Creating character chemistry

Creating chemistry in romance is important because this is what makes the reader root for the characters to find their happily-ever-after.

How do you create great chemistry?

Create strong characters

Strong, interesting characters are key to creating chemistry in romance. If the reader doesn’t like your characters all that much, they won’t care if they end up happy.

This often means getting away from stereotypes and adding more depth to characters. Characters need flaws. Nobody likes the perfect, better-than-everyone-else character. Perfect characters don’t have enough conflict to be interesting. A strong character has strengths and weakness that will play a role in the story and their character development arc.

Create realistic attraction

This doesn’t mean no insta-love ever, especially if that’s going to be a source of conflict later when the character realize love at first sight doesn’t mean no problems, but the reason for their attraction should be believable.

Good looks aren’t enough. Being hot doesn’t prevent a person from being an asshole. Draw from personality, compatibility, intrigue, uniqueness…something that will last and create conflict later in the story.

Depressed woman portrait

Build realistic tension

Tension can come in a variety of ways, including miscommunication, lies, secrets, arguments, moving too fast/slow, etc. The key is for these to be realistic and fit with the overall story.

One rumor that’s never fact-checked or confronted and causes the MC to run away without looking back and fall into utter despair isn’t realistic and tends to frustrate readers. Especially if the MC is an otherwise strong and intelligent person.

If a point of tension can be fixed in less than a paragraph, it probably isn’t complex enough to be believable.

Create high stakes

There should always be something that can completely ruin a relationship, whether it’s developed from page one or a surprise two-thirds of the way through. The risk that everything could fall apart, and both or one of the characters knows this, will affect everything they do and act as a constant reminder to the reader that they shouldn’t assume everything will turn out all right.

Develop intimacy

Intimacy doesn’t mean sex, although there’s nothing wrong with sex being part of intimacy. A look or a touch, a meaningful word can build intimacy between characters just as much as physical intimacy. Every time characters are together, give them a moment that notches up their connection in some way.

When characters are not with each other, use internal dialogue, conversations with others, or small reminders/tokens (a piece of clothing or memento left behind) to develop intimacy. Building intimacy should remind the reader of what the characters could be together.

Ride the roller coaster

Chemistry shouldn’t be a straight shot to HEA. Nobody likes another person all the time. Having moments where they dislike a trait or action is realistic and lets the chemistry ebb naturally. A thoughtful or sweet act will bring it back up, maybe even stronger. The give-and-take keeps readers interested and engaged.

Keep the roller coaster ride to a reasonable level that won’t throw readers off the rails. Ups and downs are natural and important in story building. The swings shouldn’t be so drastic you give readers whiplash, though. Keep the chemistry moving in a steady, upward direction toward the climax, with believable bumps and dips along the way.

Character relationships should model reality while still working with in the overall plot to allow character growth and development.

Writing a blurb that catches reader’s attention

It’s always a challenge to boil down and entire story into a few hundred words when writing a blurb. Most writers hate this part of publishing. We took all this time developing details and intricacies and now we have to take all of that back out and convince someone to buy it in two paragraphs or less.

How do you do that well?

Here’s a few things I’ve learned over the years.

A blurb is a sales pitch

The first sentence must grab the reader’s attention. Think of this sentence as an elevator pitch. It should capture the most interesting part of the story. That may be the conflict, mystery, romance, etc. Whatever it is that will most make readers want to check out your book, mention it in the first line.

This first sentence often sits by itself before the bulk of the blurb, giving it a better chance to catch the reader’s attention. The preview on most ebook retailers barely gives you more than a sentence or two before readers have to click “read more,” so make that first sentence count.

Format the blurb according to genre conventions

Contemporary romance tends to use short, 1-2 sentence paragraphs that highlight main points of the storyline. Historical romance tends to use longer paragraph with a more in-depth summary of each point of interest. Study blurbs on Amazon in your genre to make sure you’re formatting correctly.

Of course, sometimes you need to break out of conventions and do your own thing. Just make sure there’s a reason for using a unique format and that it conveys the tone or action of your story.

Start with a formula that works

First, introduce the situation, then tell readers about the main problem or source of conflict, and indicate the twist without giving too much away. Effective blurbs often end with a question or with a sentence that sets the overall mood of the story.

Don’t give away the ending. This isn’t a synopsis. It’s a tease.

Leave the side characters out of it

Introduce the main characters and leave the side characters for the reader to discover once they start reading. It’s important to get readers interested in the characters right away. Give their name, a few important traits that make them unique or interesting, what their situation is, and what dilemma or conflict they’re going to face.

Don’t try to introduce side characters in the blurb. It only clutters the pitch and may make readers lose interest.

Use a cliffhanger

This isn’t a must, but for many stories a cliffhanger ending in a blurb will be a good nudge toward purchasing. Avoid giving away too much in a blurb. Present the problem and leave readers wondering how the character will overcome it.

This answer shouldn’t be too obvious, though. Even with books that are more formulaic, it’s important to make the reader curious about how this particular story will unfold. Most romances end in a happily-ever-after scenario, but they don’t all reach it the same way.

Choose your words carefully

Communicate the tone of the story with words that fit the genre and situation. A dark thriller will use more intense wording while a rom-com will use light, fun words. Word choice should also match the time period and regional setting. It’s also all right to use hyperbole when appropriate, such as “unimaginable” for a shocking crime or “intoxicating” for a sudden and passionate romance, but don’t overdo it.

Keep it short and to the point

Blurbs should run 100-150 words in most cases. Don’t try to tell the reader everything you think might interest them. Stick to the important highlights.

It may be helpful to start writing a blurb with bullet points to sift out what should and shouldn’t be mentioned.

There’s no one correct way to right a blurb that will help sell a book, but starting with proven tactics and expanding from there can help you craft an enticing blurb.

Worldbuilding

As writers, we all know how important worldbuilding is when writing fantasy, science fiction, or dystopian.

What about when you’re writing contemporary realistic fiction?

You may not need to create detailed maps or a new social structure when writing about the real world, but that doesn’t mean you’re off the hook when it comes to worldbuilding.

What aspects of worldbuilding apply to contemporary realistic fiction?

Creating your own town

Small European Town Creating a fictional town is definitely the most involved type of worldbuilding in contemporary realistic fiction. You’ll draw from real places with the goal of developing something new and interesting. A huge benefit of making up a location is that you aren’t bound by anything. Another benefit is that you won’t spend hours researching a real place and worry about whether you’ve portrayed it correctly. A fictional location allows you to build the exact setting you need to develop your plot and characters.

What should you consider when creating your own town or setting?

What type of location does the storyline call for? Is your character on his own in a big city for the first time? Is she pulled from city life to figure out small-town living? Does the story require seclusion or crowds? How plugged in is your main character? Are they a foodie who loves trying new eateries or someone who loves the familiar?

How do you develop realistic details?

Desert Road Start off based in reality. For those who’ve watched Twin Peaks and paid attention to the opening credits, the welcome sign claims the town has 51k people, yet everyone knows each other and there seems to be only one restaurant. Take the time to research town sizes and amenities in order to make sure everything lines up.

Check into weather and seasonal changes as well. Summer comes to Phoenix a lot quicker than Montana, BUT if you’ve been living with single digits for six months in Colorado Springs, 35 degrees feels pretty nice and you might see a few pairs of capris or flipflops.

Investigate the demographics, foods, culture, and dialect of your fictional town’s region or state. Just because your town is made up doesn’t mean you can go wild with random details. Ask people around the county how they refer to a carbonated beverage or what toppings they put on a pulled pork sandwich. If you spell chile (the vegetable) with an “I” in the Southwest, you’ll get more than a few eye rolls.

Building a neighborhood

Death_to_Stock_Photography_NYC_Skyline_7 Whether you’re creating a fictional town or using a real town, you still need to develop the small-scale details of the neighborhood or apartment building your characters inhabit.

Who else lives here and how do they interact with the main character(s)? What is the overall feel of the area? This is a great place to start developing secondary characters and conflicts. Think about where the neighbors or residents tend to hang out or stop off for a quick conversation or gossip exchange. Is it in the laundry room or by the mailboxes? Does everyone walk to their destinations or is driving necessary? Does the MC want to stay or are they anxious to get out of dodge?

Consider the type of building or homes. Older homes have different problems then newer ones. What are the main issues and best aspects of the area and how do they impact the story? A dirty, trash-ridden street will create a different feeling than an old dirt road with cattle fence separating the properties.

Places to go and things to do

Death_to_stock_communicate_hands_4 Thinks Friends when you’re creating your characters’ daily habits and local haunts. Who’s apartment/house does everyone tend to hang out at and why? What features make it desirable? When they’re out and about, where do they often stop for coffee or to catch up, and how does that environment help the story? If characters need a quiet place to trade secrets or go over plans, a busy, noisy coffee shop might not work as well as a used bookstore.

Something to remember here is that locations should have a point and progress the story. Just because your characters likes kittens doesn’t mean readers need scenes of him or her at a local shelter if it in no way relates to the overall story. Every place or activity needs to be relevant or readers will start to think it’s filler and skim over it.

Work/office worldbuilding

iStock_000023280434Large Similar to building a neighborhood, it’s important to develop the work or office life of a character. How much it needs to be developed depends on how important it is to the story. If a character has social anxiety, a busy and fast-paced office will provide conflict. If a teen character is itching for excitement but works at an outdated video rental store only a few old people visit every week, that also provides conflict. If work is only mentioned in passing to acknowledge that the character does indeed have a job, minimal development is needed beyond the fact that it eats up a large portion of their time and provides an income.

Other sources of conflict and potential to move a story forward include relationships with co-workers, possibility of moving on to something better, fear of being fired, how other people in the office view the MC, and on and on. Again, any detail you insert should have a point, even if it’s only providing a coworker for the MC to sound off to or bounce ideas off.

Relationship to the world at large

DeathtoStock_CreativeSpace8 11.45.06 AM A very important, overarching detail to develop is how your MC relates to the world. This is most often going to develop from backstory. Some writers develop the backstory first while others let it come to light as they write. The important thing about backstory is that it forms a starting point for your character and helps determine an end point.

How does your character see the world around them? What problems or benefits does this viewpoint create? How will they overcome related problems? How will they change by the end of the book?

A character living in an overpriced, cramped apartment in New York will view it differently depending on where he or she was before that. Someone escaping a small town they hated may see it much more positively than someone who has been cut off and forced to make their own way. The character’s view of their world will alter how they will describe a scene, interact with others, make choices, and move within that world.

youth group vacation travel city

Even if your characters are living in the same world we are, don’t skimp on developing a realistic and full setting. The more readers can recognize and relate to where your characters exist, the more they will connect to the overall story. We may all live in the same world, but we each experience it very differently, and so should your characters.

Categorizing young adult fiction

read-515531_1920 I’ve been editing a young adult project I wrote a few years back and never got back to, and it reminded me of a comment I saw on social media a while back about whether YA is an age group or a genre.

Traditionally, YA has been categorized based on audience age and the age and experiences of the protagonist. Youth ages 12-18 are the target audience. Themes focus on new experiences and challenges as characters approach adulthood.

As the genres have shifted over the past decade, there’s been some debate about whether YA is still categorized based on character age and audience age, or if it should even be considered a genre at all. It’s more complicated than simply saying it’s one or the other, or should or shouldn’t be.

It’s not uncommon for a teenage character to face challenges and themes that may not be suitable for a twelve-year-old reader. Is it still YA? The fact that half of YA readers are adults shows that plenty of grownups enjoy reading about the young adult experience. Is it still YA if adults are the largest reader group of a particular book? The wide variety of subgenres, topics covered, heat levels, amount of profanity, and character age ranges in YA shows how difficult it is to pinpoint what is and isn’t YA.

I didn’t read Lord of the Flies until I was in high school, yet the characters are pre-adolescent. The content, however, would make it a difficult read for middle grade readers.

To Kill a Mockingbird’s main character, Scout, is only six years old when the book begins, but deals with difficult concepts and themes which apply to a wide variety of readers of all ages.

Fahrenheit 451 is often listed as both YA and adult fiction, and is frequently on high school reading lists. However, almost all of the main characters are all adults and the story deals with complex themes and difficult scenes.

So what makes a book YA, and is it a genre or age range of target readers?

I tend to agree that YA as a genre attempts to pigeon-hole a huge variety of fiction into one category. It says more about the age range of readers someone out there thinks will enjoy the story more than what type of book it is. TO me, that’s not a terrible helpful category. You have to move on to subgenre to figure out what a book is going to be about.

Classifying a book has more to do with the point and purpose of the story than the age of the reader or characters. Does the story speak to the experiences of a young adult? The teenage years are often a time of self-discovery and trying to figure out where you belong in the world. Young adults face a lot of “firsts” that are often complicated to manage and can have a huge impact on the way they see themselves and the world, good or bad.

YA fiction tends to focus on the specific challenges and crises that go along with entering a new world (adulthood, moving towns or schools, first relationships and jobs, etc.), social and emotional growth and development, exploring boundaries (relationships, drugs and alcohol, sex, etc.), and self-discovery.

Of course, many adults face similar issues, which is why the lines get blurred so often between genres, however, teens tend to experience these things differently than most adults. This shifts the focus or perspective of YA fiction. A relationship at 16 is very different than one at 40. The same goes for jobs, school, sex, and much more. The thing is, though, that those experiences are interesting to more than just the teens out there living it because it’s about the human experience.

Despite what genre gets listed on Kindle or Apple Books, YA is more complicated than simply saying it’s a defined genre or an age group. An author may have a specific audience or purpose as they write, but readers take what they will from each book they read and catalog it in a way that makes sense to them. The exact definition matters a lot less than whether or not the story speaks to readers in a meaningful way.

The in-between times are weird

desk-2906792 It’s been a long time since I haven’t had a project that I was in the middle of and felt pressured to finish.

Don’t get me wrong, I have multiple half-finished books, podcast audio files to edit and upload, marketing stuff I keep meaning to do, and new ideas bouncing around in my head. I just don’t have to do any of them right this second.

For months it’s been one deadline after another, learning a new job, trying and often failing to keep up with things at home and learning to ask for help, and feeling like I’m constantly behind.

It feels good to have wrapped up all my freelance projects and pressing personal projects and feel like I’m getting a handle on my job. What feels weird is not having anyone bombarding me at the moment. I don’t know what to work on next. Part of me wants to just enjoy not having to do anything right this second, even though I know I have a long to-do list waiting for me.

I have ideas for a fifth and final Date Shark book, the next Escaping Fate book, “Oracle Lost,” is outlined and ready to be written, I have a concept for the next Ghost Host book, I have a few chapters written for “Child of Hope” (sequel to the still unpublished “Child of Destruction”), the next Arcane Wielders book is about a 1/4 written, scenes for the next Eliza Carlisle book are bouncing around in my head, and I have a couple of brand new ideas I think readers will like. What I don’t have is a plan to get through all of that.

This strange in-between feeling is almost overwhelming. To get back into an open series, I need to reread the previous books. To start something new means putting off half-finished projects. To focus on marketing means I’m not writing. It has me at a standstill in some ways.

What next?

If any of my readers have a suggestion on what book they most want to see next, shout it out!

Re-releasing the Date Shark series

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Earlier this year, I got the rights back to my Date Shark series, and I knew it wasn’t going to be as simple as simply republishing them for several reasons.

The editing on the first book had been horrible, and I realized when I started re-editing that the edits I had sent back to the publisher five years ago had been ignored. I’d received multiple complaints about the editing from readers when it first published, but it was out of my hands at that point.

The editing did improve over time as the publisher I was working with upgraded their editing staff, but there were still enough errors remaining that I knew the entire series needed to be re-edited. That process took me almost five months because I didn’t have a lot of spare time after starting a new job at the newspaper and taking on a few too many freelance projects.

I also needed new cover art before I could republish the series. I was happy to redo the first book’s cover, but I had chosen the model art for books two through four, so at least I didn’t have to start completely from scratch. My main challenge was not being able to use the cool shark fin A in the original cover art and trying to find something comparable. My husband helped me choose a new font and rightly steered me away from trying to include any water-like effects and just go with the sketched shark logo instead.

My next challenge was when to re-release each book. I asked other authors and got advice on scheduling, but in the end, it took me so long to format each book that they ended up spacing themselves out well enough, for the most part. Books two and three released within days of each other because, honestly, I was sick of working on them and just wanted to be done.

Going back through these books was actually a fun experience overall. I hadn’t chatted with these characters in almost three years and had forgotten how much I loved them! Sabine and Michael’s story is still my favorite of the series, and rereading the books reminded me that poor Leo never got to have his own story.

I had planned to give Leo a voice as the final book in the series, but because of issues with the publisher and limited writing time back then, I stored the idea away for later. I do have some other projects that need attention, but I want to eventually come back to Leo’s story and finish off the series by giving him his own happy ending.

For now, the series is back up on all the major retailers and ready to meet new readers!

You can find all the links here.

The Date Shark series is back!

The Date Shark Series is available again is independent books, complete with new covers and editing!

The first book in the series was so much fun to write. It was a challenge not to rely on anything supernatural to keep the story going, but it made me work harder and I was really pleased with the results. The idea for this book came from an experience I had when I submitted a query letter to “The Query Shark,” which she promptly ripped to shreds (deservedly) and set me on the right path. I couldn’t help but wonder what it would be like if there was a similar “shark” for women who needed a dating overhaul.

Date Shark, book 1

Date Shark FRONT Life as the marketing director for a popular fashion boutique is overwhelming for Leila Sparrow, to say the least.

She’s not sure what ever possessed her to add revamping her dating life to her already hectic schedule. Calling in renowned Date Shark, Eli Walsh seemed like a good idea until she actually met with him…

Date Shark was only meant to be a side-enterprise to his thriving couple’s therapy practice, but Eli Walsh knows it’s become more of an obsession.

At least, it was until he agreed to take on Leila. Somehow she has stolen his entire focus. He wants to admit his fascination with her and growing romantic interest, but he knows coming on too strong will scare her away.

His plan to convince her that she is worth any man’s interest by first being her friend is challenged when his tips start to pay off and Leila begins dating Luke.

Will his friendship with Leila mean the end to any romantic pursuit?

Available Now!

Shark Out Of Water, book 2

Shark Out Of Water FRONT Guy Saint Laurent is too busy cursing his sister for roping him into taking over Eli’s Date Shark business to prepare himself for the slew of bizarre women he’s about to get involved with. This is the last venture he intended to take on, but somehow he’s just become Chicago’s newest, most reluctant Date Shark.

On top of dealing with bug-toting, mothering, obsessive women, Guy faces personal tragedy that changes his outlook on life, whether he wants it to or not. He’s not sure what it is about Charlotte Brooks that draws him in, but getting her off his mind after a brief encounter proves impossible.

As Charlotte tries to help Guy deal with his loss, he begins to get the impression she’s hiding something from him. He knows he could simply walk away, continue as he always has, but he suspects whatever she’s hiding, she won’t be able to face it alone.

Charlotte is the one woman who can capture his attention, but she may also be the one woman capable of breaking him.

Available Now!

The Only Shark In The Sea, book 3

Vance Sullivan has always been the rock everyone turns to for help…

His work with patients recovering from traumatic events makes him the perfect person to help his friend, Guy Saint Laurent, with one of his Date Shark appointments. When Vance meets hesitant, frightened Natalie Price, he suspects she’s hiding the truth behind her fears, and he’s drawn in by a need to help her.

Haunted by a terrible event from her past, Natalie can’t even endure being touched without suffering a crippling panic attack…

She doesn’t know why, but Natalie feels Vance might be the only one who can help her put the pieces of her life back together. Despite the tension their arrangement causes with his girlfriend, their bi-weekly sessions seem to be helping…as long as he keeps his promise not to push her to reveal more than she’s ready to share.

Suddenly the tables have turned…

When Vance suffers his own unspeakable tragedy, asking for help is the last thing he wants to do. Drowning in grief and guilt, crushed by betrayal and lies, Vance needs a lifeline.

Natalie has no idea why anyone thinks she can help him, given her own deep-rooted fears—but she knows she has to try. A twisted notion of justice makes the danger all too real, and Vance and Natalie realize it might take one broken soul to mend another…

Available Now!

Shark In Troubled Waters, book 4

Shark In Troubled Waters FRONT Sabine Saint Laurent is known as the Princess of Paris. Polite, beautiful, charming, polished…perfect.

Everything is always under control, and when it isn’t, she handles it. It’s been an eventful few years with friends getting married, having babies, getting kidnapped, and almost dying, but she’s made it through each upheaval with poise. Just as she’s looking forward to things calming down, her entire life is upended by a startling piece of news.

Aside from her agent managing her day-to-day affairs, Sabine does not ask for help. Not even from her close knit group of friends and family. So when she finds herself struggling to cope with major changes in her life, she’s determined to power through on her own. It should be easy enough. Everything is always easy for Sabine: modeling, men, money, languages, art, cooking. Finding out she’s pregnant shouldn’t be any different, right?

Except it’s not easy. Nothing about navigating pregnancy, custody, complications, and a man she despises trying to seduce her is simple. Michael Moniteau’s intentions are questionable, but she desperately needs help and he’s the only one who understands enough to give it. It could be the beginning of something wonderful, or it could break the heart she’s kept carefully shielded for so long.

Available Now!

Torino Dreams is Available Now! #newrelease #romance

Kate can fix the damage to Sam’s car after their accident, but can she protect herself from falling for him and putting all their lives in danger?

Torino Dreams

Kate hates hiding, but the risk of her past sneaking up on her is too great to risk getting involved in anyone else’s problems. At least, until getting involved is the only way to avoid a run-in with the police.

The snow was to blame for the car wreck, but desperation forces Kate to make Sam an offer she’s sure she’ll regret. If she can fix Sam’s car and send him on his way without the getting the cops involved, she can get back to her normal, safe life.

It should be easy enough. Kate knows cars better than almost anything else. She can repair the damage to the car, but can she protect herself from falling for Sam and putting everything she’s worked for in danger?

This is a standalone book, so no waiting for part 2!

Eliza Carlisle is Back and Stirring Up Trouble

Exciting news for Eliza Carlisle fans!

The Catalyst is available again (post-Kindle World rewrite version) for purchase as an ebook on Kindle, B&N, and Smashwords. Apple Books and Kobo are coming soon as well! The Catalyst is also available in paperback for the first time!

Catalyst reboot available now

Looking after Eliza Carlisle is about as easy as bathing a cat!

MORE exciting news is that book 4, Incendiary, is close to being finished and will be released in early 2019!

Here’s a sneak peek!

Incendiary (Coming Soon)

Eliza Carlisle Mystery, Book 4

Incendiary FRONT

How long can Eliza keeping looking over her shoulder before she finally sees her own death approaching?

New Year’s means resolutions, getting on track, making decisions.

For Eliza Carlisle, starting a new year means making tough choices, even if those decisions mean losing friends and possibly getting kicked out of culinary school. She’s all set to take her life in a new direction when her demented half-brother Simon’s reappearance changes everything.

Broken and more alone than she’s been since fleeing her childhood home, Eliza struggles to hang onto the fragile threads that are holding her life together. Only a comically disastrous young chef and the threats against her life pull Eliza out of her fog of self-loathing. Saving seven-year-old Clara means ignoring the threat Simon now poses and surrendering to burnt grilled cheese sandwiches and whipped cream-splattered kitchens…not to mention family secrets, death threats, and a whole host of spy gadgets. And who can forget about Baxter?

With so much mounted against her, Eliza has as much chance of surviving the criminal elite, her psychotic half-brother, and Baxter’s determined advances as she does escaping Chef Harper’s quest to kill her culinary dreams.

#LessonsLearned: Fahrenheit 451

In my continuing quest to read more of the classics, we listened to Fahrenheit 451 on a summer road trip. My kids are 12 and 15, and they really got into the story. It turned out that my son had to read this in school this year, but for some reason I never had to read this in high school. Instead I was slogging through Great Expectations and The Iliad…

We listened to this on Audible, and I have to say, Tim Robbins was the perfect narrator for this book. His quirky style and expressive voice fit very well with Guy Montag’s character and the whole feel of the story. Well done.

Now, on to the lessons learned, because part of the reason I embarked on this quest to read more classics was to understand what made them classics and what these writers did to have their stories stick in the minds of so many people for so long.

Lesson #1 – Side Characters Can Make All The Difference

Let me start by saying that after we listened to Fahrenheit 451 we watched the HBO movie version, and I actually enjoyed it quite a bit. No, it was not the original story. That’s okay. BUT…one of the changes we were all most disappointed by was that Guy’s wife Mildred was completely written out of the story.

Mildred was a bizarre character, but that’s why we loved her. The first time you meet Mildred, she’s overdosed on sleeping pills and Guy has to call some version of 911 to get her help. She’s okay by the next day, and when Guy mentions what had happened, she says that she wouldn’t have done something like that and forgets about it. She initially tries to understand Guy’s anguish over the books he’s stolen, but ultimately can’t handle the threat to her worldview and basically loses it and turns on Montag.

While Montag is the character rebelling against society, Mildred is a prefect example of what this society has done to the people within it. She wraps up multiple ideas and messages and concepts in one nutty package and tells the reader so much more than endless pages of explanation ever could. Bradbury “showed” you his cautionary world through an expertly developed side character.

Lesson #2 – You Don’t Have To Shove Your Message Down Readers’ Throats

Fahrenheit 451 has several important themes: the importance of free speech without censorship, the dangers of mindless conformity, how detrimental pleasure seeking and instant gratification can be, and the importance of not being willingly blind and ignorant. It’s a fascinating piece of social commentary, but readers are shown all these themes through characters’ thoughts and actions rather than Bradbury launching into long discussions about philosophy and social theory.

The fast cars that kill so many young people are casually mentioned in a conversation with Clarisse, highlighting how a fanaticism for entertaining and instant gratification has drastically reduce the value of human life. Mildred’s attempted suicide and the general feeling of malaise and depression of the characters shows how willing ignorance and conformity slowly destroys the spirit. Montag is affected by the woman who is burned with her books, but then we learn he’s been stealing and hiding books for a while, showing deep seated internal problems in an outwardly average and law-obeying citizen. Clarisse is an outcast simply because she likes to take walks and observe the world. She’s a threat to society because she makes others think about their own lives and choices.

It’s a classic example of “show don’t tell”, but I point it out because when writing with a clear purpose and message, “telling” often overpowers the “showing” and pushes readers away. Weaving your message into your characters, setting, and storyline will have more impact and stick in readers minds much longer than shouting at them to agree with you.

Fahrenheit 451 Lessons Learned