Interactive Interviews VS Traditional Interviews

Several weeks ago, I introduced a new style of author and character interviews—the Interactive Author Interview and the Interactive Character Interview. In this new style, I do away with the traditional list of questions but instead invite the author into a fictional setting for a comfortable, friendly chat. In the character interview, the author takes us into his world for the interview, and we get to meet and observe the character being interviewed in his own environment. This style makes both the author and the character more real, and here are a few things people said about their experience being interview this way:

I’ve never been a fan of interviews, but once I was warmed up in towards the beginning of Kelly’s interview, I had a blast!” Ted Covey

It was a pleasure to have gone through the process with Kelly…If one has the opportunity, I would strongly recommend other authors set up time to be interviewed by her.”Daryl Ball

Kelly Blanchard’s story style interviews are no end of fun and fascination.”Ryan T. Nelson

Interview with Kelly Blanchard is set apart because interacting with her didn’t feel one bit like I was answering a staid questionnaire.” Vibhuti Bhandarkar

Kelly’s author interviews are a fascinating experience for any author.”Valerie Seimas

And there is much more authors have said about the experience, but I realized there was one other group of people whose opinion of these interviews are vital—the readers. While this style of interviews solves many problems with the standard author and character interviews and thus making the process all the more enjoyable, what would the readers think? So I asked for volunteers.

I took an author I hadn’t interviewed yet—Ronnie Virdi, author of ‘Grave Beginnings‘. I interviewed him with both styles of author interviews then used both styles of character interviews with his character. Then I presented both sets of interviews to 23 volunteer of readers, and I asked them which style they preferred and why. Here are the results:

  • 17 people voted the Interactive Interviews for both the author and character interviews.
  • 6 people voted the Traditional InterviewsOf those 6 people:
    • 2 were leaning towards the Interactive Interview for the author interview
    • 4 voted Traditional Interview for the author interview, but they chose Interactive Interview for the character interview.
  • Out of 23 people, 21 people voted Interactive Interviews for the character interviews.
  • Only 2 people voted for the Traditional Interviews for both author interview & character interview.

To view that as percentages, it would look like this:

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Here is what readers said about their experience reading these interviews:

I like the interactive style better. Nothing draws another writer in more than a story, and it gives you more to think about than a bulleted list of questions.”Kelly Blechertas

The interactive one gives a lot more feel for the author as a person. It feels like a more intimate and friendly exchange, and it gives me a sense of their potential writing voice.”Megan Reed

I enjoyed the interactive interview more. The regular interview was informative but felt like I was reading it in a magazine or watching it on TV; whereas the interactive engaged not only my intellectual side, but spoke to that part of me that gets lost in stories.”G. Scot Phillips

Interactive interview by far, most prominently for the fact that once he gets into the world, it is easier to phrase the answers in his own comfortable way, complete with mood defining subtext. The whole mechanism is comfy.”Jack Frost

The traditional interview felt all clinical, I don’t really like those. I read interviews to “meet” people. I definitely liked the interactive better because it felt more like meeting a person.”Adrienne Devine

Now, not everyone liked the Interactive, and here are some reasonings of those who preferred the traditional:

I prefer the traditional question and answer. In the interactive one, I find myself searching for the questions and answers, ignoring the rest.”Kim Hutchinson Halcomb

The traditional one. It could be that its just what I’m used to, but I had a hard time paying attention kinda in the interactive one.”Sara Lucinda

If I’m being honest, I am partial to the traditional. I’m not really sure why. There’s nothing wrong with the interactive, it’s fun and engaging, but I think I just prefer the more traditional interview.” Sabrina Danielle

I guess it would depend on WHY I was reading the interview. I definitely felt like I learned more about Ronnie’s writing from the traditional interview though I may have gotten a better sense of who he was from the interactive.” Valerie Seimas

Depends upon my mood honestly. To read the interactive one – the one set like a story – I have to be in the mood and prepared for it. Knowing what style/what to expect, there will be times where I am more receptive to it. If I were to just be gleaming for information, I like the style of the traditional one.” Jennifer Ruvalcaba

So, what is the verdict? Among authors and readers, the Interactive Interviews are largely popular, but there is still a place for the Traditional Interviews. The traditional style interviews are readily available to anyone who wants to conduct interviews. Sample questions are just a Google search away. However, the Interactive approach is much more involved and time-consuming to conduct because each experience is tailored to each author, but it is an option for those who just want to have a more fun interviewing experience. 

To read some Interactive Interviews, you may find them on my other blog, “Meeting with the Muse“. If you’ve published a book and would like me to interview you using this interactive style of interviews, and if you would like the interviews to be promoted on my site, leave a comment, and I’ll be in touch with you.

Grace Snoke’s Character Interview Review

This week I am currently running a survey based on readers’ preferences regarding which form of author/character interview they preferred–traditional or my more interactive style. Next week I plan to publish the results of that survey here, but in the meanwhile, one of my interviewees, Grace Snoke, blogged about her experience with the Character Interview, and she gave me permission to share it here. Be sure to read about her experience with the Author Interview.

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(Originally published on Grace Snoke’s blog here: Character Interview with Kelly Blanchard)

A two part interview process, last week I reviewed the author interview Kelly had with me two weeks ago. This week I follow that up with a review of my character interview with her.

Much like the first interview, it’s much like writing a story together, except instead of her setting the scene for it, I set the scene of it, taking on the role of my previously un-named pseudo-antagonist. He’s sort of an antagonist but as the story goes, we’ll quickly learn he’s not the real antagonist – that wasn’t revealed to me until I did the interview with Kelly.

The character, named Marcus Diehl, is an entertainment lawyer who is also a werewolf. Marcus has been a thorn in my side for a while, not really telling me much about himself and I used this interview to help figure out the details by, literally, taking him on as a role and answering the questions she had as him.

In doing this, the character opened up and let me – and her – know a lot more about him than I had previously known.

Outside of the first chapter and preview of my book and me letting her know that he was the antagonist (sorta-antagonist), she knew relatively nothing about the character and this allowed her to ask questions that made me think and figure out the answers about him (or made him reveal them to me).  I’m often of the opinion that my characters write themselves – they often do – just sometimes they need outside help to make it happen.

I have to say I was very pleased with the interview and it has helped me move forward and add chapters into my book now that I know what is going on a bit better.

For examples of other character interviews, check these out:

My interview won’t be available until sometime in January.

Kelly is offering character interviews outside of these that she’s currently doing for $25 an hour of $50 for two hours. If you have a character that just isn’t talking to you, I suggest looking into her offer. It will be money well spent.

Writing Physical Action

Writing physical action in stories—how do we do this? When you’re writing, you write multiple kinds of sentences—narrative, dialogue, description (when it comes to the setting and the environment), but also physical action. How much of this action should you include? When and how often should you include it? Why should you even include it?

Let’s address the ‘why’ first. Our characters are physical beings—they may not be human, and sometimes they may be supernatural, but they still possess the ability to move and interact with their environment and others around them. This interaction then moves the story onward, but it also reveals something about each character. Their mere action can add immediate depth to their personality.

When should this action be insert into a story? Well, my question to you would be: when does the character move? I’m not saying you need to record every little physical movement they make, but there are subtle ones which speak volumes of an individual in any situation. For instance, let’s say you have a character who reluctantly committed a crime, and the police as questioning him—not quite realizing he is the criminal—and they ask a specific question that makes him uncomfortable, so he reaching up and rubs the back of his neck as he shrugs and offers an answer. That mere movement says tells us he’s uncomfortable—that there’s something more beneath the surface. Any eagle-eyed detective would zero in on this and try to slowly corner the man into revealing what makes him so uneasy. Further body language such as nostrils flaring and eyes narrowing indicate to anger while increased blinking hints at something they’re trying to keep hidden. Shifting eyes are uneasiness with the situation while sudden stillness in their bodies and eyes deliberately locking with the detectives and calmly answering each question could be an indication of lying. All of these little physical actions build character. You need to determine who your character is and what he’s feeling at that moment. Is he frightened? Angry? Upset? Nonchalant? All of these will have different body language, and when you use these actions in a scene, the reader will pick up on it, probably not completely understand the exact meaning behind the movement, but they know something is up and can come to conclusions.

So, one good place to put these small physical movements is during a conversation. As an experiment, remove the dialogue tag (said, answered, asked, replied, etc) and insert body language because dialogue tags are redundant as I explained in a previous posts (here and here), but the body language captures the personality of the character, and this is vital for a story.

Now just how much of these physical movements should you include? As much as is important to the story. There is a delicate balance—much like any description in a story. I can’t tell you exactly how much or how little to use because you will have to determine that for yourself. There is no magic formula. However, a few things to keep in mind when trying to determine what physical movements you should include:

  1. the main character: their personality, their mood in that moment of the story, their connection to others in the current scene, and anything they may not want revealed.
  2. the other characters in the scene and their connection to one another
  3. the environment (physical setting)
  4. the atmosphere (mood of the setting/characters)

If you think too hard about this, it will seem daunting. Rather, try to imagine it like a scene in a movie. You can visualize it clearly in your head. Everyone moves at all times even if it’s simply narrowing eyes or taking a deep breath or clenching the jaw. Does this mean you should show every movement of all the characters? No. The ‘camera’ (the character through whom we’re viewing the scene) doesn’t focus on all the characters at once. Whomever we’re looking at is whose body language and physical action you should be concerned with. Now, say you’re focusing on one character but there’s another character behind the one you’re focusing on, so you can see both, but you’re not really focusing on the second character. However, that character in the background could wave his arms or silently start mocking behind the back of the first character. This would draw your attention, and you can show it, but it’s up to you whether or not you let the first character become aware of what’s happening behind his back. If you don’t let him know, that’s all right. It’s just a funny instance that reveals to your reader what that other character really thinks of that first character.

Basic things to think of when trying to determine what physical action to use:

  1. Does it reveal something about the character’s personality? (do they experience a flash of anger when they should be unaffected?)
  2. Do the actions arrange the characters in the room in a manner important for the following actions and scenes? (a character may enter a room and begin a conversation with the other character in the room but walk around to the window to look out. Several things could happen. a) the character at the window could be shot by a sniper, b) someone comes dashing into the room announcing there’s an emergency, so both character race out of the room, but the one furtherest from the door is a little further behind. An ambush could befall them, but because that one character a further behind than expected, he might be able to turn the situation on its head…or maybe he’s the one behind the ambush).
  3. Do the actions add and show necessary tension? (two characters agree to meet for a talk, but they don’t trust each other. They enter the room but then walk around each other—orbiting one another. Sometimes this may be obvious, but other times it may be more subtle as in one character going to the bookshelf in the middle of the conversation and pretend to skim over the book titles while engaging in conversation. The other character goes to the bar on the other side of the room and pours himself a drink. The character at the bookshelf then goes to the window, so the character at the bar moves toward the door.)
  4. Does the action add to the flow of the story or slow it down? (adding every single TINY detail will bog down the story whereas adding only the details important to show what the character is feeling in that moment leading up to the next big action pushing it forward.)

Of course there are many other things to keep in mind when writing this, but I can’t think of everything. However, throughout all this, one important fact to remember: this take practice to master. Don’t think about it too much. Don’t over-worry about it. Be aware of it and try to apply what I’ve said. The more you do it, the easier it’ll become for you, so be patient and don’t stress out. You will do well.

Writing in Chronological Order

The question has come up, “Is it best to write in chronological order or out of sequence?” To be honest, there is no absolute answer to this. For some people, it is best suited to write things in whichever order they want and skip around to different scenes as they see fit. It works for them, and that’s fine. Then there are others who literally go from beginning to end without skipping ahead. I am part of the latter sect, so I can’t vouch for the former. However, I have observed skipping ahead works for certain individuals, so I won’t disregard it completely. I simply can’t go into detail of how it works.

Now, going from beginning to end is simple because it reflects how life is lived. We can’t skip to our favorite parts in life. It is in those little moments, those moments when you don’t even think has any action or any thrill of any kind, that can actually be the most profound and developmental for us in life. Likewise in stories.

You may have a boring part, and then a fun part, and then three boring sections in a row before hitting an awesome section, and you may really, really, really rather not want to write those boring parts. After all, you’ve had a rough day. You want to write something thrilling and exciting just to release all the stress and tension of the day. There is nothing wrong with that. However, if you write all the exciting and fun scenes first, what will you be left with in the end? Boring scenes—absolutely nothing thrilling to look forward to, but you know you need to write those scenes because they’re important. In that case, you have to knuckle down and write boring scene after boring scene after boring scene without much light at the end of the tunnel except for the relief that soon you’ll be done with the book.

That doesn’t sound very appetizing, does it? Now, of course, those people who do skip around when writing have different methods and ways to do it that they may be able to combat this, but when people come to me and say they’re bored with their story, and then I discover they’ve skipped around, it’s very obvious that the reason why they’re bored is because they wrote all the fun scenes first.

So, how do you combat getting bored when writing boring scenes? How do you fight the temptation to skip ahead to the fun scenes? View each scene or chapter as a row of rocks and cookies. You may have a rock first and then a cookie after that and then two rock and after that three cookies, and so on and so forth. The rocks are the boring scenes that you just really want to throw because they can be so frustrating while the cookies are the deliciously fun scenes. So you come to a rock, and you have to work hard to cut that rock to reveal the diamond beneath. When you get done, you’ve accomplished something great and now have a gem where once that rock was, and then you look at the next scene and see it’s a cookie, so you gabble it up easily, and it’s sweeter now than it would have been if you didn’t work on that rock. If you eat all the cookies at once, you’re going to get sick, and you won’t feel like getting up and doing any work. To you then, the rocks will only be rocks in your eyes rather than you seeing the gems beneath the surface.

In other words, treat each fun scene as your personal reward for pressing through that difficult scene. It’ll fuel you enough to get through the next hard scene, but you know beyond that scene you have another reward awaiting you.

Now, if you’re the kind of person who must go back and edit what you just wrote and do this repeatedly, it may be hard for you to progress forward. See, when you write something and then immediately edit it, what you’re doing is one step forward and five mini-steps back, and then one step forward, and again five mini-steps back. You will be progressing albeit slowly, so the temptation to skip ahead to something more enjoyable will be great, so this is something to keep in mind. Also, remember, when you’re writing the first draft, it is a first draft—doesn’t have to be perfect. It just needs to be completed. You can always (and you will) go back to revise and edit once you’re finished.

So, should you write in chronological order or out of sequence? It’s totally up to you. If you write out of sequence but find you have a hard time completing a story, then try being patient and writing it in chronological order. Does that mean you have to outline the story? No—not necessarily. You may if you wish, but you don’t have to. You may have an idea of future scenes but you’re not quite sure how they’re connected, and that’s okay. Finish writing a scene, pause as though you’re a top of a hill and look out. You can see the future scene out there somewhere, but look down at your feet—what is the very next step you need to take? What is the next scene that is important that you need to write? Write that scene. Then write the next step, and then the next, and then you’ll see that awesome future scene finally drawing near, and you get excited because things are coming together! Then you finally get to write it, and it is epic! But then you find yourself atop another hill looking out again, trying to locate the next future scene you can see. Once you’ve located that, you then look at your feet to determine the very next step you need to take to get to that scene, and go from there.

Does this work all the time? In my personal experience, it has, but that doesn’t mean the story won’t change on me, and that’s part of the fun of writing. You just have to improvise. However, not everyone writes like this, but if you are struggling, this is a method you should consider. I hope it works for you.