AWP is Association of Writers and Writing Programs, with the conference open to faculty, students, and writers (independent of a college) held in San Antonio this year. So here's some cool new stuff on the relationship between persona (typically discussed in regards to creative nonfiction) and character.

[As background, I have both an MFA (fiction) and an MA (creative nonfiction) in creative writing]
 
When I went through my MA, I started with a personal essay class because my mentor needed one more student for a particular class to go. I fell in love with the genre and proceeded to take every class I could. In the personal essay class, we studied Dinty Moore's book on the topic. In my memoir class, we studied Sue Williams Silverman's Finding Innocence and Experience: Voices in Memoir. The first personal essay I polished and submitted won a contest and a Pushcart nomination. Jill Christman was the judge.
  
So, imagine walking into a workshop where all 3 of these writers were presenting. It was surreal, and wonderful, and educational. :)
  
Persona isn't something we talk about in fiction, because we know the characters are fiction. There's no need for a persona, but in CNF, the writer is on the page, yet it's not fully the writer. It's a persona. It's a piece of self without the whole being.
 
Dinty Moore, during the presentation, said that persona is the embodiment of self but tidied up. “Constructed of the truth but not fully the truth,” creating a more consistent character than the self.  "Persona is a consistent and engaging personality on the page." Persona is a glimpse of who we are. We dial it up, emphasize, and stretch" without embellishing or misleading.
[the same can also be said of plot in CNF... Books have a consistent plot, but real life does not.]
 
Jill Christman clarified more: "The I is a mark on the page. It is not you on the page. You can try to make it a version of you, but your 3-dimensional self is a multitude of I’s. The persona will not contain all your selves."
 
Ok, so how can we use this information in fiction? On the face, there is no tie, because we're not writing about flesh-and-blood people, but when we look deeper, persona ties directly to characterization. It's very easy to write flat characters, those one-dimensional beings who are there to serve the needs of the writer and the plot, but easy doesn't equate to good. In this case, a flat character annoys or bores the reader, so the same elements in selecting character traits also applies to fiction. 
 
If you want a round character, you have to demonstrate their roundness. You need to find those ticks and traits that you want to demonstrate. The character must remain consistent (a thief doesn't suddenly become a priest... at least without motivation/change), but the character should show some of their different traits when encountering different situations.
 
Here's an example I use with my undergrads. You use a different voice on Facebook (where grandma can see it) than you do in Snapchat where it's just your friends. You know, often intuitively, what type of posts you can get away with on the different social media platforms. 
 
The same is true of persona. As the writer, you can adjust the character's behaviors based on who is around, so a character in a thriller might act one way with a client, another with a coworker, and yet put on a different persona when they're dealing with criminals (or suspects). Give your characters some depth, some roundness, by pulling out true-to-life traits and personas.
 
If you're struggling with a character, consider what some of his/her traits and personas might be and how they would manifest within the story. If you don't like the character, or feel they're flat, consider giving them different personas that makes more sense for the story.
 
In the end, fictional characters will never be wholly human, wholly realistic, but we can give them multiple dimensions so they're interesting and full. How can you use persona in your work?

I'm a big fan of turning points. Well, not in real life, because in real life, turning points are messy things. Turning points are the chaos leading us inevitably into the storm. 

My father died when I was thirteen. It was life altering before I was old enough to understand the implications and repercussions of such an event. From that point forward, my life was broken into before and after.

Before my father died:

• we lived in a nice area of town (our house actually started life as a builder's exhibit in the parade of homes)
• my mother was a stay at home mom
• my siblings went to a private school (I elected out after one year)
• we anticipated college after finishing high school

After his death:

• we made a successive spiral of moves leading us deeper into impoverished areas of town
• my mother had to work, often two jobs, while going to college
• my siblings had to go to public school
• College was NOT a foregone conclusion; in fact, as the third child, I was the first to finish my degree

Turning points are messy things because of the effects they have on our character's lives, as they had in my life, as they have in your life. Turning points are story events that cause the story to turn in a new direction.

The new direction in fiction is typically caused by a choice the character makes (or doesn't make) or a dilemma they face, such as if my mother had chosen to keep living on the "good" side of town by getting married rather than going back to college.

These turning points should lead your character into something new and significantly different. If the choice your character faces is whether to eat dinner at a Chinese restaurant or Taco Bell, that's probably not a turning point, but if the trip to the Chinese restaurant leads our character into China Town where she is faced with a life-changing choice--find the treasure your boss stole or your best friend dies--that's a turning point.

The crossroads in this fake story is the character's before and after, and like those traumatic before and afters in your own life, the character's life will never be the same.
 
​For instance, the protagonist who was just going to dinner with a friend is there to discuss a job offer because she can't work for a dishonest so-and-so any longer, but after her friend is kidnapped, she has to stay with the employer to find the treasure and save her BFF. So the dinner in China Town becomes one of the character's turning points.
 
In real life, turning points are traumatic, but isn't that exactly what we want for our characters? If the character is not faced with significant turning points and equally disastrous choices, then we may not have a turning point that will keep the reader reading.
​
In the opening of this post, I said turning points were the chaos leading us into the storm, but the storm is where our character will grow. Give them that opportunity by giving them a worthy turning point.

Quick intro to say I'm posting this for previous students, current students, and any writers who may check out this part of my website for writerly content. The video mentions a file toward the end, however, in respect for the presenter, I'm not sharing that publicly...only with my current creative writing students. Sorry, Charlie. :)

. Good afternoon writers. I am recording live from the Rocky Mountain fiction writers conference in Denver, Colorado, I'll be here until Sunday afternoon. And I just wanted to touch base with you guys like you know I'm not going to be on much, but I'll try and add some value in the course announcements with things that I'm learning from the conference. So today I got to be just an attendee. Tomorrow I have two presentations, an agent appointment, and my publisher is here so I'll be able to have conversations with her. But today gets to be just attendee day. And one of the workshops that I really wanted to go to is by Marie Force it's about book series, she fluctuates between series I think she said she has a total of six different series happening at one time. One of them's like 21 books into the entire series, and I know several of you guys have either mentioned the fact that you are in the middle of a series or you're hoping to write series. And so I went in there to figure out how she manages that so you'll see my notes. They are very much bullet point notes as she is talking and they're very organized because she presented the information in an organized way.

That's one benefit for you guys for me being here and then the other one is just to talk a little bit about what you do it conference. Conferences about learning craft learning workshop, learning, the business of writing meeting editors and agents and publicists and the people who can assist you in your writing career. And then there's a huge, huge chunk of networking which isn't always easy writers tend to be very introverted and so the idea of getting out there and networking is very stressful. I will say book signing is a lot like trying to go to a networking event where you don't know anybody. So I have a friend of mine coming she's from my MA program at Regis. I had my MA program at Regis and the MFA program at Pacific Lutheran University. So I have two masters in creative writing, and my MA was here in Denver so she's coming I haven't seen her in several years. We'll catch up see what each other's doing learn a little bit about where we are industry wise where we are academically. And I also have somebody that I know is going to be there for my book signing that we can kind of riff off of each other so it doesn't feel so awkward because book signings can be awkward it's sort of a big long row of authors that are presenting that will be doing book signings tonight so it gives me a chance to catch up with her and do the book signing and network, all at the same time. Tomorrow I'm presenting so I won't probably have a lot of notes about the conference, but I'll try to check in at least once with you guys so that you get some benefits from having a professor who's at a conference. I hope you're doing well. I will check with you.

• And my three minutes were up, so I'll just say have a great night and I'll post more tomorrow.

I had a great question about villains as heroes that I wanted to share for those of you working in the dark arts section of the card catalog (i.e. dark YA, speculative fiction, horror, etc).
 
Writers often struggle with creating a nonconventional hero. I first became interested in this when a 74 y.o. librarian I worked with at the public library told me about her favorite TV show "hero" who was a serial killer. The show was Dexter, based on a novel by Jeff Lindsay entitled Darkly Dreaming Dexter (2004). I was fascinated by the concept that readers could love and root for a serial killer. Essentially a villain with an unhealthy dose of rationalization. I wanted to know HOW the writer was able to make a serial killer sympathetic for (mostly) law-abiding readers/viewers.

​STANDARD DISCLAIMER: First and foremost, this is one person's opinion. Publishing is an interesting industry in that there is no ONE right answer. Some is up to genre, some to publisher, some is up to current trends, and some to reader expectations.
 
Some traits of a tragic hero (aka villain as protagonist aka anti-hero aka Byronic hero aka dark hero):

• Male (but not always)
• Intelligent
• Tragic backstory
• Emotionally conflicted/moody/broody
• Strong belief system (even if it runs counter to culture)
• Imperfect/flawed

 
They're more full-bodied rather than perfectly imperfect (no one really likes the villain with no redeeming qualities...it's too trite). Giving characters imperfections/weaknesses/tragic backstories makes them more rounded, interesting, and relatable.

Wick is in no way a conventional hero. He's a criminal, he's violent, he's ruthless, and yet he has a certain code of conduct. He has loyalty to friends (many of whom do not reciprocate his loyalty). But Wick does have weaknesses. I mean, he can kill with impunity, so his weakness isn't physical (even when he's majorly injured, he still wins), and yet his trust in friendship and loyalty causes many complications. Remember complications? They are the cornerstone of conflict, and conflict is story. If Wick had no weakness, the story would be over in 20 minutes:
 
Sad death of dog. Kill everyone. The end.
 
But instead, the writers give him complications and weaknesses that they exploit to make his life more difficult and the story more fulfilling. Readers want the complications. In addition, the weaknesses humanize a character that the average reader may find unrelatable (i.e. a serial killer or mob hitman).

So, to summarize, two possible reasons for giving the villain a weakness are 1) to humanize him and 2) to complicate the story. 
  
If a villain can explode a planet without complication (think Darth Vader in the first Star Wars), where's the conflict? But Vader has many weaknesses hidden behind a horrific mask, and some seriously tragic backstory. For that matter, think Snape from the Harry Potter series (that scene makes me cry every damn time, and for more than half of the series, I hated Snape).
 
Here's a YouTube video from Troped! that talks more about anti-heroes:

As long as we're discussing nonconventional heroes, let's talk about the Byronic Hero with info from the fabulous site TV Tropes (honestly, you should check them out, but be forewarned, it's a pretty deep rabbit hole):

As a general rule, they're highly conflicted heroes (think the comic hero in Grosse Pointe Blank) who ponders and wrestles "with his struggles and beliefs" ("Byronic Hero" par. 1). They often have a tragic back story (sound familiar?). In literature, think Mary Shelley's Frankenstein (the monster or the creator) or The Count of Monte Cristo.
 
As the earlier video demonstrates, the anti-hero is quite popular in movies, books, and comic books at the moment. Why that's true is open for debate, but I think that the anti-hero exists when we, as a culture, begin to feel that we're getting the shaft (economically, culturally, familial, etc.). We need the anti-hero who doesn't want to or have to obey society's rules/laws. He makes his own rules, and whether you call him villain, anti-hero, or Byronic Hero, he's fascinating, and readers want more of him (or her... think the heroine from The Girl with the Dragon Tattoo).

If you're inclined to read and write dark stories, here's where you can find out more about the dark/anti/Byronic hero.

National Novel Writing Month is when deranged writers commit to writing 50,000 words in November or die trying. Okay, maybe not the die trying part, but the crazy stuff is fairly accurate. I mean, what kind of loon signs up to write 1,667 words a day for 30 days? Oh, that's right. Me. And thousands like me.

I wrote Untouchable for Nano in November 2011. It was published in 2015. In October-November-December of 2015, I wrote a book each month. The October book--Unforgettable--is being released in December. The November book--Unstoppable--is set for April, 2017, and the December book--An Untouchable Christmas--is scheduled for November 14th of this year. In fact, most of my books were written using the Nanowrimo techniques. For me, that boils down to writing 12,500 words per week.

Although I didn't "win" Nanowrimo the first time I tried, I did eventually, and the skills I learned writing fast changed my writing life. To win Nano, start with believing that writing a book in one month is possible. Many have done it before. Here's a list of published novels written during Nanowrimo. And here's a list of fast writers.

So if you're one of the few, the proud, and the crazy, here are 8 guidelines for Nanowrimo:

1) Say yes to the dress: Oh, wait, wrong show. Say yes to the crazy. Make a commitment. Spread the news. Make it so you can't backdown.

2) Say no to your favorite vices:

• No social media. I set a timer that turns off my Internet so there's no cheating.
• No TV or movies. In a stroke of luck, the timer that turns off my Internet also turns off the TV and Netflix.
• No trauma or drama. If you're in the process of any major life change or trauma, save the novel writing for a month when your life is less chaotic.
• No perfectionism. There's no time to write "perfect." Remember this is a "shitty first draft."
• No internal editor. He can take the month off and help you revise in December.
• No reading. This one is killer for me because I'm a reading addict, but when I commit to that much writing, I can't afford to get sucked into someone else's world.

3) Don't change your process: If you have an establishing writing pattern or ritual, now is not the time to change it. If you don't have a writing process, here's the chance to start a new one. Thirty days is long enough to start a new habit.

4) Before you start, plot your key points. Here's a quick refresher on the 3 Act Structure. Even if you're not a plotter, it's wise to know your inciting incident, first turning point, midpoint, second turning point, and climax. You'll thank me in December.

5) Writing sprints will help you write quickly. I sprint with two other writers, either in person or online. We set the timer and write. I put on a headset and play fast-paced music while I write. At the end of the 30 minutes, we compare our output. I write it down in my calendar. Working with other writers holds me accountable. As an added bonus, the competitive aspect helps me write faster.

6) Write 1000 words before 10 AM. Truthfully, this one comes from a member of my sprint group, and I must admit, I don't do this, because I'm not a morning person, but if you are a morning person, you've done more than half your word count for the day before lunch.

7) Keep the writing fresh: Know your next scene so you don't get stuck. AND Stop writing mid-scene and mid sentence. Knowing what happens next will make it easier to get started your next writing session.

8) Don't go it alone. Being around other writers helps build creativity. Whether your writing friends are just down the street or online, keep each other accountable for writing (and for staying off social media).

Good luck! Post comments below if you're planning to join Nanowrimo this November.

Always on the lookout for new sources. Here's one from Beth Rhodes on the psychology of characterization.

Syd Field ... Screenplay
Victoria Lynn Schmidt ... Book in a Month
http://sydfield.com/writers-tools/the-paradigm-worksheet/
http://www.sydfield.com/paradigm.pdf
http://www.sydfield.com/newparadigmexercise3.pdf
http://www.elementsofcinema.com/screenwriting/three-act-structure/
http://www.indiana.edu/~audioweb/T206/three-act.html
http://www.helpingwritersbecomeauthors.com/movie-storystructure/harry-potter-and-the-philosophers-stone/

Next month in writer's group, we're talking about plotting. And coincidentally as these things sometimes happen, my friend Beth stumbled across this video. Plotting 101.

Trey Parker and Matt Stone (Southwark) surprise an NYU class.

At our April Meeting of the 21st Century Writers, we had the honor of guest speaker Beth Rhodes. Beth is one of my writing friends who joins me multiple times a week for writing sprints, which have honestly changed my life and my writing productivity. Her stories are full of life, family, and love. You can find her reading just about any genre of romance, but her favorites are fast-paced suspense, where life is on the line and love is the only saving grace. She wants a book that makes her heart pound and her pulse race. 

Here is her outline about writing dialogue:

A. You can do a Google search and find everything. These are not “MY” rules; I merely subscribe to them.
B. Your work is amazing! Never forget that. My work is amazing! And that’s why I’ll be using a few examples from my books. Learn to talk about your writing, use it in workshops, be confident and proud.
 
Dialogue Workshop:
1.Dialogue in fiction must contain CONFLICT:

1. Lose the small talk as much as possible.
2. Doesn’t have to be an argument
3. Show character development

EX: lunchmeat conversations from Outside The Lines
 
2.Dialogue has purpose:

1. Characterization: how old? How funny? Origin? Etc.

EX: married couple’s dialogue—different! Intimacy changes everything.

1. Moving the plot forward:
2. Giving information: but be careful with this one and know your character and who your character is talking to.

EX: Two siblings talking about another sibling. A lot less info would need to be used there, and to include it for the reader’s sake kills the natural feel of the writing.
 
3.Dialogue Technique

1. Tags: he said, she said vs. ACTION
2. Variation and characterization: the silent hero of little words, the heroine who is bubbling and uncomfortable. Small sentence interspersed with long sentences, and vice versa.
3. Punctuation. No end quotes at end of paragraph, punctuation goes on the inside of the quotes, etc. Use exclamations sparingly… describe that punctuation instead.

 
4.Read your Dialogue out loud

Below is Beth's movie clip with a good example of well-written dialogue.