Characters lie. They do it all the time. They lie to themselves when they convince themselves they’re after an external McGuffin when they’re really searching for love, or acceptance, or loss of everything so they can start over fresh. They lie to other characters in conversations, and give away the truth in their interior monologues and actions. Sometimes they even lie to readers, especially in the cases of the recently-popular, unreliable narrators in books like Hawkins’s Girl on the Train and Flynn’s Gone Girl.
But what happens when one of the leads in a romance story lies to the other lead? Will readers root for someone lying to our girl/our guy and still want the liar to get the HEA? How long can a character lie and still be considered redeemable? Are there circumstances that make this character choice more palatable?
These are the questions I pondered as I worked on the discovery phase of the next novel in my Harrow’s Finest Five series. This is Percy’s story, for those who have read the novella. And the story kicks off with our heroine (Finola) telling one whopper of a lie to get Percy’s attention and, ultimately, help.
I ran multiple scenarios about when, where, and how my heroine would come clean. I talked to readers. I reread stories I remembered with some level of deception between the characters. After all that, I have lots of thoughts, but my main take-away is that whether the lie is tolerable and forgivable all comes down to “why”. Continue reading
Love padlocks on a bridge in Berlin. (Image via Wikimedia Commons)
MINOR SPOILERS AHEAD: Watch Mute on Netflix first if you are especially sensitive.
I just finished watching Mute, a near-future thriller that came out on Netflix this month. I found it a riveting story, full of nuances and great writing craft.
The villains are particularly worthy of study. In our writing class at McDaniels, Jennifer Crusie told us how important it is that the antagonist be as interesting and exciting as the protagonist – if not more so. (And here is a blog post from Argh Ink about it.) She also taught us that the villain is the hero of his or her own story, and that we should really like our villains.
If we create a villain that is devoid of all good things, we create a cardboard character with no real life. And on the flip side, our heroes should have flaws. It makes them more believable, and it allows us to pity them, or empathize with them.
In Mute, two of the very many bad guys are bantering army doctors who fix up (or take apart) people for an underworld businessman. Director and co-writer Duncan Jones said he had the duo (Paul Rudd as Cactus Bill and Justin Theroux as Duck) watch the movie MASH for inspiration (Geek Tyrant interview). These two guys are “the smartest guys in the room” and have the kind of great chemistry you need to pull off great banter. These guys are definitely the heroes of their own stories.
But the characters are selfish, and they have terrible flaws. Cactus Bill is Continue reading