WhereTheMapEnds StoreThank you for visiting the products page at WhereTheMap Ends.com. I'm really excited just about these items and hope you will find them useful. And watch this spot for futurity products, already in the works. Character Production for the Plot-First NovelistWhat is a plot-first novelist? Person who can think up fantastic plots like nobody's business but to whom three-dimensional characters move slowly or not at all. I'm one of those. My early, unpublished fiction was high on absorbing s but featured characters who were nothing more than cardboard cutouts I affected about the stage to be there once the truck blew up. I cognize I'm not alone, too. As an acquisitions editor and now as a freelance book doctor I see this all the time. The story and premise are interesting, but the characters are flat and impossible to tell apart. It was for writers like that, writers like me, that I developed this system. This is my flagship product and I'm really proud of it. Character Production for the Plot-First Novelist begins with a character center and then adds layers in a logical fashion, coming at character production from a variety of angles—everything from how we perceive folk in real life to how the character is (or isn't) wedged by the love of God. The result is thing the plot-first writer may've despaired of ever being capable of: living, fully realized, absorbing characters who are a joy to write and unforgettable to read. This is the system I will person had given me once I was starting out. I’m not a tool and chart kind of guy, but this system actually worked for me! Before I found this system my characters seemed vibrant, alive, and likeable—in my head. Unluckily readers (and acquisitions editors) couldn’t go into my head, and a couple of my most important characters failing to move alive in my manuscript. Jeff Gerke’s “Character Production for the Plot-First Novelist” system gave me characterization solutions and suddenly my characters sprang to life. I found the use of the Myers-Briggs temperaments, character love languages, and the character monologue exercises especially helpful. In the futurity I plan on exploitation this tool before I send proposals to acquisitions editors. Gary Varner, author of The Great Hour Struck What's So Great Simply just about It?Character Production for the Plot-First Novelist takes the mystery out of creating characters for fiction. You cognize what I'm talking about: those another authors who say "The characters just came alive and started telling me what they were going to do," or "I was just a newsman following them about and writing down what they did," or "I couldn't wait to get to the keyboard to see what they were going to do next." I don't cognize just about you, but I've ne'er had that happen to me. I'm sure it must happen for many, galore writers. Those are the ones for whom character production comes easily. But what are the rest of us to do? Once I let characters just do their thing in my stories they tend to do things just because the plot inevitably them to do it, and that's no nice for fiction. What comes easily for several writers comes only with difficulty and activity for me and writers like me. Character Production for the Plot-First Novelist provides a logical, sensible know-how for working up credible characters. No mystery; just a reasonable system of layers that results in nice characters. On my writer's shelf I've got more books on creating characters than on any another topic in fiction. But in all that searching I ne'er found a know-how that worked for me. Possibly because those books are often written by folk for whom the task of character production comes naturally. So it's back to my earlier question: what just about the rest of us? Character Production for the Plot-First Novelist begins with a core personality type and then adds onto that from seven major angles. The whole system culminates in a monologue you'll write that shows you (sometimes quite surprisingly) that you fully cognize who this character is and what he or she acts, dresses, looks, and—most significantly for fiction—talks and thinks like. The ComponentsCharacter Production for the Plot-First Novelist is comprised of three main parts:
Items 1 and 2 can be purchased individually or together. Item 3 is purchased separately. The booklet, called The Sixteen Types, is accessible only directly from the publisher. That brochure is an excerpt from a larger book, Please Understand Me II by David Keirsey, which is accessible through Amazon. Either the book or the brochure is adequate for the system, but one or the another is essential. The book has tons of great information for fiction authors, but the brochure has everything you need to activity Character Production for the Plot-First Novelist. The products can be purchased in the following arrangements:
The Book or the Booklet, That Is the QuestionAs I mentioned, you need either The Sixteen Types or Please Understand Me II to activity the system. Some of these products are accessible through third parties. The Sixteen Types must be ordered directly from the publisher. It's $5 plus shipping. This is the product I recommend for the writer on a budget. It's everything you need to activity the Character Production for the Plot-First Writer system. Please Understand Me II is a fabulous book. It contains all the information in The Sixteen Types but includes more more, including how the types (i.e., temperaments) interrelate, lead, parent, and more. It's fascinating and well worth the $15.99 cost tag (plus shipping). Please Understand Me II can be purchased through Amazon. Just So I'm Sure I've Been ClearSometimes I worry that I haven't communicated clearly. So here's a recap. In order to fully utilize Character Production for the Plot-First Novelist you must have these three items:
You can create characters exploitation the system if you have items 1 and 3 only, and you can have fun with item 2 by itself, but to get the full effect you need all three items. I hope that's clear. And I hope you experiment with the system. |
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