On the Casting Couch with BWL author Juliet Waldron

“Not all who wander are lost.” And Juliet Waldron has certainly been a wanderer. She earned a BA in English, but worked at jobs ranging from artist’s model to brokerage. Then, twenty-five years ago, after the kids left, she dropped out of 9-5 and began to write, hoping to create a genuine time travel experience for herself—and her readers. I think you will agree that she achieved her aim when you read about her books and listen to what she has to say on The Casting Couch. 

Juliet loves cats and grandkids and when she's not writing she enjoys taking long, long hikes through fields and forests, and making messy gardens.  She also hopes to make a few more pilgrimages abroad, and often rides behind her husband on his absurdly fast 'bucket list' sport bike.

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Welcome Juliet. Just reading your personal history makes me breathless. You have achieved so much in your writing career too so I am looking forward to finding out a whole lot more about you on the Casting Couch.

First, Sheila, Thanks for the invitation to join all the other great writers on your Casting Couch.

It's my pleasure. Now to the questions. Which characters are the hardest for you to develop? Is it the hero, the heroine, the villain, or the secondary characters?

My secondary characters walk on without much hassle by the time a story has begun to 'run' movie-like in my head. I often find them so obliging and talkative that I have to shut them down. Christoph, who began as a secondary character in Mozart’s Wife, proceeded to be so bull-headedly charming and persistent that I wrote Red Magic to wind up his story.

Sometimes writing heroes can be a toughie, especially if I’m trying for a romantic historical which involves cross-over into genre writing techniques. Beta males aren’t that popular, but it always seems to me that a real life Alpha male is not exactly as pleasant a guy as he is often cracked up to be. (Too much testosterone -- not quite housebroken.) I have written a couple of true alphas that I’m rather proud of; Christoph, above, and Jack in Angel’s Flight.

 When an idea strikes, do you work through the plot first and then cast the characters, or is it characters first? Or does it vary? Perhaps you develop the plot and the characters together.

Of necessity, plot and characters grow together, because I write historicals. In that case, the plot is already written for you—at least, if you’re going to follow the lives of real people, or use historical events for the storyline.  In historical novels, characters are deeply enmeshed in the period in which they live. People are, after all, shaped not only by unique personal circumstances, but by the world view they grow up with.

Can you give an example from a published story?

In Mozart’s Wife, the feckless young couple leave their first born, only a few months old, in the care of a 'baby farmer' while they travel to Salzburg to visit his family for two months. In the 18th Century, this was normal for theater people who had to travel on business.  It seems heartless, even criminal, to us today, but this was accepted practice. Infant mortality in the packed, dirty cities was necessarily high, and, pre-contraception, there would always be another baby quickly on the way. It was a tough part of their story to tell, and it had to be done in a way that a modern reader could understand and still maintain sympathy for the principals.

Do you have a system for developing their character traits? I know some people use Tarot or Astrology. Others produce detailed life histories. There are also writers who allow their characters to develop as they write. What's your method?

I fret a lot over my characters. In writing historicals, however, you know the facts, (or think you do) but sometimes you’ve got to continue to ponder the puzzle pieces, in order to understand their actions.  It took me over a year to produce a fair portrayal of Stanzi Mozart,  to satisfy myself that I understood some of the things we know she did.

All characters have goals. Can your character’s goals usually be summed up in a word or two, or are they multi-layered? Do they change as you write the book? Could you give some examples?

Multi-layered. The characters grow in the course of the stories, as they experience the unfolding of their lives.  Nanina, in My Mozart is a sensitive, talented, musical little girl when the story begins. She is innocent, naturally sensual and obsessive. In the crucible of her love affair with the remarkable musician who has been her beloved teacher and friend, she realizes her greatest passion, but the suffering which follows, combined with the strength of her obsession, tip her into madness.

 Motives drive a character. How do you discover your character’s specific goals? Are they based on back story or do other elements influence their motives?

Back story plays a big part for me, as well as qualities innate to the characters, which will push them in a certain direction. In Genesee, the heroine, Jenny, is Dutch and Iroquois. Acceptance and inclusion elude her, whether she is at an elegant ball in a fine house in Albany, or in a long-house deep in the wilderness.

 And last but not least, do you like your characters? Are they people you would want to spend time with? Assuming they are not just a paper exercise, which of your characters would you most like to meet, and why?

Roan Rose just released, is set in medieval times. It is the Ricardian novel (Richard III) I’ve wanted to write since my teen years, and it is full of characters I’ve imagined for a very long time. Of course, I’d like to meet Richard and his wife Anne, just as I’d like to meet Mozart and his Stanzi. (In a way, I feel I’ve “met” fragile Nanina, as that story was—yes, it sounds nuts--channeled.) 

However, the character I’d most like to meet is Roan Rose herself, a freckled Yorkshire peasant woman who is servant to Anne, and the narrator of the story. Rose is a gardener/herbalist and a lover of wild places, who draws strength and courage from Mother Earth. I’d love to dig with her, to plant with her, and to follow her sheep as they wander the dales. But heck, I’d love to spend time with all my 18th Century creations: Angel, pondering a quilt as a civil war tears her world apart; Jenny, who loves to climb trees and knows how to swim; Alex, the brilliant, brave West Indian; Red Caterina, who loves her horses far more than people…

Well one thing's for sure Juliet, there are a whole lot of your books I now want to read. I am also intrigued by the fact that when you write historicals you not only have to imagine yourself into a life very different from modern day but you also have to put yourself into the mind of a real person and try to imagine why their story unfolded as it did. It has been fascinating to learn how you do it. Thank you for sitting on the Casting Couch.

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Juliet has written a number of very successful books. Mozart's Wife won the First Independent e-Book Award, Genesee (an interracial love story) won the Epic Award for Best Historical. A companion novel, Angel's Flight is an on-the-road romance set during the American Revolution. Her other novels include Hand-me-Down Bride which is set in post-Civil War German Pennsylvania, Red Magic, a fantasy romance set in 18th Century Austria, Roan Rose which is a story of tangled loyalty and love during the Wars of Roses, and My Mozart, the 'mistress' companion to Mozart's Wife.

Go to http://www.amazon.com/author/julietwaldron to find out more about Juliet and her books 

She is also featured by Second Wind Publishing at http://bit.ly/X8gupd and by Books We Love at http://bookswelove.net/julietwaldron.php

 

Author Shirley Martin on the Casting Couch with Sheila Claydon

With a vivid imagination and a love of storytelling, Shirley Martin has always enjoyed writing. She was born in western Pennsylvania and her first published novel, Destined to Love, reflects her familiarity with the area and shows her love of  writing. From this historical romance she blossomed out into other genres. One More Tomorrow is a vampire romance, one her publisher dubbed 'a sizzling seller'. Now the author of several fantasy novels and novellas, her writing should appeal to just about every reader of romance. Her books are on sale at Amazon and most major book stores and have garnered great reviews. 

Welcome to the Casting Couch Shirley. I am looking forward to learning more about your writing technique.

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Which characters are hardest for you to develop?  Is it the hero, the heroine, the villain, or the secondary characters?

First, thank you for featuring me, Sheila. I am so pleased to be here.

I often have trouble developing the heroines. I know women today like assertive heroines but since I'm a little reserved myself, it's difficult for me to present heroines who are truly assertive.

It is such a surprise to hear you say that Shirley because your heroines are great. When an idea strikes, do you work through the plot first and then cast the characters, or is it the characters first?  Or does it vary? 

It varies. After I get an idea, I usually work out a basic plot. I do an external and internal Goal, Motivation and Conflict chart for each major character.

That is so organized. Can you give an example from a published story? 

Yes. My historical romance, Forbidden Love, is centered around a steel strike in Pittsburgh, so I knew my hero would have to be a steelworker. To counter this I wanted the heroine to be from a wealthy family, so there would be extremes in their backgrounds, and thus, much conflict.

When deciding how your characters should look, do pictures inspire you, or do you think of someone you know?  Or perhaps you rely on an active imagination or another method entirely. 

I use my imagination

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That is unusual. Nearly every other writer I've interviewed has to have their imagination triggered by some sort of visual idea. Do you have a system for developing their character traits?

As stated earlier, I use a Goal, Motivation and Conflict chart for each of my main characters,      but they often have a mind of their own and do unexpected things.

All characters have goals. Can your characters' goals usually be summed up in a word or two, or are they multi-layered?  Do they change as you write the book? 

My characters all have internal and external goals. Often their goals change as I write.

Motives drive a character. How do you discover your character's specific goals?  Are they based on back story or do other elements influence their motives? 

Their external goals center around outside circumstances.  Their internal goals are changes they must make within themselves. For example, in my time travel romance, Dream Weaver, my heroine's external goal is to save her lover's life. As her internal goal is to conquer her fear of violence  she has to attain her internal goal before she can save him.

It's very clear that you really think out your characters in great detail so, last but not least, do you like them?  Are they people you would want to spend time with? Assuming they are not just a paper exercise, which of your characters would you most want to meet, and why?

I like all of my characters and would love to meet them all.  I really admire the steelworker from Forbidden Love though.  Although he has so many things going against him he remains determined to attain his goals

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Born near Pittsburgh, Shirley Martin attended the University of Pittsburgh and then taught school for one year.After that she became a flight attendant with Eastern Airlines. She met her husband when she was based in Miami and, with him, raised three sons. Once they were grown she devoted her time to writing, something she had always wanted to do.

With a vivid imagination and a love of storytelling, Shirley has always enjoyed writing. Now, sadly, a widow, Shirley lives in Birmingham, Alabama, with her two cats.

Visit her website: http://shirleymartinauthor.com/

Back to the Casting Couch

Casting your hero can be tricky. Is he right for the plot you have been mulling over for weeks? Will he like the heroine? Will she like him?

Over the next few months a number of writers have agreed to sit on my Casting Couch to discuss the different methods  they use in their search for the characters who populate their books. Whether they use magazine advertisements, astrology, or something else entirely, their techniques give a fascinating insight into the writing process and the writers themselves

Today author Sydell Voeller joins us on the Casting Couch to share the tricks of her trade.

Thank you for agreeing to sit on the Casting Couch Sydell. It's always a treat to talk to a multi-published author and discover how she casts her characters. Assuming that you are sitting comfortably, let's begin.

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Which characters are the hardest for you to develop? Is it the hero, the heroine, the villain, or the secondary characters?

My secondary characters are usually the hardest to develop.  Each one must forward the plot in some manner and interact significantly with the heroine and hero.  In other words, if I can go through the script and eliminate a particular character or two and never miss them, then they didn’t belong in the story in the first place.  I’ve sometimes found myself losing my story’s focus by allowing secondary characters to be present extraneously—but thankfully, I always catch that problem before my final drafts.

When an idea strikes, do you work through the plot first and then cast the characters, or is it characters first? Or does it vary? Perhaps you develop the plot and the characters together.

For the most part, I develop the plot and characters together. I typically begin my plotting by deciding what inner and outer conflicts will stand between the hero and the heroine—the core problem that will keep them apart until the story’s resolution.  I try to dig deeply into their psyches to understand what makes them tick—their greatest dreams, their worst fears, their vulnerabilities, their goals and aspirations in life.

Can you give an example from a published story? 

Yes.  Take, for example, my latest re-released e-book Daisies Are Forever, published by Books We Love. The outer conflict was easy in this case. April Heatherton, my heroine, is not only interested in local history and teaches history at school, but she has a special interest in the ancient forests that define the North West.  Behind her home stands a tract of timber containing an unmarked pioneer woman’s grave.  Heather learns that this forested site will soon be going up for a logging auction.  Heather is fired up to stage a peaceful demonstration against the loggers in order to preserve the grave. The hero, Matt Spencer, is a hard-working logger—and in this day of increasing displaced loggers, he needs to keep working.

The inner conflict, on the other hand, is more personal, much deeper.  It portrays our characters’ drives, dreams, motivations, and emotional needs.  For years, the unmarked grave has provided a special place for April—a place of retreat and personal renewal, plus an indirect connection to her grandmother.  In her eyes, losing it would be akin to losing her soul. Matt’s inner conflict, on the other hand, smacks of family and commitment, continuing the tradition set down for him by his father and grandfather.  After all, logging is Matt’s legacy.

When deciding how your characters should look, do pictures inspire you or do you think of someone you know? Or perhaps you just rely on an active imagination or another method entirely.

In the earlier years of my writing career, especially when I was writing YA fiction, I often used pictures to draw inspiration for portraying my characters.  Later after I branched off into adult contemporary romances, I used a combination of both pictures and my own imagination.

Do you have a system for developing their character traits? I know some people use Tarot or Astrology. Others produce detailed life histories. There are also writers who allow their characters to develop as they write. What's your method?

I have tried using Astrology at one time, but I didn’t stick with that.  I guess I felt I had to squeeze my character into too tight a mold, or perhaps that method just didn’t resonate with me for other reasons.  But to answer your question more specifically, (and as I said earlier), I know my character’s basic traits by first determining his or her core conflicts.  I’m always delighted, though, when my character’s behavior takes new twists and turns.  Real people are contradictions and so should our characters portray contradictions as well.

All characters have goals. Can your characters’ goals usually be summed up in a word or two, or are they multi-layered?  Do they change as you write the book? Could you give some examples?  

Most of my characters’ goals can be summed up in a phrase or two, or maybe one sentence.  And yes, sometimes the goals change out of necessity.  For example, in Her Sister’s Keeper, published by Books We love, my heroine, Logan, is determined to care for and protect her little sister, Kim, who is wheel-chair bound. (Prior to the opening of the story, Kim was partially paralyzed due to the plane accident that not only caused her disability, but killed their mother as well.)  Since their father is no longer alive, Logan must now step up to the plate and assume full responsibility for her sister. Yet despite her good intentions, Logan’s goals are misconstrued and she becomes overly protective, thus indirectly sabotaging Kim’s chances for rehabilitation. By the end of the story, Logan must redefine her goals in order to give Kim her best chance for recovery—plus allow Logan her best chances for a romantic commitment to the handsome young Dr. Dellinger with whom she works.

Motives drive a character. How do you discover your characters’ specific motivations? Are they based on back-story or do other elements influence their motives?

I believe back story has everything to do with motive. In taking another look at Her Sister’s Keeper, the back-story about the plane crash motivates Logan to protect her sister against further traumas.  And on a broader scope, in most traditional romance stories, the core motivator that threatens to keep the heroine and hero apart stems from their individual back-stories. Perhaps their demons are divorce, the death of a spouse, a broken engagement, or having been stood up at the altar.  What better motivators to make our heroines and heroes turn and run!

And last but not least, do you like your characters? Are they people you would want to spend time with? Assuming they are not just a paper exercise, which of your characters would you most like to meet, and why?

Yes, I do indeed like my characters, and I strive to create characters my readers will like and care about as well.  In regards to which characters I’d like to meet, that’s a tough one.  I do know for sure, however, that I’d like to meet my heroine Lisa Prentice in Summer Magic, also published by Books We Love.  During her travels with the circus, she encounters so many fascinating adventures involving the performers-especially the dashing young aerialist Michael-and the circus animals, including Ebony, her favorite show horse.  Logan’s widespread travels with the circus also add to her appeal as a character.  I’m sure she could share with me many intriguing tales that reach far beyond the story itself!

My next favorite character is Vanessa Paris, my heroine in The Fisherman’s Daughter, another of my BWL titles.  I like her intelligence, spunk, flirtatiousness, strength of spirit, and especially her strong dedication to helping to find her father who is missing at sea.  Finally, since I love any kind of reunion romance, I like her push-pull attraction to the hero whom she had a crush on in high school, and her misgivings about falling for him again.  On the balance, I think she’d be a delightful character to hang out with!

Sydell Voeller writes contemporary romance and Young Adult fiction

You can check out her books on her website at sydellvoeller.com or at bookswelove.net

The Casting Couch

Is this how you cast your hero?

Visit my Casting Couch  to discover the different tricks  writers use to find the characters who populate their books. Whether they use magazine advertisements, astrology, or something else entirely, their techniques give a fascinating insight into the writing process and the writers themselves

Today, multi-published writer Janet Lane Walters tells us how she does it

How do writers cast their characters? Mine are usually inspired by a photograph. I see an interesting face and the writer in me begins to weave it into a story. It's very satisfactory because I can make complete strangers into just about anyone I want. Occasionally it isn't a photo but someone in the media although never, so far, anyone from the big screen. And even more occasionally, although I never admit to it, a real live person I meet. What I can't do, however, is start with a list of personality traits and build from there. My character has to have a face before I can begin to know them although I guess that deep down I am probably looking for a face that fits with who I want them to be. Realizing that my take on character development is idiosyncratic to say the least, I began to wonder how other writers find their characters so I decided to ask them to visit my Casting Couch to find out.

Janet Lane Walters is the first visitor to the Casting Couch, and with 35 published novels, 4 non fiction books, 2 ghostwritten non fiction books and ten novellas to say nothing of numerous short stories and poetry, who better to answer my questions.

Hi Janet and thanks for visiting the Casting Couch. Now, assuming you're sitting comfortably, which characters are the hardest for you to develop? Is it the hero, the heroine, the villain, or the secondary characters? 

I can usually nail the hero and heroine, though sometimes they give me trouble, and I have little problem with the villains. It's the secondary characters that sometimes give me fits. Unless I’m writing an ensemble piece where all the characters have a significant role in a story, my secondary characters try to take over, and that isn’t their role. When I was writing A Double Opposition, characters like the twins, Pop and Megan, wanted to take on a larger role. I spent a lot of time looking at their parts of the story and toning them down.

I’ve also read stories where the secondary characters seemed more important than the major ones. It always disappoints me to learn that the story isn’t theirs. That’s what I must keep reminding myself.

I really identify with that Janet,  and I know I've made that mistake in my own books too...but back to the casting couch. When an idea strikes, do you work through the plot first and then cast the characters, or is it characters first? Or does it vary? Perhaps you develop the plot and the characters together.

I admit to all of the above. When I began writing Code Blue the villain arrived full of himself and of his plans for revenge. The other characters changed as I wrote the book. Julie was to be the heroine but that didn’t make the story move along. Once the heroine changed to Susan, a perfect foil for the villain, the story took off. I guess in this case the characters came first and last.

Can you give examples from the stories you’ve written?

When I began the Affinity series, published under my alter ego, J. L. Walters, the characters came first. They remained essentially unchanged since they were based on my grandchildren at the time. The plot came later and turned from a single book to four.

The plot for The Temple of Fyre came before the characters. I told the entire story in my head with no names and no personalities except for good woman, bad woman, good man, as I outlined the plot. No names until I sat down and decided what kind of people would take on these roles and what their natures would be, and gave them their Astrological signs.

That is so interesting. I've heard of writers who use Tarot or Astrology but never met one before. 

Yes, I always use Astrology to cast my characters. I’ve been involved in it for years. I used to do charts for people and then interpret them, so using it to develop my characters seems a natural thing to do.

I don’t go as far as some people and cast an entire chart though, and I only do it for the major characters. What I do is look at the Sun, Moon, and Rising Sign. This gives me three facets of the character’s nature and it also provides me with clues as to their goals and the motives behind their desires. The Sun is their inner nature. It’s what they are inside. The Moon gives me their emotions and tells me how they react to situations. The Rising Sign gives me the face they show the world. Conflicts can arise in any of these areas of course, and so can their desires and the reasons for this.

So Astrology tells you who your characters are but surely you still have to discover how they look. Do you use magazine pictures, base them on someone you know, or do you just rely on an active imagination?

I rather envy writers who can look at movie stars or magazine pictures and say that’s just what their characters look like. I don’t even use my friends, neighbors or acquaintances when I am deciding how my hero or heroine looks. For me, it’s imagination and writing the words down, though I will say my heroes usually fit a type. Most of them are tall, with broad-shoulders and trim bodies. Hair and eye color will vary. My heroines can be different and unusual but they are always beautiful to the hero, even if they are plain.

All characters have goals. Can you sum up your characters' goals in a word or two or are they multi-layered? Do they change as you write the book? 

I usually have at least one goal for each of the main characters and also for some of the secondary ones, especially if their goal is in opposition to those of the main characters. Sometimes they will have the kind of goals that make them think if I gain this, then I’ll reach for this.

Can you give an example from one of your published books?

When I was writing A Double Opposition, my heroine’s goal was to find a way to remove her twin sons from the bad influences they had found in the city. Her second goal was to do a good job on a hospital unit where there was trouble. She wasn’t thinking about finding love or marriage. Her final goal comes after her sons go missing and the hero helps her find them. It is then that she realizes there is a chance for a second love and for a family.

Motives drive a character. How do you discover why your characters have specific goals? Is this all based on back story or do other elements influence their motives?

I often don’t know what my characters’ back stories are when I begin to write. That usually comes after a draft or two when suddenly I know what is happening. The book I am writing at the moment, Lines of Fire, begins with the hero at his father’s deathbed. The scene began before the story was plotted or the character developed. I didn’t even know the hero’s name but the deathbed scene gave me his motivations and these remained throughout the book, although with some slight changes as other characters impacted on his life. In this case the back story played an important part.

In other stories the ‘why’ doesn’t occur until I have at least a rough draft of the story. Then there’s an ‘aha’ moment as I learn what drives them toward a goal that may, or may not be, attainable.

Listening to how you cast your characters has been very interesting Janet, but there's still one more.  Do you like them? Are they people you would want to spend time with? And, as I'm assuming they are not just a paper exercise, which of your characters would you most like to meet, and why?

 Do I like my characters? Absolutely and while I write I live with them. They’re always in my head. As to which one I’d most like to meet, I have met some of them already. They’re my grandchildren but that’s not a fair answer to this question.

Right now I’d like to meet Alric who hasn’t seen print yet. Why? Several reasons. He’s a dueler and that reminds me of the days when I was fencing. He also sees the lines of fire and that fascinates me, even though I made it up. He’s handsome and brave too. But when I’m writing, I always want to meet my heroes and heroines. I’m rather fickle.

Thank you for spending time on the Casting Couch Janet. It's been great to talk to you.

If you would like to learn more about Janet Lane Walters visit her blog at http://wwweclecticwriter.blogspot.co.uk or read more about her on the Books We Love website