Cheating Your Way To A NaNo Win, Part 2

     The other day I wrote a post about how to cheat your way through NaNoWriMo.
     Keeping in mind that these things will not necessarily make you a good NaNo novel, or even a finished NaNo novel, just a longer NaNo novel, here's some more cheat codes!


6.  What is your character thinking?

     That long bit of narration and headwork that you know is bad writing, and if ever published would rival the likes of even Twilight?  You know the one.  Where your character goes off on a long rant about how pretty it is out, and how much he likes flowers, or whether he's really in love with Billy the Cheerleader or Mandy the Jock, or if he's going to risk buying some edibles from Cynthia and Harlan Mayweather, because yeah, obviously they make the best stuff in town, but their mother is sort of the evil overlord of earth and she has this really strict policy against drugs that Cynthia and Harlan probably only get away with because of nepotism....
     That one?  It goes nowhere, it's not entertaining, it contributes nothing, you could more concisely convey the same information in like two sentences tops?
     Slap that bad boy down as drawn-out and useless as you like, my friend.  First drafts are for play, final drafts are for serious work.  Treat it like a free-write, like I just did up there; just set your fingers to the keyboard and let 'em fly!  No one will know the difference.
     Except for you, you dirty, dirty cheater.

7.  Lavish description

     Explain to me what the set looks like in vivid detail, tell me the exact shade of every single hair on the hero's head, and name every solitary scent in the princess's perfume; leave nothing unsaid, and employ every single last sense, even the extra ones!  Come on, it'll be fun!
     .... for you.
     Look, description for the sake of description?  As a reader, not my cup of tea.  But because it's not my cup of tea, as a writer I tend to under-dress my sets, which is great for the stage, where creative directors want to have all the leeway they can get, but for novels that makes it difficult to keep the reader interested--you risk having talking heads and bland settings.
     It's just so damn easy to overdo it, though--so don't even worry about it.  Just overdo it right from the start, all the words you want, all the description you like.  Then deal with the merciless cutting and hacking later, like with everything else on this list.

8.  Long dialogue

     Now, it helps if your characters are witty.  I know my characters having humorous back-and-forths about innocuous things (at least, innocuous to them) had to have made up at least a third of my NaNo Novel last year--my characters were funny, and if they wanted to show it off, who was I to stop them?
     I also delivered a lot of exposition through dialogue, which can also boost word count depending on how it's done, but witty dialogue is probably the best for boosting word count--even if it's just the characters thinking that they're witty.  Sometimes the more so, even, because people thinking they're witty tend to stumble and need correcting more often than others.
     You can also employ speech patterns to your advantage--in one of my WIPs from a while back a few of my characters have a habit of saying one another's names as a method of establishing dominance in a conversation, and I've had a character or two who liked to loop themselves around in webs of metaphor or simile, or who just plain liked run-on sentences (for whatever weird, totally not based-on-a-real-person reasons).
     As long as you keep those characters talking, your word count will keep climbing.  BUT....

9.  Try to avoid floating heads, but don't bite yourself if you can't

     Talking heads are terrible for a whole host of reasons I'll probably get into at some other time, but for now just know that a talking head occurs in a story when a character, or several characters, talks for an extended length of time with very few or no dialogue or action tags--so for six pages on end, there's just talk talk talk blather blather blather.
     And I get why--I've certainly done it before, it's easy, it just keeps flowing and flowing and flowing, and once you hit that speech rhythm it's hard to stop!--but talking heads are secretly killing your word count.  For every three spoken words you could be piling up a fourth outside of the quotation marks, just hanging out, relaxing, maxing all cool and the like; having your character perform actions as they speak will not only make your scene a million times more relevant/interesting, but it will also make that word count skyrocket, and, my good man or woman or nonbinary or genderless individual, I do believe that is why you are here.
     And this one's not even a cheat!  Totally legal.

10.  Include needless scenes if need be

     Much like those rambling headspace dealies, if there's a scene you know will never, ever make it into your finished novel, but you're running out of options?  Toss it in there.  Is it an AU fanfic of the story?  In fact, is it a fanfic of any type?  Did you write a poem or a short story?  Do you have less respect for the novel in and of itself than for the creativity upon which NaNo was founded?  Then toss it the fuck in, my friend!
     Tons of people do this--rather than attempt to write a novel this upcoming NaNo, a lot of people will attempt to slap down 50k in blog posts, in short stories, in poems, in paperwork, in scattered bits and pieces of whatever they can write in a month, because to a lot of people, NaNoWriMo is less about the novels than it is about the creativity and the community and the kinship you find within those thirty days.  NaNoWriMo is about more than writing novels, guys; it's about using the constraints of time to accomplish a creative goal, with an army of like-minded individuals to back you up.
     So maybe finishing your novel isn't going to be what's up this NaNo, but creativity will be, and part of creativity is knowing when to adapt your goals and the methods you use to get to them.
     Maybe that means using this list of technically-not-really-cheats to flesh out your word count for your novel; maybe that means writing at certain times of the day when you know you're at your creative peak.
     Or maybe it means deciding that a novel was never the real goal in the first place.

     Happy NaNoing my friends!  ... Even if it is February....

Two Ways To Add Drama To Your Novel

     Drama is important in your novel--one can argue that without drama, there is no novel.  You can write a book without an antagonist, a series without a singular set of characters, a play without a plot, a novel that's mostly a comedy, but you can't write anything without drama.  Drama is your meat and potatoes.  Maybe comedy or romance or fluff is your desert, and everybody loves them some pumpkin pie (or at least I do.  It's fine if you prefer cherry or apple or whatever.  More pumpkin for me.), but you can't eat that entire pie without a few solid meals in between.  You'd get sick and end up malnourished, and it wouldn't be a pretty sight, I assure you.

     Basically, without tension; stakes; DRAMATICALITY!, your jokes (or fluff, etc) will fall flat, because there will be no reason to care.  Even if your jokes are funny, your characters will have nothing to do, because there won't be any action propelling them to make the mistakes that people find endearing; action is all that drama is.  And without those elements, there's no reason for a novel to exist.  We could just as easily have picked up a joke book, or read some fanfiction and not have bothered with the lackluster story that's been presented to us.

     And if you're not writing a comedy or fluff piece, drama becomes all the more important--in fact, it becomes just about everything.

     There are lots of ways to add drama to your novel, but here are the two big mainstays of fiction.  They form the basis of basically everything your book is about, many times out of one hundred.

     The first thing you do is find out what the character fears most.  Is it snakes?  Commitment?  Flying?  That creepy old dude squatting in the porta-potty down the street?  Pinpoint that fear.  Point out that he's afraid, figure out why he's afraid.

     Then slap him upside the head with that fear; force him to face it head-on, and set the stakes high enough that he has to do it.  Make him the only one qualified to catch snakes to make a special anti-venom for his baby brother, tell him that if he doesn't marry his on-again off-again girlfriend that she'll be deported, shove him into a situation where the only way to find the mystical prince destined to save the world is to bring gift offerings to Porta-John and spend a week living with him in the cramped porta-potty for which he has named himself.

     Then, once he's faced a fear and come out stronger (or weaker) for it--do it again.  And again.  And again.  Repeat ad infinitum, or until your novel is finished.  Whichever comes first.

     The second thing to keep in mind when trying to stir up drama is what your character wants most.  Does she want to be a member of a famous band?  Does she want to go on an amazing adventure?  Marry the girl she's been crushing on for like, forever? To go to college and get an education so she can make her family proud?

     Now give it to her.  Make her work for it--or don't, either can work, depending on how the story is laid out; if the story starts with this sudden blessing bestowed upon her for no reason, that's fine!  It'll make the next step less tragic, if she hasn't done anything to earn it.  But let her have this one.  Let her earn this victory, become that band member, marry that girl, be the Chosen One--and then let her reap the consequences.

     Make them substantial.  Make them horrible and totally unexpected--make her doubt everything she's ever wanted; it's not so great, being a superstar, she finds, and her idols, it turns out, are total assholes; she quickly finds out that she doesn't actually know the girl of her dreams at all, and they're terribly incompatible--perhaps horrifically so; the adventure she wanted involves levels of violence and hardships the books never cover--she forgot that she was never good at gym class and probably should have thought this out a little better; and of course, the degree she wants isn't really the one she wants, and she wonders how she ever thought it was.

     For the best effect, sprinkle these twisted gifts with elements of her worst fears, and laugh as her life spirals down into something she never expected and doesn't quite have the skills to deal with.

     Now force her to find a way out on her own.  Whatever skills she lacks, she has to find a way to gain them, whatever mistakes she's made, she has to find a way out of it, no mysterious saviors, no easy solutions, no (or few) external forces, no Deus Ex Machinas--she got herself into it, and now she has to get herself out.

    And this, comrades, is the very heart of drama.

Character Development: Idiosyncrasies

     People are weird.
 
     We all do weird things now and then, with or without reason, and when you get to know someone well enough, repetitions of the behavioral pattern can result in head-shaking and laughter, maybe a few, "Oh, Donald"s thrown in (unless of course their name isn't Donald, but whose isn't, amirite?).  Humans have idiosyncrasies, and they add a new layer of depth to the people around us--they can be revealing or puzzling, amusing or disgusting, frustrating or embarrassing....

     We all have them, so why shouldn't our characters?

     As I see it, there are three main types of idiosyncrasies--Reasoned, Reasonable, and Weird.

1. Reasoned:  These are the types of traits that make complete sense once you know someone's history or inner self.  Maybe someone flinches when someone tries to touch them, and once you know that the character was abused, it makes perfect sense!  Or someone is boxed in by people on all sides and runs away to cower by themselves.  Maybe they have claustrophobia, or, if they're comfortable in tight spaces, they could have social anxiety.  Reasoned Idiosyncrasies just make sense--but not until you know the person. 
2. Reasonable:  Reasonable Idiosyncrasies make sense... kinda....  These are the idiosyncrasies that don't seem to have a root cause.  They just kind of exist, yet no one really questions it too much because the behavior is within our sphere of understanding.  Maybe the character collects rocks, not because they like geology, but because they just think rocks are pretty, or they laugh when they're nervous--a pretty common "nervous tic," at least in fiction.  Many nervous tics fall under this category.  You can't explain them, but you really don't have to.  They're just there.
3. Weird:  This is the interesting one.  These are the things people do that just make no sense whatsoever, things they might not be able to explain.  Sometimes it's situational--when the guy who hit Stephen King with his van told King that his leg was probably broken in five or six places, King's response was "I'm sorry."                                                                                                                           It doesn't make sense, but it's so human, something a number of us can imagine ourselves doing.  Show of hands, how many of you apologize to people on a daily basis for things you had no control over?  Things other people did to you?  ((You can't see them, but there are so many hands up right now, I promise, just trust me.))  And have you ever just gotten up in the middle of the night to sort through your bookshelf and rearrange everything by author?  I have.                                                           Other times, it's just a person being themselves.  Maybe they suck on their middle finger as opposed to their thumb, or they always feel like they have to have exactly the right pair of pants to wear, or the day will be horrible.  Maybe they always carry around a water bottle full of mud, and they might not be able to tell you why, just that they think it could come in handy, or they mutter ancient incantations under their breath instead of curse words, or they repeat every thirtieth word two times.                                                                                                                                                        Sometimes these things can overlap with the other two--the character could be recalling that mud helps draw out bee poison, or their parents were wizards, or they might have palilalia, or any number of things.  But weird is weird, and if no one can understand it, this might be the category it fits in best.

     If your character has at least one of each of these, they're on their way toward roundedness.  Multiples of some or all of these can flesh your character out further still.  Just make sure that your character doesn't become one big walking idiosyncrasy themselves.  If your character is too weird, they might not be taken seriously.

     On the other hand, if you're writing a comedy, go for it!  Try to find a balance that works with your story and characters.  Straight-laced heroes may only have one or two of each, where the less held-together heroes (or villains) might be riddled with them.  The more you have, the more potential for silliness, or for drama, depending on what kind of idiosyncrasies you use.

     Are there any idiosyncrasies you'd like to see more in fiction?  Any you'd like to see less?  Send it my way and I'll compile a list!