Tag Archives: Kevin Ikenberry

To Quit or Not to Quit?

That wraps it up for us this month, and what a month it was! We dove into making goals, how to make better goals, when to amend your goals, and when to quit your goals. We hope our insights were helpful to you, and that you carry some of our hard-earned wisdom with you into your future work.

In case you missed a post this month, here they are:

The Stories that Just Don’t Sell by Mary Pletsch

We Always Need a Goal by Ace Jordan

Quitting by Nicholas Ruva

New Goal: Stop Making Goals by Kristin Luna (that’s me!)

A Gamer’s Guide to Quitting by Heidi Wilde

How Goals Can Destroy Your Writing Career by Gregory Little

Finish What You Start, or Not by Kevin Ikenberry

A Faster Book, or A Better Book? by Frank Morin

Quitting with Feeling by David Heyman

In Favor of Failure by Colton Hehr

The Goal Post by Sean Golden

Obstacles May Be Closer Than They Appear by Kim May

To Goal or Not to Goal, That Is The Question by Jo Schneider

Made to Be Broken by Hamilton Perez

2018 – Hello, Universe Calling, Is Scott There? by Scott Eder

When Chronic Illness Sabotages Goals by Ace Jordan

Setting Realistic, S.M.A.R.T. Goals by Shannon Fox

Resources on Goal Setting and Quitting Goals by Kristin Luna

 

What were some of your favorite posts this month? Did we leave anything out? Comment and let us know!

Amnesia

Why are books better than their movie counterparts? There are several reasons, but I believe the strongest has to do with insight into the mind. We are given a telepathic link to the point of view character’s mind. But that link streams data in bits instead of a massive info dump (in good writing anyway).

This can be problematic if not done right. We all love a good twist ending. That mental whiplash, once everything seems to be resolved, can be an exhilarating experience. I remember watching the Sixth Sense when the child psychologist discovers he’s dead.

I immediately wanted to watch the movie again. When I did, it was a totally different experience. But the twist wouldn’t have worked if he knew he was dead all along. Consider that for a moment. In twists where the characters know what is going on, but not the reader, a twist comes across more like fraud than hand-clapping thrill.

That’s because there is an unspoken agreement between the reader and writer. The writer promises a good story, an exciting tale, an emotional journey. The reader promises to go along with the ride and believe the words and trust the characters as they are presented. When the reader discovers that the characters were withholding critical information, even though there had been an apparent telepathic link, then that trust is broken and the reader feels deceived, not entertained.

There are many ways to help the reader discover along with the POV characters so that discovery becomes a journey. The one gimmick I’d like to discuss is amnesia.

The Maze Runner did it well, forbidding the reader much of the world where juveniles run mazes. Because of Thomas’s amnesia, the reader is sucked into the story, waiting with baited breath every bit of information they can glean together from the world before them.

I recently read a book where amnesia was used well. Sleeper Protocol by Kevin Ikenberry was a fantastic sci-fi novel where the main character discovers his identity and memories through a series of scientific supported phases under the supposition that rediscovery (integration) can be detrimental to the mind if it happens too quickly.

The sixth sense was essentially an amnesia story, disguised. That’s why it worked so well.

Others, like Dan Brown’s Inferno, use amnesia as a tool to propose a purpose and deciding event for the character in order to up the stakes, or increase the drama and embellish the character arc.

Arguably one of the best amnesia tales is Jason Borne whose head wound left him with no prior memory although he had exceptional skills, spoke foreign languages, knew martial arts and spy craft and so on. Also it allowed the reader to empathize with someone who killed people for a living.

Fifty First Dates used amnesia to tell an incredible, funny, and yet heart-wrenching love story.

I myself have an amnesia novel in the works. It’s temporary and as it wears off, the reader discovers the apocalyptic world, as fascinating as it appears, isn’t at all what it seams and instead turns into an exciting thriller.

To write the piece, I did extensive research on the brain and memory loss. In my world, it has to be, believable. Basically there are different parts of the brain where memory is stored. Episodic memory involving experiences and events are different than Semantic Memory involving facts and concepts. These two types are stored in separate parts of the brain. This is why Jason Borne doesn’t remember any specific event but he knows at this altitude he can flat out run for thirty minutes and not break a sweat.

This is also why is would not make sense for Thomas of Maze Runner to recall his name but nothing else. Unless of course there was some medical, scientific, magical reasoning for it that James Dashner covers well.

What are some of your favorite amnesia stories?

Jace KillanI live in Arizona with my family, wife and five kids and a little dog. I write fiction, thrillers and soft sci-fi with a little short horror on the side. I hold an MBA and work in finance for a biotechnology firm.

I volunteer with the Boy Scouts, play and write music, and enjoy everything outdoors. I’m also a novice photographer.

You can read some of my works by visiting my Wattpad page and learn more at www.jacekillan.com.

Meet the Fictorians: Kevin Ikenberry

“Come in, — come in! and know me better, man!” -Charles Dickens, A Christmas Carol

We’d love for you, our wonderful readers, to get to know us better. That’s why, each month, Kristin Luna will interview a member of The Fictorians. We’ll learn more about each member, such as their writing processes, their work, where they live, and what they prefer to drink on a warm summer’s day. We hope you enjoy this monthly installment of Meet the Fictorians.

Meet the Fictorians:

Kevin Ikenberry

Kristin Luna (KL): Hi Kevin! How are you doing, and what are you drinking?

Kevin Ikenberry (KI): The snow seems to have finally left Colorado behind, so I’m doing very well. As for the drinking thing, lots and lots of water. Living over a mile above sea level (around 6800ft) requires constant hydration, which I offset occasionally with a cold adult beverage.

KL: Colorado is great! Do you take advantage of all the hiking as Kevin J. Anderson does? What do you like to do when you’re not writing?

KI: KJA is a hiking machine! My family likes to hike, though with a little one we don’t hit the challenging treks very often, but we still get out in the sun and fresh air. When I’m not writing, I like to be active – I’m an avid golfer and I enjoy swimming and exercising. There’s nothing better than a nice evening walk with my family, though.

KL: You have a military background. Can you tell us about that, and how it fits into your writing?

KI: I served just under 24 years as a commissioned officer in the Army until my medical retirement in March. I survived a necrotizing fasciitis infection but my ability to do the hard, physical requirements of the Army was compromised. I served as an Armor officer (tanks and cavalry) and later in my career as a Space Operations officer. Military service has a ton of unique experiences and good “there I was” stories that can easily find their way into fiction and bring a huge amount of realism.

In a way, my military service led to my writing. In 2009, I was teaching ROTC and I started making notes for a story that I realized was going to be a novel. Being on a college campus, I went back and took Creative Writing and started writing for publication as a result. There’s a lot more to that story, but being in uniform for more than half of my life made an impact on me and as I began to write, my military experiences came through.

KL: Speaking of those notes for your first novel, tell us a little more about Sleeper Protocol.

KISleeper Protocol was my debut novel and it was published in early January from Red Adept Publishing. This was originally a longish short story that my writing group encouraged me to develop a bit more. It became a 40,000 word novel, then a 75,000 word novel before there was an epiphany that changed the story completely.

Sleeper Protocol is the story of a man, cloned from our time, who awakens three hundred years in the future in a wheelchair overlooking Sydney Harbor. He is given one year to determine his identity through experiences or he will be euthanized. What he knows could save Earth from a coming war. Whether he believes the future is worth saving is another matter.

Sleeper Protocol is a military character study set against a partially dystopian setting with a touch of psychological thriller. A friend of mine said it was “military science fiction without being typical military science fiction.” I believe he’s right. Originally, Sleeper Protocol was going to be a standalone novel. However, my editor called me one day and asked a very simple question that has already bred a sequel and will make this a series of likely four books.

KL: My dad’s going to be very happy to hear that! He’s already read Sleeper Protocol and adored it. I see Runs in the Family just came out in January of this year. Is that a stand alone or will that be a series?

KIRuns In The Family is a military science fiction novel set in the same universe as Sleeper Protocol, except about twenty-five years earlier during The Great War. The story follows a young woman who receives a memory imprint from a long-dead ancestor who is a near perfect genetic match. She goes to war, falls in love, and is forced to make very tough choices along the way. This will be an ongoing series, though I have scrapped the original outlines for books two and three. I’m working right now on a revised outline for book two and am very happy with where this particular story is going.

KL: What are you working on now? Anything coming out that we can look forward to?

KI: I recently contracted the prequel novel for Runs In The Family with Strigidae Publishing and we’ll be starting edits later this summer. Right now, I’m tidying up the sequel to Sleeper Protocol (working title Vendetta Protocol). My beta readers have sent it back with solid feedback and loved it, so I’m hopeful to turn that in to my publisher mid-summer.

KL: Now for a very important question. Dogs or cats or neither?

KI: We have two cats, Charlize and Binx. Charlize is a sleepy, sweet black and white ball of fur. Binx is a black cat who is cuddly and wants attention. If we could get them to stop fighting, it would be great. I’ve always been a dog person, but it’s been years since I’ve had one. Our cats are good with our kids, so we’ll stay with two pets for now. A dog may enter the picture in a few years, who knows?

KL: What’s the best writing advice you’ve received to date?

KI: That you, as a writer, are responsible for the contract that you sign. I received a contract on Sleeper Protocol from a small press before it sold to Red Adept. Because the contract was not something I felt comfortable signing, and the publisher would not negotiate at all, I walked away. Given the success of both Sleeper Protocol and Runs In The Family, I believe I made the right decision and I still scrutinize every contract (short story or novel) that comes my way.

KL: What advice would you give a new writer?

KI: Seeking the advice and counsel of mentors. When I started writing with the intent of getting published, the best thing I did was to find mentors and learn from them. All of us writers, funnily enough, like to share and teach. We want to see others avoid the mistakes we made and help in any way we can. My mentors have been phenomenal in my growth as a writer and as a person. That’s something I want to continue in any way that I can.

KL: I know you’re new to the Fictorians, but what has been your favorite post so far that you’ve written?

KI: A couple of years ago, I was asked to guest post on Fictorians about my stranger than fiction illness and recovery. It’s probably the best, more coherent, telling of the story. You can find the story here: http://www.fictorians.com/2014/09/15/based-on-a-true-story-2/

***

If you have any questions for Kevin, please leave a comment below. Thank you for reading!

If Your Character Isn’t Memorable, Don’t Despair – Here’s Help!

You’ve read all the books, taken the workshops, and you’ve created your character bibles. You’ve even thought a little about which characters you like and why (see my post Memorable Characters – Who Do You Like?). Still, your character isn’t quite quintessential and therefore not memorable. What to do? Learn from the best. “But!” you say, “I don’t have time to study all those books, see all the movies!” The solution is easy – read April 2016’s blogs on Creating Memorable Characters. I’ve gleaned some tips and have summed them up (or have taken excerpts). Click on the links to each person’s blog to read it in its entirety.

These are the best how-to’s! Seriously, there’s a lot of great take-aways in these.

Sometimes less is more …

For David Carrico (Enter the Villain), Baron Vladimir Harkonnen is an absolute sadist, a pederast, and an incestophile, yet very little of that is shown “on screen” so to speak in the novel. The reader is given glimpses here and there of the raw evil lying beneath the surface of what is otherwise a very forceful, articulate, and urbane man. Herbert made the Baron memorable by understating him

Leigh Galbreath (Chaos For It’s Own Sake) says she doesn’t want to sympathize with a great villain and wants a villain that will make the hero work for every inch. What she loves about the the Joker in Christopher Nolan’s The Dark Knight, is Nolan’s conscious decision to leave some of the story up to the audience.

Mat Cauthon in Robert Jordan’s The Wheel of Time series is a stellar example of how to make a character funny not by what they say, but by who they are. In Gambler, Trickster, Son of Battles, Gregory D. Little notes that the humour of Mat’s character isn’t in what he says, but rather the irony the series continually thrusts upon him: contemptuous of nobility he, of course, marries an empress.

 A Mix of Good, Bad and Ugly or, the Imperfect Character

In Taking Strides in Character Development, Sean Golden points out that Strider’s mysterious past, his wit and wisdom, all factor in to create a reluctant hero in an almost a surly way. Strider struggles with self-doubt. He falters. He worries. He doubts. He takes chances. And in the end, he finds himself.

Characters become more likeable and sympathetic when they suffer or show genuine concern even if it’s at their own expense. In The Roller Coaster that was Tig Trager, Jace Killan explains that Tig wasn’t all good or all bad and it was Tig’s good traits that got him into trouble and sometimes it was his bad traits that got him out. It wasn’t easy and it took time for Tig to recover from what he had done.

Not every memorable character needs fisticuffs

You don’t need fisticuffs to be a hero or memorable. Evan Braun (The Ultimate Philosopher King) writes that Jean Luc Picard is the philosopher who rules as king, the true pilot who observes the stars and the heavens to preside over his ship. In the midst of near-perfect humanity, Picard shines brightly. As Shakespeare might say, he is the paragon of animals.

Inner strength without physical prowess can make for an admirable persona and Dashti in Dashti of a Thousand Days proves that. Colette Black notes that it’s complex characterization, where Dashti learns to temper a character flaw and discovers that her real power lies, not with physical prowess, but in her determination, an inner strength and loyalty.

The everyday man is tested…

In Yippee-ki-yay: The Most Reluctant Hero, Kristin Luna writes about how John McClane is a great example of how a hero doesn’t always have to be willing. He can be the wrong guy in the wrong place at the wrong time and still kick some major butt. Giving your hero a strong personality and a little reluctance can be a recipe for one of the most memorable heroes of all time.

For Frank Morin (When a Gardener Helps Defeat a Dark Lord) Samwise Gamgee is memorable because he accepts that his place in the world is not to be the hero, but to be the hero’s cook, assistant, and bodyguard. And yet, he demonstrates in his simple way that heroes are not always the great warriors, with the flashy armor or dazzling magic. Heroes get the job done. Any one of us could be Sam.

In the life of every evil person there is a series of decisions that lead, inevitably, to damnation. This is the moment where your villain goes wrong. The moment where he or she makes the decision to do the wrong thing for all the right reasons. After that, it’s a slow and gradual slide into hell. That’s Frog Jones’ take on Walter White. To learn more, read Regarding the Humble Blowfish.

Just because that’s the way it is…

Kim May (Marty Stus by Moonlight) writes about Chiba Mamoru being an ideal of a man: strong, silent, and enigmatic. The perfect gentleman whose sole purpose is to be Sailor Moon’s love interest, to rescue her from peril when her klutziness and fears get the best of her. You have to admit. There are times when we really really need that kind of rescuing. Marty Stus were never meant to be the ideal we should hold out for. They’re the ideal that we have little escapist fantasies about on a moonlit night when reality is too much…and there’s no shame in that.

Which brings me back to Leigh Galbreath’s post about the Joker because sometimes you want Chaos For It’s Own Sake.

Villains come in all shades

The reluctant villain and one who you can’t resist! In A Character You Can’t Refuse, Marta Sprout talks about how Michael Corleone does some terrible things and yet we still like him. We’re drawn to him as he is slowly pulled away from his own honorable world and into his family’s mob dealings. When a character changes so profoundly it’s engrossing and it was done one reasonable step at a time. At each moment Michael is held tightly into his role where he can’t back out.

The loveable antagonist. Instead of hating Gollum, David Heyman, reveals in A Preciously Complex Character that he liked Gollum, felt sorry for him, and hoped Frodo would find a solution to his problem that didn’t force Gollum (and Smeagol) to lose. Gollum’s love of the Ring is heartbreakingly pure: even as it destroys and corrupts him, he wants nothing from life other than to possess it.

That’s me! Sometimes the villain is us pushed to the wall. In Walter White, you monster, E. Godhand says that a villain protagonist whose methods may not be right, can win your sympathy and support because after doing everything right and getting nothing in return, he has nothing left to lose. We feel the adage, “But for the Grace of God, goes I.”

Pure Evil. And, as David Carrico said in Enter the Villain, Baron Vladimir Harkonnen is an absolute sadist, a pederast, and an incestophile. Pure evil works too!

A Personal Truth We Can Relate To – and it comes in all shapes, sizes and tropes!

Character Arc – In Summoning Character Development, Sarah Golden found that Yuna’s response to adversity (not the sword but endurance and wisdom) made her an admirable character with emotional and spiritual strength. But, she didn’t start out that way. She develops from doing what other people want to having her own thoughts, and making her own decisions.

Someone different yet real – When you bring in a character who is so different from the others, she not only illuminates the cast, but her character is more profound. But, as Peter Clampton explains in The Girl Who Changed EVERYTHING!, Asuka Langley Soryu is no cheap trope, used to simply spice things up for she brings her own history, strengths and weaknesses. She’s a protagonist with real and profound problems who deals by self-medicating in isolation.

I love doing this! Jacqui Talbot’s admiration of Flavia de Luce (You Had Me at Nitrogen Pentoxide) comes from her own love of chemistry and solving mysteries. As she says, Flacia is a beguiling cross between Pippi Longstocking and Sherlock Holmes. Flavia is an eleven-year-old sleuth with a passion for chemistry (specifically poisons) and a penchant for crime solving.

The hero within rises! D.H. Aire (A Lesson in Character from Superman) tells us that Superman was created during the cusp of Worlds War II to illuminate Americans about the Nazi threat. Thus a superhero who fights for truth and justice was more than a mere story for Siegel and Shuster. Superman is memorable because he had a secret identity (a hero deep inside), and that’s a feeling we all have, that inside, we too are heroes.

Do what must be done! For Joshua David Bennett (The Power of Pain) Kaladin Stormblessed’s ability to overcome pain and hardship, not wallow in it, made him memorable. He’s an inspiration to rise to the occasion, to do what must be done.

The devil is in the detail so find one!

As Josh Vogt explains of his own writing in When All Else Fails, Bring in a Lizard, the protagonist, Dani wasn’t memorable until he gave her a quirk. A pet lizard! The lizard seems at odds with her original self. That presented a mystery (even a minor one) to unravel, which created personality paradoxes which were entertaining.

Taken to another medium, some characters sometimes become more memorable and others we wish we could forget.

Watching Sidney Poitier play Kimani Wa Karanja was profoundly moving for W.J. Cherf (Something of Value: Of Boyhood Friendships and Harsh Realities). Kimani (Poitier) became his favorite character (actor) because of his immense depth, passion, pride of place, and desire to succeed. Even with his dying breaths, after bitterly fighting his boyhood friend Peter, Kimani died hoping, yearning, for “something of value.” Poitier absolutely nailed the character and the role.

Good characters usually have clear motives with stakes involved Matt Beckett states in Lex Talk About Lex, Baby. Reintroduced characters shouldn’t rely too much on a savvy audience already familiar with the brand. Lex Luthor wasn’t given a good platform this round. His motive didn’t hit home and wobbled.

When Kevin Ikenberry (The Most Successful Bankrobber Ever) saw Jack Foley played by Clooney it was the perfect match! Kevin wrote: as I read Road Dogs, I could not stop seeing and hearing Clooney in the role. That’s where Foley transcended being a likable sympathetic character into something different. Clooney’s effortless performance as Foley indelibly attaches his “aura” to the character. But is it the actor or the character that is memorable? I vote character. No matter the actor’s talent, commitment to the role, or appearance, the character is developed on paper and is the vision of the writer/screenwriter that the actor is to bring to life. When it’s done perfectly in a book, it resonates with us. When we see that on camera, it’s more than memorable. It’s legendary.

Readers must care about a character!

Memorable characters, Mary Pletsch wrote in More than Meets the Eye, must be seen as people we come to know, then we become invested in them and their stories. When we see that their actions not only affect the plot but drive it forward, we care about what they do. And when we wonder and worry about what will happen to our favourites, we keep coming back–issue after issue, year after year. It’s the character work that makes the story shine

Marta Sprout sums it all up best when she said: When we write characters, we balance two seemingly oppositional things: the character must have qualities that resonate with the reader and he or she must venture into areas the reader would never go and take actions that the reader could not do. Therein lies the grounds for spellbinding characters.

There you have it – great lessons for making memorable characters. Pick your angle, work with it and you’ll have readers asking for more!