia include: a serious mental illness that causes you to falsely believe that other people are trying to harm you; an unreasonable feeling that people are trying to harm you, do not like you, etc.; a psychosis characterized by systematized delusions of persecution or grandeur usually without hallucinations; a tendency on the part of an individual or group toward excessive or irrational suspiciousness and distrustfulness of others. in common parlance, a belief that people and objects in the environment are out to get you. Paranoia is a rich mine for writers.
For one thing, paranoiacs are not happy—how could they be?—and we all know that miserable characters can be extremely effective.
But beyond that, writers should know several things. Paranoiacs are often above average in intelligence and function very well over-all within the family and work spheres. Note the phrase above about systematized delusions. They have well-integrated systems of belief that can often convince others that their beliefs are reasonable.
Also, the strict definition of paranoia includes several slippery modifiers: falsely believe, unreasonable feeling, excessive or irrational suspiciousness and distrustfulness. This gives writers a lot of latitude to develop tension.
Consider a poster that a classmate in graduate school had in his office:
Just Because You’re Paranoid Doesn’t Mean They Aren’t Out To Get You.
But perhaps the most value is in the fuzzy edges. For example, people losing their hearing but not yet recognizing the loss often tend toward paranoia: not hearing all that others say, s/he may suspect that people are mumbling or whispering in order to keep secrets.
And consider characters who have suspicious tendencies. What about a character who reads—or even writes—a book like one or more of the following.
Don’t Let Your Doctor Kill You by Dr. Erika Schwartz with M.J. Peltier
The Survivalist’s Handbook: How to Thrive When Things Fall Apart by Rainer Stahlberg
Bug Out: The Complete Plan for Escaping a Catastrophic Disaster Before It’s Too Late by Scott B. Williams
Build The Perfect Bug Out Vehicle: The Disaster Survival Vehicle Guide by Creek Stewart
Someone’s Watching You by Forest Lee
Dangerous Instincts: Use an FBI Profiler’s Tactics to Avoid Unsafe Situations by M.E. O’Toole and A. Bowman
How To Be Safe: Protecting Yourself, Your Home, Your Family, and Your Business from Crime
Dangerous Personalities: An FBI Profiler Shows You How to Identify and Protect Yourself from Harmful People
Takeaway for Writers
Include characters with suspicions, whether justified or not.
CONSIDER SUICIDE. . .as a plot device. Any death is rich in potential for tension as well as for moving a story line forward. But suicide is the richest.
Fact: Suicide is not gaining sudden prevalence. Fewer people are committing suicide today than a hundred years ago.
Suicides are most common during the winter holidays.
Fact: The rate is consistently highest in the spring.
Most suicides are impulsive acts.
Fact: Most people who attempt suicide have a plan, even if the act appears impulsive. Nearly half visit a doctor in the month before their suicide, and nearly two-thirds tell someone they’re thinking about it.
There is a suicide gene.
Fact: There is no such gene—although a family history of suicide does put people at elevated risk of suicide.
We know how to prevent suicide.
Fact: We are not yet able to spot or stop it.
Actual factors that put people at elevated risk for suicide, besides a family history, include depression and substance use.
So, with facts in hand, consider your myriad plot options—especially all the emotional turmoil that might swirl among those left behind: guilt for not stopping it; anger that s/he did it; grief at the loss; anxiety about financial strains; shame that a spouse/child was that unhappy; but maybe also fear about something that might be revealed, or that suicide is somehow “catching.”
Suicide can fit any genre. If you write mysteries, an apparent suicide might actually be murder—or the result of any number of nefarious acts by self or others. If you write magical realism, maybe someone is dead but not departed. If you write action/adventure, death is a staple; how might suicide twist that? The possibilities for literary fiction are so numerous, I won’t even go there.
The bottom line
As a plot device, suicide is too valuable to ignore.
People have long recognized the eye-of-the-beholder effect with regard to beauty, to the point that it’s a cliché. We’ve all heard jokes that leave us cold—but leave others doubled over with laughter—or vice versa. Writers are well aware that what’s publishable depends more on the evaluation of the editor/agent/publisher than the inherent qualities of the work.
So, apply that same awareness to motivation. We cannot know motivation directly. We can see what a person does, hear what a person says. These are two of the most common, most powerful sources of information.
Sometimes we have other sensory information, meaning touch, taste, or smell. Sometimes the information accumulates over time, perhaps years, and we feel we truly know someone.
But the bottom line is that we cannot know another from the inside. And that means room for interpretation. How we evaluate a specific behavior (physical or verbal) depends almost exclusively on why we think the person did it.
Writing Prompt: Characters’ Motivations
So writers, here’s your challenge. For each of the actions listed below, come up with three possible motives for the actor: one evil, one altruistic, and one self-interested. I know you can do it.
giving away a million dollars
shooting someone
cutting off a hand or foot
kissing someone of the same sex
kissing someone of the other sex
dancing naked in a public place
getting a large, readily visible tattoo
cooking an elaborate meal
killing an ill person
cutting up a bride’s wedding dress
digging up a daffodil bed
cheating at cards
adopting a foster child
running for president
burning down a church
adopting a cat or dog from a shelter
complimenting another’s performance
rewriting a will
keeping a dead body unburied for six months
hiking in the woods
The list could go on and on. In your writing, know your characters’ motives, as well as what other characters think the motives are. How will you reveal all that to your reader? Give sensory info!
I’d love to read your responses to today’s prompt. Did something surprising come out of the challenge? Tell me in the comments below, on Facebook, or Twitter.
Everyone has a body image. It’s how you feel about your body and all its parts as well as how you think other people view you. Body image isn’t something you’re born with, but you acquire one pretty early on—starting with what family and friends say and do, and then from how what you see in the mirror compares to what you see reflected in the media and what your culture values.
People who accept the way they look and feel good about their bodies (most of the time) have positive body images. Beyond looks, body image is related to how you feel physically and what your body can do. Some say that a positive body image must also reflect reality. Consider whether this is what you want for your character(s).
It might be effective to have a serious body defect and/or distortion of perception. Interesting (to me) is that research indicates that (1) women of all ethnic groups have more issues with body image than men do, (2) women think men are attracted to thinner ideals than men actually are, and (3) men think women are more attracted to more muscular body builds than women actually are. In the extreme, distorted body images are associated with anorexia, bulimia, and exercise disorders. As a writer, consider the value of misery!
Although body image tends to be established early and to solidify during adolescence, it isn’t static. Artist’s self-portraits often reveal a great deal about how they view themselves at a given time. Consider these two self-portraits by the same artist, two years apart. What seems to have happened to body image?
I recently wrote a memoirin which I mentioned illness turning me into a person I never meant to be. All sorts of trauma can have that effect. Think of the opportunities!
Of course, we seldom live au naturel. Men have haircuts and facial hair, maybe lifts in their shoes, and other bits for more adventuresome tweaks—maybe hair transplants. Women, on the other hand, have haircuts and hair color, corsets or Spanx, shoe choices and jewelry, makeup, and all manner of accessories. In the extreme (my judgment), they go for tummy tucks, face lifts, breast augmentation (sometimes reduction) and so forth. What about your character? Recently, in the US, tattoos have been coming into their own. I was surprised recently to learn that Richmond, VA, is one of the most tattooed cities in the country.
Would your character get a tattoo? Why or why not? Where? What? Under what circumstances? Is the tattoo public or private?
When I was reading about snow for my blog of XXX, a number of non-snow tidbits caught my eye. Whether any of these make it into your writing or not is up to you!
In “Love and Lust Are Seasonal,” Jane J. Lee reported that men rated pictures of women’s breasts and bodies as more attractive in the winter months, although they rated pictures of women’s faces the same. Could it be that men don’t see women’s bodies as much during the winter, and so are more excited when they do?
“Have Your Hottest Sex Ever This Winter” (Men’s Health, 2014) claims that cold weather dulls sexual sensations, and cooler body temperatures decrease arousal for both men and women.
Winter cold increases a person’s appetite which can, in turn, lower libido. One more reason to diet: weight gain decreases libido and makes both men and women less sexually adventuresome.
Men’s Health also reported that women are 30% more likely to have an orgasm if their feet are warm. This one may be a tough sell. At a dinner party discussion among young married couples about wearing socks to bed, the men were unanimous in declaring that no matter what else is (or isn’t) worn, socks are not sexy! (A social scientist would call this a sample of convenience.)
Google searches for porn, boobs, XXX, massage parlor, e-Harmony andMatch.com all peak in early summer and around the winter holidays.
More than twice as many condoms are sold in the week before Christmas than the week after.
Even so, the most frequent birthday in the United States is September 16. You do the math. Conversely, August has the fewest conceptions. (Summer heat kills sperm? The diurnal cycle affects ovary function?)
Who knew winter is the season for sex!
A final word of warning: Compared to other times of the year, couples are more than twice as likely to think about splitting up between the year-end holidays and Valentine’s Day.
Some things seldom if ever appear on the page because they are just taken for granted. If your characters leave the house—unless you specifically say otherwise—the reader assumes they are wearing shoes and street clothes appropriate to the season, have combed their hair, had breakfast, brushed their teeth. . . If you’ve established quirks for your characters—e.g., Sue Grafton’s detective Kinsey Millhone works out twice a day—even these individual habits or routines aren’t mentioned every time they happen. The reader assumes those actions as part of the background.
Consider the power of not doing the usual. Under what circumstances might a character wear the same clothes for a solid 48 hours? Does it make a difference if those clothes are pajamas? What are the implications of skipping showers, hair washing, and tooth brushing? Why might a character eat sardines and Great Northern beans straight from the can? All of these possibilities imply powerful motivation or situational constraints. Is your character held captive? Lost in Alaska? Deeply depressed?
Even if your characters aren’t doing what’s expected, they’re doing something. Maybe it’s computer solitaire, or a jigsaw puzzle; reading trashy novels and eating bonbons; getting knee-walking drunk; or maybe it’s only sleeping, or staring into space—but it’s something. What that something is—and the feelings that accompany it—say a great deal about your character. Is your character in survival mode? Overwhelmed? Feeling rebellious? Guilty? Ashamed? Weak?
TAKEAWAY FOR WRITERS
Sometimes what a character doesn’t do is as telling as what s/he does do. Use it!
Should you want to add an animal to your story, here’s the First Rule of Thumb: the more important the fictional animal is to your story/plot/series, the more you need to know about the actual one. That being said, here are some snippets that floated through my brain while thinking about fictional animals
Second Rule of Thumb: if you want your readers to identify with the animal, consider a dog or cat. In most Western countries, the two most popular pets are dogs and cats. There are approximately 75.5 million pet dogs and 93.6 million pet cats in the United States—compared to 5.3 million house rabbits. On the other hand, more households own dogs than cats—45.6 million households vs. 38.2 million households, respectively. Among college students, 60% identified themselves as dog lovers compared to 11% cat lovers (everyone else being both or neither). (And just a fun fact: in 2013, pets outnumbered children four to one in the U.S.)
Sticking to dogs and cats for a bit: dog owners report seeking companionship, while cat owners sought affection.
If you do go with a dog or a cat, consider how the profile of the typical owner matches your character. Overall, dog lovers are more energetic and outgoing, and are more likely to follow rules closely. Cat lovers are more introverted, open-minded, sensitive, non-conformist, and intelligent. As most people know, dogs and cats of various species have identifiable personalities and behaviors, so consider how compatible or incompatible your character and pet need to be to support your storyline. Which is your dog?
Third Rule of Thumb: the more unusual the animal you choose, the more you might have to work for reader affection but the easier it might be to grab reader attention. Consider the red-footed tortoise.
Only 4.7 million U.S. households own reptiles, and many of those are lizards, snakes, etc. Chances are a red-footed tortoise would be pretty unfamiliar. Few readers would know that they can grow to more than 18 inches, and live more than 30 years. Some readers would be interested to learn that they are omnivorous, rest 50% of the time, and prefer temperatures around 86 F, not below 68 F or over 95 F. What sort of character would choose such an animal companion? What sort of household might own four dogs, six cats, one parrot, and a tortoise?
BIG TAKE-AWAY FOR WRITERS
Think carefully before you throw one or more animals into your story. Consider the role of the animal(s), and the fit between your character and the fictional animal(s). And then have fun with it!
P.S. FYI,January 14th is Dress Up Your Pet Day. Work that tidbit into your story!
What do these five carved wooden Santas have in common?
All were carved by James Haddon! I’ve had the trio for awhile. Last Christmas season, I noticed that all were by the same carver. So this year, I searched on-line and found the Santa on a rocking cow and the Santa riding a trout. I believe James Haddon is creative. Synonyms for creative include clever, ingenious, innovative, inventive, and original. Perhaps most importantly, he seems to me to be a divergent thinker.
Creativity and Divergent Thinking
Veering into psychology for a moment: a convergent thinker draws everything together to come up with the one perfect solution; a divergent thinker starts at point A and goes any number of places. There are approximately a gazillion definitions of creativity (forgive the high degree of technicality and precision) depending upon whether you are a visual artist, a mathematician, a musician, a chef, or an educator—or a researcher in any number of other fields. But the requirement for divergent thinking comes up again and again.
Ancient cultures—including Greece, China, and India–had no concept of creativity. They saw art as a form of discovery or imitation, not creation. In Judaeo-Christian tradition, creation was the sole province of God, and anyone creating something was assumed to be acting as a conduit from God. The modern concept of creativity began in the Renaissance, when the idea that creation might originate from the individual, not God—so I read. Think Leonardo da Vinci. The idea gradually took hold, really digging in during the Enlightenment.
It wasn’t until 1927 that Alfred North Whitehead coined the term “creativity.”
Have you ever thought, “If only. . .”? If so, you are imagining alternatives to reality, and such counterfactual thinking is one example of everyday creativity.
In 1967, J.P. Guilford and his associates constructed several tests to measure creativity. How would you do?
Plot Titles: participants are give a story plot and instructed to write original titles
Quick Responses: a word-association test scored for uncommonness
Figure Concepts: participants get simple drawings of objects and individuals and are asked to find commonalities in two or more drawings
Remote Association: participants are asked to find a word between two given words (e.g., Hand Call)
Remote Consequences: participants generate a list of consequences of unexpected events (e.g., loss of gravity)
Unusual Uses is finding unusual uses for common objects, such as bricks.
If you check out books on Amazon, you can find Sneaky Uses for Everyday Things, 101 Uses for a Dead Cat, and other books on uses for everything from baking soda, coconut oil, and vinegar to duct tape. Who knew we could reap the benefits of all that creative thinking!
Gregory Feist did a meta-analysis of data on creative people and found the strongest related traits were openness to new experience, conscientiousness, self-acceptance, hostility and impulsivity. Besides these traits, other research has identified additional traits associated with creativity: self-confident, ambitious, impulsive, driven, dominant, and hostile.
And what about mental health? Many people equate creativity with genius—and traditional wisdom says genius is akin to insanity. A Swedish study involving more than a million people reported a number of correlations between creative occupations and mental illnesses—do remember that correlations mean a relationship, not in any way causation. Writers had a higher risk of anxiety and bipolar disorders, schizophrenia, unipolar depression, and substance abuse, and were almost twice as likely as the general population to kill themselves. Dancers and photographers were also more likely to have bipolar disorder. However, as a group, people in creative professions were not more likely to suffer psychiatric disorders that the population at large, though they were more likely to have a close relative with a disorder, including anorexia and autism.
So, I started with jolly Santas and ended up with mental illness. Is this divergent thinking??
The basis of conflict and tension are obvious when two (or more) characters are competing for the same goal, such as a promotion, or when a character is beset by physical danger such as a life-threatening cancer or an approaching hurricane. A threat of any sort to the character or to someone (or something) the character cares about is an excellent source of conflict and tension. But using internal conflicts can add just as much power to your plot.
You can’t have your cake and eat it, too = approach-approach conflict
The character has multiple appealing options but can take only one—e.g., two marriage proposals, only one dessert from a tray of twelve, only one new car, etc. This type of conflict creates the least tension because there is no real downside. It’s all good.
Between a rock and a hard place = between the devil and the deep blue sea = an avoidance-avoidance conflict
Will the character get back surgery or live with the pain? Wash the car or rake leaves? Stay in an unhappy marriage or get a divorce? The reader may feel more sympathy than tension. The level of tension depends partly on the pain the character suffers while weighing the alternatives, and partly on how bad the options are. For example, Sophie’s Choice: to save herself and one child at the price of choosing to send one child to the gas chamber, or refuse to choose and sentence all three of them to death.
Take the bitter with the sweet = an approach-avoidance conflict: one goal with both positive and negative aspects, ultimately resolved in favor of the stronger
Virtually all relationships as well as many other aspects of life fall into this category. One factor affecting the amount of conflict or tension is how nearly the positive and negative aspects are matched (the closer they are in strength, the greater the tension). If an otherwise perfect spouse has one annoying habit, probably no big deal, the marriage is solid; if a buyer is drawn to a white picket fence but the house is practically falling down and overpriced, no-sale is a pretty safe bet. But if a deeply flawed spouse has nearly as many annoying habits as good ones—if the house is in a perfect location with a great school district and enough yard for the seven dogs—it could be a game changer. Comparable positives and negatives will create lots of tension.
A second factor is how important the ultimate outcome is. If I want a Ph.D. to qualify for a college professorship but don’t want to spend the time, effort, and money to go for it—not to mention the risk of failure—big decision, lots of tension potential. If I want a bag of chips from the vending machine but think $2 is an outrageous price—not much tension.
The positive (which pulls the character to approach) and the negative (which pushes the character to avoid) are what psychologists call “valences.” Both diminish with distance—time, physical distance, space. Something far away will affect the character’s immediate behavior and feelings less than something that is imminent.
Love and approach-avoidance conflicts
Love is always a high-voltage relationship, so let’s consider the special instances of approach-avoidance conflicts reflected in absence makes the heart grow fonder; out of sight, out of mind; and can’t live with ’em, can’t live without ’em.
Absence makes the heart go fonder when, with distance, the negative qualities or aspects of the date/lover/spouse exert less influence and the push-away diminishes; the person doesn’t seem so bad. If you aren’t actually hearing the obnoxious laugh, smelling the bad breath, or arguing about politics, the heart grows fonder—though maybe not fond enough to renew the relationship.
Out of sight, out of mind is the opposite: positive value diminishes with distance until the original attraction may have no more pull at all. The sweet kisses don’t mean so much when you aren’t getting any! Ditto sense of humor, help with chores, being a good listener. This is often the source of the “Dear John” letters received by people in the military, in prison, in college far away, etc.
In terms of conflict and tension, can’t live with ’em and can’t live without ’em is the best. One brief detour into psychology: negative valence declines more sharply than positive valence. Soooo, when both valences are significant, the case sometimes evolves in which the sharp decline in the negative crosses the slower decline in the positive valence.
The point where the valences cross is the point of vacillation: closer, and the relationship is so negative that one or both parties withdraw. With greater distance, the positive stays strong longer than the negative and the couple gets back together. These yo-yo relationships can go on for years. This could happen with any type of relationship—playmates to spouses. Whole books have been written by and about couples who marry, divorce, and remarry.
Takeaway for writers
Good writers need to be good psychologists whether or not they ever studied the discipline or use the lingo, just be sure the positives and the negatives are believable for the character and appropriate to the conflict.
Second takeaway
Characters in conflict within themselves can provide plenty of page-turner tension!