Books I Read: Quiet: The Power of Introverts by Susan Cain

(For those of you wondering how our daughter is doing, here is the latest update. Now back to our regularly scheduled blog post.)

Title: Quiet: The Power of Introverts in a World That Con't Stop Talking
Author: Susan Cain
Genre: Non-Fiction
Published: 2012
My Content Rating: G

If you are an introvert who grew up in America, you very likely felt like there was something wrong with you. Like you should speak up more in class, make more friends, be more popular, assert yourself to get what you want.

I know this is how I've always felt. What I love about this book is that it points out that introverts are not wrong -- with a ridiculous amount of psychological studies to back it up -- but we feel that way because American culture subscribes to the idea that extroverts are where it's at.

The thing is (according to the book, though I found very little in the book that I disagreed with) extroverts and introverts have different strengths, and different weaknesses. Studies show that, in general,* extroverts are better under pressure and better at motivating the unmotivated (for example), but they're not always good at sticking with problems or treating warning signs with caution.

Introverts, on the other hand, are pretty terrible under pressure, but excel when given the chance to observe and contemplate. They have a tendency to focus on things they're passionate about, stubbornly following it through to the end (sound familiar?).

This book did an amazing thing for me. On the one hand, it helped me realize that I'm not stuck being who I am. Introverts can be every bit as friendly, social, and even extroverted about subjects they're passionate about, especially when given the chance to observe and prepare (and provided they carve out spaces to recharge themselves).

At the same time, it helped me realize that, hey, this is who I am. There's nothing wrong with introversion. It's just a different style. And it comes with its own strengths (focus, preparedness, higher immunity to groupthink) to make up for our weaknesses (small talk, public speaking, overstimulation).

The numerous statistics and psychological studies might be too much for some (though I loved them). But I'd recommend this book to almost everybody: introverts for sure, but also the extroverts who love them, and especially the extroverts who think we need to be fixed.

Where do you fall on the spectrum? I'm a ridiculous introvert (if you haven't figured that out), though it didn't stop me from being a worship pastor for two years. I'm still trying to find that strength in me again.

* This "in general" is very important. Everybody's different, and introversion/extroversion is a spectrum, rather than two sides of a coin. Susan repeatedly points this out in the book.

"I now pronounce you Doctor and, well...Kaylee."

"Now kiss the gorram bride."

So what's your favorite Firefly episode? Mine's the one where this happened or, if we're being serious, "Objects in Space."

Sketch from Anthdrawlogy's weddings' week.

(Note: If you follow me in other places, you probably know something's going on with our family. I've decided to let the posts I've already scheduled continue as planned (largely because I don't have the time/inclination to change them), but if I'm slow or unresponsive with the comments, this is why.)

Which Prize Would You Like?

If I were to, say, run semi-regular contests around here, what sorts of prizes would you be most interested in, do you think?

poll by twiigs.com

For those suggesting their own prizes in the comments, remember this is for science; try to be mostly serious. Emmet, I'm looking at you.

Daddy, Where Do Crit Partners Come From?

I don't technically have a critique group. I don't meet with other writers on a regular basis, and the only person who sees my chapters as they come out is my wife. Part of that is there just aren't a lot of sci-fi/fantasy writers in Chiang Mai (though admittedly I haven't looked very hard, what with my abject terror of new things).

So I don't have a group, per se, but I do have critique partners -- those hardened souls committed to reading through the garbage I send them. I collect them the way other people collect Pokemon (though my crit partners complain a lot more when I try to stick them in those little balls).

Whenever people ask how to find good crit partners, I want to make a chart. Actually, that's misleading: I always want to make a chart.

DEFINITIONS
Blogging: Either they found my blog or I found theirs. We commented. We discovered common interests. Then one day, one of us tweeted or e-mailed The Question, and a crit partner relationship was formed.
Real Life: I hope this is self-explanatory.
Twitter: Similar to blogging, except I either never knew this person had a blog or I didn't follow it until later.
Through Agent: Not a road everyone can take, but I have recently collected crit partners because we share representation.
Critters.org: A great site if you want to exercise your critting muscles. And every once in a while, a stronger relationship is formed.

Conclusions? Well, blogging and reading blogs has been ridiculously profitable for me in terms of crit partners, but it's not the only road. And it's certainly not the fastest (I've been blogging for 4 years now).

If you're curious what my crit partners look like as writers, well . . . I made that chart too:

What's interesting to me is that, when we met each other, most of my crit partners were at the same spot as I was, and none of them were published. But 4 years later, I now have Real Live Published Authors who will happily read my stuff. That's kind of crazy to me, but I guess this is how it happens -- not by approaching the unapproachable, but by forming long-term relationships and sticking with them.

Where do you find your crit partners? Have any advice for people who have none?

You Know That Fantasy Novel is Really the Author's D&D Game When...

(Remix)

1. It starts in a tavern.
2. There is one protagonist and his 3 or 4 friends, who are different from him in every way.
3. The protagonist is awesome, because every other character tells us so. He also seems the only one capable of making decisions.
4. Dark-skinned elves are always evil, and always dual-wielding.
5. The only limitation on magic is that wizards must sleep before they can cast more spells.
6. Character names contain apostrophes in unneces'sary and inexplicab'le pl'aces.

7. The villain is immensely more powerful than the main characters, but despite their obvious bent on stopping him, he doesn't face them until they are strong enough to defeat him.
8. The main characters are referred to as a "party."
9. The "party" consists of a fighter, a thief, a cleric, and a wizard (alternatively: warrior/rogue/healer/mage, barbarian/burglar/priest/sorcerer, etc).
10. They take on a quest to either save the world or aid the village, for no other reason than that it's right.
11. Despite the fact that there are many characters more powerful than the protagonists, no one else is willing or able to take on the quest.
12. Anyone, anywhere, uses "adventure" as a verb.

Got more?

Books I Read: Closed Hearts by Susan Kaye Quinn

You may recall I talked about Open Minds last year, about a world where everyone can read minds, except for this one girl who discovers she can actually control them. Susan Quinn (crit partner, Author's Echo regular, and giver of the BEST gifts) is releasing the sequel today.

So if you liked Open Minds, go and get Closed Hearts. And if you haven't read the first one, you might as well go do that first. The world building alone is worth it (and I think there's some kissing or something, if you're into that).

Title: Closed Hearts
Author: Susan Kaye Quinn
Genre: YA Sci-Fi
Published: 2012
My Content Rating: PG-13 for make-outs and tense situations

After Kira outed the presence of mindjackers on national TV, things got difficult. Paranoia about what jackers can do is sweeping the mindreading population, complete with anti-jacker politicians and laws. As the most famous jacker in the world, Kira has to stay hidden from readers and angry jackers who liked things better when they were hidden. She thought she was doing okay, until an escaped jacker criminal kidnaps her and forces her to face the thing she fears most: the FBI's experimental torture chamber for jackers.

I love where this trilogy (yeah, there's one more) is headed. There's no easy answers for anybody, which is just how it should be.

And I love how Susan is still exploring this world (without going everywhere). Turns out things might not be as black and white as readers vs. jackers. There are other things too . . .

---

Because Closed Hearts comes out today, Susan also has a virtual party going on at her site and a giveaway. Use the form below to win some cool stuff!

Rafflecopter giveaway
Other books by Susan Kaye Quinn:

Revision: How to Add a Whole New Character

So when Tricia asked me for revisions, one of the things she wanted (which I totally agreed with) required adding one or two new characters. I'd never actually done this before, and I was afraid the new characters would feel flat or tacked on. Here's what I did to avoid that:

1) Define the character. This is the novel that got me my agent, so the existing characters were pretty fleshed out. I wanted to make the new characters as deep as I could -- goals, motivations, even voice -- before I changed a word. (Yes, I planned. What a shock.)

2) Plan what needs to change. I skimmed through the entire novel, making a note of every scene where the character could appear, and maybe what that would do to the scene or the whole plot if they did. Sometimes this led me down some really interesting roads, though other times I realized it would mess things up too much if they were around.

3) Write the character. For each scene in my notes above, I had to decide whether or not they did appear. This was tricky. I didn't want them to appear only in the scenes where they mattered (no chance for development that way), but I also didn't want them to have a cameo in every single scene just because I could. In the end, I decided to keep them in most scenes rather than make excuses for why they weren't there.

Ah, but how to add them . . .

           3a) Dialog. Sometimes the new character had new things to say, but most of my story was already set. Honestly, about two-thirds of the time, the new character just said things that other characters had said. I just changed the tag and the flow of conversation to support it. You'd be surprised how often -- especially in group scenes -- you can swap lines of dialog around without affecting things.

           3b) Narrator descriptions and thoughts. Whoever's head we're in needs to notice the character. Not just notice them, but have feelings about them that affect things. Otherwise why have them there at all?

           3c) Let them shift the plot a little. I wasn't about to rework whole plot points for these characters, but their presence did change things a bit. Partly, this is what they were being added for (to add emotional weight to certain of the protagonist's decisions), but a couple of events took me by surprise. It's usually good to let these things happen.

           3d) Treat it like a first draft. It's so, so hard to add words to a novel that I know works (see the part where it got me an agent). I want the new words to fit seamlessly with the old ones and to be just as awesome. But it's better to accept that they won't be at first. You'll make them good in a second.

4) Read the whole novel again. Slow. Now that the characters are in there, you have to make sure everything still flows. It's not just about continuity and details, but you have to look at the emotions of the scenes. Do the character's words and actions fit what's going on around them? Is she being flippant when she should be scared, or crying in a relatively tame moment? (Mine was).

I also realized there were places where the protagonist could be thinking about the new characters, even though they weren't in the scene. The new characters were now part of the protagonist's life, and I think this helped make them even more real.

5) Send it to a beta reader who hasn't read it before. You can send it to betas who have read it too, but I wanted someone who knew nothing to tell me which character(s) they thought I had added, which felt the most tacked-on.

I was kind of excited when my beta reader named characters that had been in the novel from the beginning. It did make me wonder about those old characters a little, but the new characters felt like part of the story to her, which means I did it right. And honestly, now I can't imagine the story without them either.

Have you ever added a character in revision? How did you do it?