Building Character ““ The Art of Genuine Interactions

Ace Jordyn Character Craft & Skills Ideas & Plotting The Writing Process 4 Comments

We can build worlds, create interesting characters, have background information and personality/motivational analysis that fills a book. After studying how to create characters, how to make them interesting, unique and multidimensional, we must somehow bring them to life and make them as real to the reader as a living, breathing human being. Yet how can this be done?

wrestlingIt’s all about relationships. Characters come alive when we see them in relationship. Their interactions (actions and reactions) reveal their innermost secrets, their fears, their world view, their values. Just like us, they act and react to those around them – life is not lived in a vacuum. That’s why the background work and world building are so important. What is the society’s prevailing code of ethics or conduct? Where does the character live – the social and survival norms are different from a crowded city in first world or third world economies, rural or urban settings, earth, Mars or a fantasy world. This determines what is important to the character – what she values or abhors.

We interact with and react to our families, our pets, our loves, those we loathe, those we casually know and those we don’t even know but have a strong reaction to. A strong reaction to strangers? Think about it. Do you slam the phone on the telemarketer or do you make friends with that person? Do you disregard or mock political propaganda from the party you don’t support or do you take the time to befriend a supporter and understand their views? In both examples, the interaction with strangers is at different ends of the spectrum – from blatant disregard to embracing their humanity. Most of us are somewhere in between. The way we choose to interact with people in these situations is determined by what we value, what motivates us and what issues are pressing in on us. Knowing where your character lies on the value spectrum will make it easier to write believable character interactions. Is your character determined or unsure? Have faith in life or believe it can’t be trusted? Accept or reject change?

For example, in a self-help book on relationships (those are gold mines for writers!) titled Love is a Many Splintered Thing by Patricia H. Rushford, we follow Samantha and David as they journey from the honey moon stage to near sky divingdivorce. The fight scenes, simply done for illustrative purposes, are quite compelling. In one scene, we learn that David has manipulated Samantha’s computer dating data sheet so that their scores will jive. Samantha is so furious that she wants nothing to do with David. David is hurt and upset. He had fallen in love with her the moment he saw her and didn’t want to trust a machine with the rest of his life.

So, why did Samantha have such a strong reaction to David’s action and why did he manipulate the data? The answers lie in their backgrounds, in those deep dark corners that are so easy to ignore yet which compel us to act as we do. As Rushford explains: David is a man’s man, always in control and is uncomfortable with the feelings Sam has awakened in him. He has tried to be the kind of man he thought his father (now dead) would have wanted him to be but David feels he has never quite succeeded. Now once again, in his relationship with Sam, he hasn’t quite succeeded. Samantha, on the other hand, comes from a childhood of abuse and neglect and so resists love for fear of abandonment. At times her emotional needs exceed her ability to reason.

Understanding fears and aspirations this deeply means a writer can stay true to the core of who their characters are. That then makes their actions and reactions more consistent and true to their nature as they interact with other characters. What about dialogue and body language? Both are important and once again, are part of knowing your character well. Is her language terse? Can he say what he means? She talks of feelings while he refers to car manuals. Is her manner aloof, open or frustratingly neutral? Is there a combination of warmth and cold, efficiency and aloof caring, that is both appealing and frustrating? How does each character react to how the other speaks let alone to what he or she says? Thinking through those dynamics creates most interesting interactions.

There is one major stumbling block to writing genuine character interactions. That is unconsciously slipping into your own value system and not remaining true to your character. That’s when characters and scenes become one dimensional. Personally, I hate conflict. I prefer to be the peacemaker. Knowing that about myself gives me the awareness I need to let my characters be themselves in all their gore and glory. The best writing advice I ever received was permission to be cruel, to ramp up the stakes, to let my characters sweat, squirm and yes, fight.

tentBy knowing our characters intimately, from their deepest darkest fears to their speech patterns, we can totally abandon ourselves to the muse and write compelling, memorable scenes that will whisk our readers into our characters’ worlds.  Ah, yes, the elusive muse – that’s the moment when we know our characters so well that on paper, we become them and we give genuine voice to them and to those they interact with.

What things have you learned to bring your characters to life and to make their interactions genuine?

Characters: A Writer’s Best Friends or Bêtes Noire?

Authorial Trust Character Craft & Skills Reader Investment & Empathy The Writing Process 4 Comments

“There are nine and sixty ways of constructing tribal lays, and every single one of them is right!”
–  Rudyard Kipling

Every writer does things a little bit differently, and that’s just as true of building/creating characters as it is of any other task in the writer’s list.  That being said, there are still some common elements that we as writers can talk about when it comes to the creatures of our minds that inhabit our stories.

So how do characters come to light?  To my mind, there are three basic paths you can take to create characters, none of which are mutually exclusive.

First, characters can grow out of world building.  If you’re a writer who spends much time creating a self-consistent story universe before you begin writing the story, you may well create the universe first, then ask yourself what kind of people would inhabit it.  I know of several authors for whom this would appear to be their favorite method, but probably the most well-known example of this would be J. R. R. Tolkien’s Middle-Earth.  Tolkien first invented the amazing languages in his stories, then tried to imagine what kind of people would speak them.  Out of that grew the stories that served as bedrock for The Hobbit and The Lord of the Rings.

Second, characters can grow out of situations.  This tends to be very true of writers who tightly plot their stories, from what I can tell.  If you’ve got this great idea for a end of civilization as we know it story, what kind of character would tell it?

And third, sometimes the characters steps onto center stage in your mind, full-blown, full-grown, out of seemingly nowhere.  This tends to happen a lot with writers who are pantsers.  (Raises hand.  Happens to me a lot.)  The problem then is trying to figure out what story needs to be told for that character.

There’s going to be more posts later this month about specifics of characters and characterizations.  I’d like to spend the rest of this one dealing with one thing we as writers sometimes don’t think about very much.

I’ve often heard it said that one of the keys to successful story telling is having believable characters.  That’s true, as far as it goes.  But in today’s reading environment, it’s just as important-if not more so-that characters be ‘connectable’.  In other words, do the readers connect with them-do they feel what the characters feel?  If your readers don’t feel some kind of empathy for at least one of the characters in your story-preferably the hero-it’s not going to succeed.  But for your readers to connect with your characters, you have to connect with them first.

Case in point:  Marion Zimmer Bradley told an anecdote on herself in a story introduction she wrote for a story in The Best of Randall Garrett (edited by Robert Silverberg, Timescape Books, 1982).  She was talking about the friendship she had with Randall, and how many times and ways he had helped her.  At one point she tells of being five chapters into writing a new novel.  It wasn’t going well, and she could tell that it wasn’t going well, but she couldn’t figure out what the problem was.  It was driving her nuts.  So she drove over to Randall’s house, handed him the manuscript, and asked him to tell her what was wrong.  She waited while he read the five chapters.  His response after doing so was as follows:

“Honey, you know what’s wrong with this book?  It’s written very well and it’s a nice idea.  But your hero is a klutz.  Nobody wants to read about a klutz.”  (The Best of Randall Garrett, page 44.)

Marion concluded the anecdote by saying that she immediately recognized that his critique was valid, that she rewrote all five chapters to make the hero into a different person, and the rest of the writing went smoothly.

I told you that story to make the point that no reader is going to connect with a character that we as writers don’t connect with, that we don’t understand, that we don’t have some form of empathy for.  It doesn’t matter if they’re bad guys or good guys.  It doesn’t matter if we built the characters like Legos in the world building process, if we discovered them dealing with disaster, or if they sprang full-grown from our foreheads in search of a story like Athena from the brow of Zeus.  If we don’t feel them, if we don’t understand them, if we don’t connect with them, our readers won’t either, and the story will fail.

If you want your stories to work, you don’t necessarily have to like your characters, but you do need to understand them and feel something for them.  This will come through in your writing.

Relationship Rumba

Character Craft & Skills Nancy Greene The Writing Life Writing Tools 3 Comments

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Okay, before you can go to the conventions and use your elevator pitch like we talked about last month, you have to write the story. This month we’re going to focus on the craft aspect of writing. Because it’s February, and for some reason this month bring about images of mostly naked babies holding bows. we’re going to focus on relationships. Don’t groan – we aren’t going to spend the entire month talking romance, although it will be a topic this month.

Think about the stories you love. What made you love it? Not the plot. Not even the special effects. It’s the characters and their journey that takes a story from like to love.  Some of the all time most loved stories include Gone With The Wind, The Wizard of Oz, Charlotte’s Web, and To Kill a Mockingbird. Action adventure movies can be loved, but it seems to me that only happens when there’s something extraordinary about the character dynamics.  Well loved stories, regardless of genre, all have one thing in common – characters that stay with us long after we close the book.

I’m going to use one of my favorite books – The Last Unicorn by Peter S. Beagle – as an example of what I mean. Each of the characters, even the unicorn, is flawed. Schmendrick the Magician (and I didn’t have to look up how to spell his name even though my spelling is atrocious) can’t actually work magic. He’s the incompetent fool, the disappointment and the failure. He can’t touch the unicorn. He joins her quest to benefit himself, not because it’s the right thing to do. Yet, he still finds the strength to get up each morning and try to be a true magician. Molly Grue lives with bandits. She’s brash and a bit crude. Yet, her heart is pure enough to see a unicorn. King Haggard has everything, but can’t feel joy or love. The unicorn is immortal, but she doesn’t know love or regret. A misfired (or not) spell robs her of her immortality. Over the course of the story all four of these character (and Prince Lir) confront who they are.  All are searching for something more than themselves. All but one changes.

Why is this one of my favorite books? Because of the depth and beauty of the characters and their interactions. Peter S. Beagle’s A Fine and Private Place is also on my most favored books list for the same reason. I wanted the good guys to win. I wanted the bad guy to get his comeuppance.

How did Peter Beagle and all those other writers create such memorable characters?

Well, that’s what we’re talking about this month.

This month we’ll look at creating a complete characters, the “good” bad guy, and believable character interactions. We’ll spend some time on Romance in deference to St. Valentine’s holiday. But also platonic relationships between the characters and conflict in general. Please check out posts over the month, and remember it’s not too late to get that box of chocolates.

In Conclusion…

Business Colette Black Conventions Networking 5 Comments

Hey all,calendar_25

We’ve had a great time talking about conventions, conferences, workshops, and seminars throughout the month. We hope you’ve enjoyed the ride. I wanted to take a minute and summarize our posts for the month as well as mention a couple of venues that didn’t quite fit into our schedule:

Some local conventions:

The big babies:

Workshops and seminars:

  • Superstars Writing Seminar (mention fictorians when you sign up and receive a free, autographed copy of one of Kevin J. Anderson’s books)-Colorado in May
  • Caravel Writing Workshop (6-day cruise with David Farland, Kevin J. Anderson, Rebecca Moesta, and Grammar-girl Mignon Fogarty; from Vancouver B.C. to San Diego)-October
  • David Farland’s Writing Workshops (mention fictorians when you sign up and get $20 discount or dinner with Dave)-throughout the year, most in Utah, but not all
  • Dean Wesley Smith Workshops (online also available)-Oregon, varying dates

These aren’t all the workshops and conferences in existence. There are many more. But these are the ones fictorians members have either attended or heard good things about. As you plan your year, and plan your goals for the year, we hope this list can help.

Stay tuned next month as we talk about romance in writing: levels of heat, as a main plat and a sub-plot, where to get information and instruction, writing different types of relationships, relationship conflicts…. It’s going to be a good month.