Podcast Summary: The Shit No One Tells You About Writing
Episode: Leveraging Your Characters’ Emotional Complexity
Release Date: October 31, 2024
Hosts: Bianca Marais, Carly Waters, and CeCe Lyra

Episode Overview

In the episode titled "Leveraging Your Characters’ Emotional Complexity," hosts Bianca Marais, Carly Waters, and CeCe Lyra delve deep into the intricacies of creating emotionally rich characters. Geared towards emerging writers, the episode emphasizes the significance of nuanced character development in crafting compelling narratives. A significant portion of the episode is dedicated to the "Books with Hooks" segment, where the cohosts critique query letters and opening pages submitted by aspiring authors. This hands-on analysis provides invaluable insights into what agents and editors look for in submissions, helping writers refine their pitches and storytelling techniques.

Books with Hooks: Submission 1 - "Diving for Black Coral" by Martin Willingham

Query Letter Critique

At [04:16], Bianca Marais introduces the first submission, a query letter by Martin Willingham seeking representation for his 83,000-word debut novel, "Diving for Black Coral." The story is a coming-of-age tale set in the 1980s, blending elements from "Black Swan Green" and "Superbad."

CeCe Lyra begins the critique at [04:22]:

"Your query letter needs a rewrite. I don't like saying this because I always feel like I have to put on my Grinch hat... but it needs a rewrite because you are including things that you don't need to include."

She points out several issues:

• Inclusion of Unnecessary Elements: The verse included in the query adds flair but detracts from the professional tone.
• Lack of Specificity in Plot Points: ceCe notes, "You do explain the inciting incident... But you don't explain why," highlighting the need for clarity in motivations and events.
• Unclear Terminology: The term "Black Coral" is confusing without context, leaving agents unsure of its significance.

Carly Waters echoes CeCe's sentiments at [06:17]:

"The sophistication of Superbad, I will say I have not seen the words sophistication and super bad in the same sentence. I don't know, ever."

She critiques the choice of comparisons, suggesting more era-appropriate references to better anchor the novel's setting.

Opening Pages Critique

Moving to the opening pages at [09:27], CeCe provides an overview of the narrative structure:

• Prologue: Introduces Benton Wilkes in jail, raising immediate questions about his predicament.
• Chapter One: Details Benton's transition to college life, his friendship dynamics, and initial conflicts.

At [10:04], CeCe offers constructive feedback:

"The prologue... is curiosity-inducing because we go back and we go, oh, my gosh, how is this college kid going to end up in jail?"

However, she notes the need for more specificity in the questions posed at the end of the prologue and recommends enriching character interactions to reveal deeper emotional layers. She emphasizes enhancing Benton's introspection to portray him as more emotionally engaged rather than detached.

Carly Waters adds at [16:23]:

"I just want to see interiority and dialogue should never perfectly match."

She underscores the importance of showing rather than telling, encouraging the author to infuse emotion and personal insights into the narrative to create a more immersive experience.

Books with Hooks: Submission 2 - "Redacted" by Alexa P.

Query Letter Critique

The second submission, presented at [18:31], is a query letter by Alexa P. for her 85,000-word literary fiction novel titled "Redacted" (title partially withheld). The novel intertwines speculative elements with a critique of the wellness industry, narrated by pain itself.

Carly Waters begins her critique at [22:59]:

"This sounds experimental. It says narrated by pain itself... sounds a bit experimental. I love a critique of the wellness industry."

She appreciates the novel's ambitious blend of genres but raises concerns about clarity and execution. Carly questions the speculative aspect of the story, particularly the concept of cats emitting healing vibrations, and encourages specificity regarding the protagonist's injury to ground the narrative.

CeCe Lyra echoes these thoughts at [25:27]:

"I love the hook. The premise is really cool. This is a great, great, great idea for a hook..."

She praises the novel's unique premise and the integration of social issues but notes the challenges of executing an experimental narrative effectively. CeCe emphasizes the importance of giving the pain narrator a distinct personality to avoid the narrative feeling flat and disconnected.

Opening Pages Critique

At [26:50], the opening pages introduce Emily, the protagonist, in a medical setting where pain serves as the narrator. The narrative shifts between Emily's physical experiences and her interactions at home with her partner, Greg.

Carly Waters comments at [27:46]:

"Pain is a communication tool. It sends a signal to your brain something's wrong here."

She discusses the difficulty of personifying pain without it becoming one-dimensional, emphasizing the need for depth in portraying pain's role within the story.

CeCe Lyra adds at [30:45]:

"The pain narrating, this is a great experimental idea, but because pain does not have a motivation, it reads flat."

She suggests either removing the pain narration or infusing it with a purpose and personality to enhance its contribution to the narrative.

Bianca Marais concurs at [33:22]:

"If you give it a personality... then pain needs high stakes tied to it."

She highlights the complexity of maintaining a dual-character narrative where pain itself becomes a character with its own motivations and impacts on the protagonist's journey.

Key Takeaways and Insights

1. Clarity and Specificity in Query Letters:

   • Avoid unnecessary creative flourishes that may obscure the main pitch.
   • Ensure comparisons and comps are relevant and era-appropriate to strengthen the context.

2. Depth in Character Development:

   • Infuse protagonists with emotional layers through introspection and meaningful interactions.
   • Show character motivations and internal conflicts rather than merely describing actions.

3. Effective Use of Experimental Narratives:

   • When employing unconventional narrators (e.g., pain as a character), ensure they have distinct personalities and motivations to add depth.
   • Balance experimental elements with clarity to maintain reader engagement.

4. Balancing Show vs. Tell:

   • Prioritize showing emotions and character states through actions and dialogue rather than exposition.
   • Use interior monologue and specific details to create a vivid and immersive experience.

5. Constructive Feedback for Aspiring Writers:

   • Embrace honest critiques to refine storytelling techniques.
   • Utilize resources like the hosts' Substack (mentioned at [06:38]) for additional guidance on crafting effective query letters.

Notable Quotes

• CeCe Lyra at [04:22]:
  "For example, remove the verse. It's so cool. It's so fun. But it doesn't belong in a query letter."

• Carly Waters at [06:17]:
  "The sophistication of Superbad, I will say I have not seen the words sophistication and super bad in the same sentence."

• Carly Waters at [33:22]:
  "If you give it a personality... then pain needs high stakes tied to it."

Conclusion

The episode "Leveraging Your Characters’ Emotional Complexity" offers a treasure trove of practical advice for writers aiming to deepen their character development and refine their query letters. Through meticulous critique and expert insights, Bianca, Carly, and CeCe guide listeners in navigating the challenges of creating emotionally resonant characters and compelling narratives. Whether you're polishing your latest manuscript or preparing your next query, the lessons from this episode are invaluable for elevating your writing craft.

For More Information:
Visit the podcast's website at theshitaboutwriting.com for additional resources, upcoming events like the Deep Dive Virtual Retreat, and to submit your query letters for future Books with Hooks segments.