0 comments/ 6025 views/ 8 favorites Creating Believable Characters Ch. 01 By: NobodyWorthKnowing Without characters, a story is little more than a detailed road-map, or atlas. Empty scenes, and situations would be hollow, blank neighborhoods, fictional deserts of magnitudes post apocalyptic. Imagine reading a book where you were given beautiful descriptions, detailed environments, dangerous scapes, and deadly terrains, but nothing happened. Ever. This literary fiction desert would be useless. Writing is not an exacting art; certainly there are exact methods, and exact grammatical efforts which an editor, a publisher, and an audience wants to see, but if writing were set in hard law, all authors would have the same voice, all stories would sound the same, and all fiction would be worth less than the paper it was printed on. No, writing is chaotic order. It is translation of the spirit, the mind, and the body; it is an agreement to share them all with an audience. This is not applicable to poetry. Poetry may describe anything from stale earth, to grains of sugar, and hail as prolific, and genius. This particular application is limited to fiction, and non fiction, in all genres. Non Fiction, and Creative Non Fiction already have a cast; the cast is based off of whatever the situation, and subject deems, for a cast that was present at the time it all occurred. Fiction is a different story. Literally, and figuratively... and character creation is an art in, and of itself. Creating a three dimensional character is hard. Methods to doing so are also debatable among the writing community. Some instructors insist that researching characters is a waste of time, and would have aspiring authors simply write a story, use their characters how they will, and complete the task. The belief that an author who knows their characters will translate to paper that knowledge, so that the readers too can know. Some instructors call it hogwash, and insist that characters are allowed a file each, and a background perhaps ten generations prior to. The character profiles have hair color, and eye color, height, weight, pant, or dress size, history, schools, degrees... anything the author feels is important to that character. Major players get full overviews; minor players get a 3x5 note-card with brief descriptions of the same kind. I believe in both methods, simultaneously. The problem with not researching each aspect of a character is that characters often surprise us. We as authors believe we create these beings, but in reality, buried in our brilliant subconscious mind, these beings exist already, and are seeking their birth. It's a creepy sort of reincarnation, born of imagination, dreams, and nightmares. This means that characters are subject to change. Sometimes mid story. Without a full knowledge base of who, what, when, where, and why, it could pull a story to a screeching halt. New authors have a bad habit of writing characters into their stories as though each character is a single emotion come to life. The good guy is just good. He's unshakable, he's unbreakable, he has nothing to lose, and so cannot be beaten. The villain is evil beyond darkness, and fears nothing. He too is unshakable, and unstoppable, and he hates the good guy. The girl is madly in love with one, or the other, or both, but has no personality beyond that love (cough, cough, Bella Swan), and the cast of friends are only present to support, or bring down the protagonist/antagonist/etcetera. Longing gazes, and long love stricken soliloquies are fine for poorly written teenage romance novels, wracked in strange fantasies, and marble skinned vampiric sexuality, and it certainly will make a published author rich... but I would rather be a respected, poor writer, than a rich hack... and yes. I have a personal-professional problem with a certain Twilight author. It is because of her that your work has expectation built upon it now. God help you if you loved Bram Stoker's Dracula, or Anne Rice's vampires, because if they don't glitter like diamonds in the sun, well. Let's just hope your characters are compelling. Which leads happily to the next part of this lesson. The compelling character is a character that has hopes, dreams, sins, and saving graces. He, or she, has memorable qualities, and weird quirks. Your tough talking character does not have to have adamantium claws, and a cigar. It's very one dimensional, because let's face it: He's the best at what he does, and what he does isn't very nice (I actually love Wolverine, but still: He was created for one genre. Comics. His character doesn't translate well into three dimensions, because he is the thesis of personal loss, pain, suffering, and revenge). Your anti hero can be a rough and tumble bad ass, who is also a rough and tumble homosexual (IE Agent Smecker in Boon Dock Saints). Your sassy sweet heroine doesn't have to be Thelma, or Louise. She doesn't have to be Joan Beaver, Mrs. Brady, or Mrs. Robinson. TOO often are we focusing on media icons, modeling our characters after people like Jolie, Pitt, Cruise, Combs, Smalls, Pac, etcetera. We take what we see in contemporary society, and apply it to our work, and we create these characters that read more like D-lebrities, rather than people. Three dimensions means your character eats, sleeps, and uses the restroom. They brush their teeth, comb their hair, they enjoy whatever things people enjoy, because they too are people. If your character has a job, and doesn't go to work, they had better have a doctor's note, or they're getting fired. If they have kids, those kids had better go to school, or a truant officer, or worse, child protective services will be breaking down their door. This is just the reality of it. You should translate your knowledge of a character into written form without having to slide into exposition. Likewise, you should be like the FBI with your characters, having complete files on their existence, transactions, lifestyle, boyfriends, girlfriends, dogs, cats, cars, and extended family. If your character were real, they should be terrified, or extremely angry that you know so much. This knowledge helps you as you write, fills in the blanks, and allows you flexibility, and reference as your story progresses. I can't help you decide who your characters are, or how they behave. I cannot tell you their names, or ages, or why they are the way they are. I can only tell you that they are NOT abstract pieces of multiple personalities, based on single emotions, and acting in that category only (unless you're actually writing a story where the characters are EXACTLY that). I can only tell you that once you create your character, he, or she, should be someone that another character, or even you, could fall in love with. Someone that others, or you, might love, or hate, or argue with. Someone who should put down the toilet seat but always forgets, or close the lid on the pickle jar. They are a person with virtues, and sins, pride, and humility. They are good, and evil, and everything in between... and that is what makes them real. They are born of you, but grow on their own, so nurture them. They mean the success of your work, and without them, your stories would be nothing more than a road-map: a scenic guide to what could have been. Creating Believable Characters Ch. 02 In addition to creating realistic characters, in realistic (if not fantastic) situations, I've included a few exercises to help build those literary muscles. At the end of this piece, there should be some interesting situations Once you believe you have your cast of characters in full dimension, it is up to you to test these characters to insure they are not merely tailored for a single situation. Any real life human being can train to work in any line of industry. They can learn any trade. They can do basically whatever they put their mind to. Your characters are no different. Your characters WANT to exist in your work... even if they eventually have to die, while they exist they want a FULL existence. You can provide this for them by avoiding the tailor-made characters. If your story is a crime drama, and Detective John Doe is the lead character, he had better know more than just detective work. Understand that as "real" people, your character had a life before law, or crime, or super-heroism, horror, or whatever situation you put them into. The detective may have a Honda now, but he didn't when he was sixteen... or maybe he did, but now he's 36, and its the same car. Understand that Detective John Doe first started out the workforce at 16, flipping burgers for Happy John's Burger Basket. Or He was an usher for Leroy's Theaters. Maybe he was a mop boy for some gym... perhaps detective work was his hobby back then. Perhaps he wanted to be a magician, and the attention to detail required lead him into his line of work as a detective. My point is: He's not 100% pure detective. Tailoring characters to a story, unless it's a fairy tale, or story with a "more of the story is:..." will insult your audience. People who cannot relate to your characters will forget them. To help you put your characters to the test, I will provide a distinct list of challenges I call the gauntlet. Take your best characters, male, or female: BOTH good, and evil and place them through the gauntlet. IF your characters are tailored, this will help flesh them out; if they're full characters, this will be a fun exercise to see how they respond. Remember: Have fun. Good luck. The Gauntlet (character prompts by Cassus Finley). CHALLENGE ONE: Protagonist (M/F/) / Antagonist (M/F) The Gas Station. Work is incredibly difficult for your hero/villain. The market's down, and the economy is a bust. As such, the Hero Dept/Villains Inc. has closed down and forced your protagonist / antagonist to seek new work. Barley's Snacks, and Gas has an open spot for a day shift gas station attendant. Duties include running the register, maintaining the floor, store, and restrooms, and when full service is ordered, pumping gas for customers. Your character is hired into BS&G, and it's their first day. Write a short story about their first week there, starting at day one. This is a character exercise, and will focus on their attitude, moral, and work ethic. You'll have to get creative, describe customers, your character reactions to the customer, and customer reactions to the character. This is not nearly as easy as it sounds, but it's fun. You should definitely post your results under your writing, and show off your character. CHALLENGE TWO: Protagonist (M/F/) / Antagonist (M/F) Paper, or Plastic? Damn the luck. Barley's Snacks, and Gas improved their lot, and became a garage as well. They hired a knowledgeable staff of mechanics who work for peanuts, and can also run the shop. (Brad Barley got rich, and retired). Your character was laid off, and out of a job again. Work is incredibly difficult for your hero/villain. The market's down, and the economy is a bust. As such, the Hero Dept/Villains Inc. has closed down and forced your protagonist / antagonist to seek new work. Fortunately, Mad Larry Kazbrack's Supermarket Food Emporium is hiring a bagger. They recently upgraded from a surplus food store, to a surplus food store and delicatessen. The sales have never been higher (which is relative), and they can afford a bagger. Just one. Your character is hired, and has started work. The story is relatively busy, and only some of the customers speak English (what languages customers speak are entirely up to you). The register operators treat your character poorly, but your character needs the work. There are three stations in operation, so your character is busy at one station, or the next. Somehow, Mad Larry Kazbrack managed to withhold breaks, so your character rarely gets a moment's rest. For one week, starting from day one, help your character work at Mad Larry Kazbrack's Supermarket Food Emporium as a bagger. There is NO room for growth, or advancement. This is the only position, so good luck. Post your results as before. This is documentation of your character's employment history, AND, their personal growth into three dimensions. THIRD CHALLENGE: Protagonist (M/F/) / Antagonist (M/F) During off hours, Mad Larry Kazbrack, in a drunken stupor, broke into his own store and tried to start a campfire so he could roast some of his surplus marsh mellows. So... that's why they call him Mad Larry. The story burned down, and all they found of mad Larry was a rib. It must have been a hell of an inferno. Your Character is out of work now, and with jobs behind him/her, your character is homeless. Yes. Homeless. Cold hungry nights, and harsh city/town/country environments. Some people are kind, some are cruel, and your character's new community is mostly filled with vets, and struggling addicts. Law enforcement is constantly harassing your character to "move along" or "find shelter elsewhere". How does your character handle this? Your character will spend a week being homeless, without money, without a change of clothes, or any of the simplicities that they had taken for granted before. Explore your character's thoughts, and feelings about their new environment, and help them survive for a week. Make certain to post your findings. Share you character's experiences. FOURTH CHALLENGE: Protagonist (M/F/) / Antagonist (M/F) By now your character has undergone what seems to most people as ridiculous work, and labor. They have been homeless, and dealt in harsh environments of a sadly normal world. Who knows what treatment they received, or returned. In this challenge, your character is well back on their feet, and has amassed at least enough money to live comfortably. After the stint of being homeless, they had a full checkup, and have been living happily for some time. This final scenario is likely the hardest. The hospital calls and requests your character to come in and "talk" with his/her physician. The news is not good. Your character has HIV. How does your character deal with the news, and what will he/she do? What are his/her thoughts, and feelings, and how does he/she respond to the news? Who do they tell, or, do they tell anyone at all? Does life go on as usual, or does it come to a screeching halt? Explore the horror that your character feels, the revulsion at the news. Highlight emotional textures, and help your character traverse the steps from shock, to acceptance. Post your findings, and share these experiences. FINAL CHALLENGE: Protagonist (M/F/) / Antagonist (M/F) Your character wakes up in their bed, covered in sweat. The past challenges have all been a long, bad dream. How does your character relate these experiences to their life? Do these dreams make an impact, or does your character learn nothing from their dream-scape experiences? This is an important final task, because your character is at a vulnerable place. They may wake alone, or with a partner; they may wake screaming, or crying, or laughing; make certain to explain, and explore these concepts. Upon completion of the final challenge, your character overview before, and after should have a dramatic difference. Post your findings, and congratulations if your character survived the Gauntlet.