Change is often a difficult and confusing process,
for us as writers, and certainly for the characters
we create in our stories. Kellie has modified
the works of Ken Blanchard to focus on both. For
each one of the ten steps of change, two examples
will be given. One denoting the Writer’s
change (W), and one denoting our Character’s
change as the Heroine must work with the Hero
(C).
RELUCTANCE TO BEGIN
W – I would do my 5 pages if my kids were
grown – no distractions.
C – I would work with Hero (H) if not so
many other projects on the go. I don’t need
this right now.
UNCOMFORTABLE WITH THE UNFAMILIAR
W – I don’t know how long it’ll
take to write 5 pages. I can’t plan it.
C – Does the new guy even have skills for
this? I don’t know him.
LAMENTING THE LOSS
W – I’m never going to be able to
watch C.S.I / Oprah / be with my friends.
C – I’m never going to get my work
done if I have to train him.
PERCEIVED ISOLATION
W – I’m the only one who has to give
up my life.
C – Why am I the only one who has to train
him?
SEEKING SAMENESS
W – Wonder how many other writers with daily
goals function. You seek them out.
C – Can Heroine go to Human Resources, or
a friend? She finds a problem solver to bond with
rather than to lament about her situation.
LOOKING FOR ACCOLADES
W – Tell someone what you’ve done.
C – I’ve been patient, worked hard
at training him. Surely the boss will be proud
of me.
SATURATION
W – I cannot do this – exhausted,
fried, burnt out.
C – Enough is enough. I’m doing all
the work while he’s coasting.
TOLERANCE TO CHANGE
W – I’m going to be realistic about
the change. I’ll still take the weekend
off.
C – Acknowledge he’s got some redeeming
qualities, but he’s not perfect.
FEAR OF FAILURE
W – I’m out of town next week. I can’t
write there. If I don’t write, I’ll
get out of the habit and never write again.
C – Not sure if he can talk on his feet.
He bungled his time at the podium etc. This is
where she ‘finds’ a fear as it’s
part of burning off the tension.
PERMANENCE OF CHANGE - A point where you are
close to achieving what you wanted. Now you decide
if the change took place or not? If not, you go
thru the entire process again.
W – I did it!
OR
I was writing 5 pages a day but now the schedule
has changed. I missed the deadline so I can just
leave it until next month. Therefore – permanence
didn’t take place.
C – I like working with him. We both have
different strengths and make a good team.
OR
We got through that project, but I don’t
want him around me. Therefore – must start
again at another point of conflict.
Your character must have enough reason and pressure
to change. A permanent change depends on the strength
of the trigger and how many times they go through
the process. If your character balks at any change,
the first few steps will have louder emotions.
If your character fails and repeats the process,
they never start in the same place as before and
won’t be going through the sequence at the
same rate or emotion. Regret of past failures
lowers self confidence and makes for great back
story. Your story might begin at step #5, and
you’ll have to dribble in the key experiences
from before.
Kellie’s internal conflict is her romance,
and her external conflict is the suspense that’s
banging them together. Ensure both paths use all
ten steps of change.
By encompassing this knowledge into our writing,
our characters will become more real. Plus, better
understanding the characteristics of change, knowing
what to expect and how it feels, will help us
as writers survive the multiple moments of change
we all experience in our careers.
This article is based on Kellie Finley’s
class “Recognizing Change in Yourself and
in Your Characters,” which she taught at
the RWA 2006 Conference.
Wendee Guthrie has been writing for a number
of years, and is a member of the Greater Vancouver
RWA chapter.
Articles may be reprinted in RWA® chapter
newsletters, attributed to the Spotlight.
Non-RWA® newsletters may not reprint articles
without the permission of the authors.
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