Author: Lisa E. Betz

Lisa Betz is a writer, blogger, and occasional director who lives in an empty nest perched on a wooded Pennsylvania hillside. She loves to bring characters to life, both on stage and on the page.

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Talking Character

What Does Your Protagonist Want? (And Why Can’t He Have It?)

A protagonist without a clear goal has nothing to figure out and nowhere to go. Lisa Cron in Wired for Story

All protagonists need a goal—some force that drives them onward no matter what obstacles the story throws at them. And that goal is driven by some deep inner need—the why that motivates all they do to achieve their goal.

Since stories are not about the plot, but about how the plot affects the characters, it is really the why behind the goal that keeps us reading.

If we don’t know what the protagonist’s goal is, or why it matters to him, we can’t anticipate how the plot events affect him, or what he might do about them. Which means we will quickly stop caring, toss that book aside, and watch silly cat videos instead.

Two kinds of goals

First of all, a protagonist needs an external goal—something she wants to achieve by the end of the book. She might want a promotion, she may hope to find the guy of her dreams, or she might be determined to solve the crime and nail the bad guy.

But the external goal isn’t enough to make a great story. Our protagonist needs an internal goal, too—some deep-seated need she believes will be satisfied if she achieves her external goal.  In other words, the inner goal is the why that motivates the external goal.

Two kinds of obstacles

What keeps your protagonist from her external goal? Typically, the kind of  plot-driven obstacles that writers love to make up: Rivals, misinformation, invading warlords, sudden storms, bad luck, traitors, or the kid next door. What keeps the protagonist from her internal goal? Her very own self. Some hang-up, fear, or stubbornly held belief that is part of who she is.

And this is one of the keys of a great story: In order to achieve her external story goal, the protagonist must be forced to come face-to-face with that deep inner issue she would much rather avoid.

The climax of the story hinges on her willingness to face her inner issue. Only then can she have the revelation that will enable her to achieve the goal that will bring her what she really wants (which may or may not be what she thought she wanted this whole time).

If you know what your character wants, why she wants it, and what inner issue might keep her from achieving it, you are on the way to a great story.

[bctt tweet=”Do you know what your protagonist really wants, and why she can’t have it? #amwriting” username=””]

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Talking Character

Do You Know What Your Character Is Doing?

What is your main character’s goal? The thing that drives her through the story, no matter how many obstacles you throw at her. You know what it is, right?

And you also know your bad guy’s goal—the one that tries to thwart your heroine at every turn.

No?

If you can’t state your protagonists’ and antagonists’ goals in a few words, your story is probably floundering, because those goals are critical pieces of your plot’s foundation.

I recently watched an action movie. Big name actors. Good special effects. A bomb that was going to explode in Times Square unless the heroine stopped it. Should have been a good movie, but halfway through I grew bored, because: A) Nowhere in the movie was it made clear what the bad guys were trying to achieve, and B) I was never clear on what the heroine’s primary goal was. I didn’t know what was driving her, so eventually I stopped caring what happened.

Instead of her goal pushing the plot toward the final showdown where she faced her inner demons and succeeded (or failed), she was merely reacting to stuff that happened, racing from one high octane moment to the next.

Ho hum.

In a similar vein, you heroine’s goal is the reason your readers care about her and want to cheer her on to success.

To write a good story, you MUST know your character’s story goal. If you aren’t sure, try one of the following:

  • Sit down with your main character and ask hard questions about her relationships, her fears, her dreams, and her inner demons. Deep, deep down, what drives her? Her story goal should stem from some inner need. (Even if she’s not aware of it.)
  • Consider what your story is about—the Theme. What are the protagonistic and antagonistic ideals that will clash to portray this theme? What character goals might portray those ideals?
  • Start with the climax. What will happen in the final confrontation? What final obstacle must your hero overcome in order to finally defeat his nemesis? Now think back to who your hero was at the start of the story. What goal will bridge that gap, forcing the action and the change necessary to get him to the climax moment?

As you write and rewrite your story, you may tweak your goal as the plot and characters evolve, but never lose sight of it or your story will go astray. And don’t be afraid to remind your character’s if they show signs of getting off track. If they yearn for another goal, tell them it will have to wait until the next story. Stay on track.

[bctt tweet=”If you don’t know what your character is doing, neither will the reader. #goals #writetip” username=””]

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Talking Character

5 Character Development Exercises

Go shopping

This non-writing exercise can help you connect with your character in a tangible way, by interacting with real objects:

What kind of store does your character like to shop at? A home improvement store, hobby shop, department store, consignment shop? Go to one near you and walk the aisles, searching for at least five items your character would buy.

Now head to the grocery store and go through the aisles looking for foods your characters would normally eat. If your courage and budget allow, buy some food and create your character’s favorite dinner.

Describe their personal space

Write a few paragraphs describing your character’s bedroom, study, or some other special place. Include as much detail as possible, including small, ordinary things such as cracked plaster, the creak of the window being opened, and two-week-old crumpled socks. Now read back over the description and circle the details that best relay the character’s personality. Read through it again and refine several details, making them as specific and telling as possible.

Describe someone else’s space

Place your POV character in a setting that belongs to a character they are in conflict with, such as the office of a rival or the house of an estranged parent. Describe the setting through the POV character’s eyes. What details do they notice? What might they not notice, or not care about? What judgments (right or wrong) do they make from visiting the space?

Now bring a different character into the same space and repeat the exercise. Compare the descriptions. Could a reader easily tell which description came from which character?

Craft a bio

If your character works in a professional setting, create a resume, complete with future career goals. If a job setting doesn’t apply, give the character a reason to describe themselves to a stranger and write a one-page bio monologue.

Now write an interior monologue describing what the character really thinks about themselves. How different is it from their public persona? Why?

Immerse yourself in a favorite pastime

All people, real or fictional, do something with their spare time. Real people may waste it binge-watching Netflix, but hopefully your character has a specific hobby or two that helps define their character. Get to know your character better by immersing yourself in one of those activities:

Spend an hour or two listening to their favorite music then do some reading about a few of the important musicians in that genre. Read a few of their favorite books. Find someone who knows about beekeeping or radio-controlled airplanes and spend an afternoon watching them.

For the truly devoted: Is your character into pottery, oil painting, or tai chi? Take a class in that subject. (And remember, the point is to experience it, so it doesn’t matter how embarrassing your skills might be. Pretend you are as good as the instructor and soak it in.)

[bctt tweet=”Five ways to know your characters better. #writetip ” username=””]

[bctt tweet=”Looking for a few simple characterization exercises? #amwriting” username=””]

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Talking Character

How Selfish Is Your Protagonist?

We writers love our protagonists. We give them a few flaws and quirks, but we know that underneath their mistakes and faulty thinking beats a heart that is kind and good. The kind of heart that will ultimately lead them to Do The Right Thing.

We want our hero to show his noble heart by getting involved with the local homeless shelter and our heroine to display her fine character by fundraising to provide wells to villagers who need fresh water. Those are excellent goals, so long as you show the reader why your character cares.

Authors must not only figure out what goals our character strives for, but also why those goals matter to that particular character. And the reasons must be specific and selfish.

Yes, selfish. As in, what’s in it for him?

Because your hero does not volunteer at the shelter once a week just because it’s a nice thing to do. He does it because:

  • He can no longer ignore God’s urging to serve in this area (despite the fact he hates talking to strangers.)
  • The cute girl from World History class works there those same days.
  • He thinks it will atone for the hit and run accident he caused.
  • He discovered one of guys he plays pick-up basketball games with spent most of last year living in a shelter.

Each one of these options will lead to a very different story, won’t it?

The specific and selfish reasons you give your character must also serve to deepen his character arc and illustrate the underlying theme of your story. If the story is about stepping out in faith despite our fears then option one or four might make sense, while option three would suit a theme like understanding God’s mercy or learning to own up to our mistakes. And that cute girl from history class? She has all kinds of thematic options, depending on her motivations for working at the shelter.

Because every character needs specific and selfish reasons for their actions. Even cute girls.

So…

If your answer to the question, “Why does your protagonist care about his story goal?” isn’t specific, personal, and driven by some need or desire the character has, maybe it’s time to dig deeper.

You readers will be glad you did.

Categories
Talking Character

Different Temperaments, Different Fears

The heroine of the mystery novel I am working on needs certain qualities to be a good sleuth. Things like nosiness, an outgoing personality, the ability to talk people into helping her, and the willingness to risk dangerous situations in order to get the information she needs.

In other words, her temperament needs to be very different than mine. I am a reserved, logical, non-assertive person who doesn’t like taking risks and stays out of other people’s business. (Most of the time, anyway.)

Therefore, I cannot rely solely on my own instincts to predict how my character will react. No writer can, because we all need a variety of characters who think and act in different ways. That’s where utilizing temperament classifications can be useful. (See below for information on three different temperament classification systems. You can also search for free assessment tools online.)

Temperaments as a writing tool

Understanding temperaments is especially important when writers are considering the deep inner issues that their characters must face, because one person’s worst fear is something another personality type might take in stride. For example, some people hate being in the spotlight while others thrive in it. Some people find their purpose upholding rules, while others consider rules stifling.

Identifying a character’s temperament type can guide us to the issues that would most challenge their personality. (And it might be something very different from what would most challenge you or me.) Alternately, if you know the kind of trauma and embarrassment you have planned for your hero, you might find that a particular temperament’s worst nightmare or most significant fear fits your concept. Voila, you have identified the perfect temperament.

Browsing through some of the other posts on best/worst ___ for each temperament type can give you additional useful insights. For example, I stumbled across the advice that a pet would be the worst kind of gift for my heroine, because her personality doesn’t do well at long-term relationship maintenance, so a pet would end up either being ignored or becoming a hindrance. (Hmm, strike the pet cat.)

WWJD – What Would Jane Do?

If you are like me, all this temperament info is fascinating, but difficult to put into practice when writing. What are we poor writers who never took a Psych class to do?

You might try assigning a person you know as a temperament model for your character. This does not mean you are basing your whole character on this person, only that your model’s temperament fits nicely into one of the standard types, which helps you understand what that kind of personality would do in a given situation. A temperament model can help you avoid inadvertently overlaying your own personality on your character.

How else have you found temperament classifications to be helpful? I’d love to hear your advice.

[bctt tweet=”Do you use personality profiles as a writing tool? #writetips” username=””]

[bctt tweet=”Do you understand your character’s temperaments? #amwriting” username=””]

Information on three common temperament classification systems:

The Myers-Briggs Type Indicator divides temperaments into sixteen types with four-letter designations like INFP or ESTJ.

The Kiersey Temperament Sorter, which basically uses the same sixteen types as the Myers- Briggs but approaches them in a different way that might make more sense to some writers.

The Enneagram System, which takes a different approach to understanding temperaments and divides people into nine personality types. If you feel like you never fit into any of the Myers-Briggs types, the Enneagram system might make more sense.

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Talking Character

Moving Beyond Clichés

I struggle when it comes to writing descriptions of character emotions. I know better than to simply tell the reader my character is scared, but writing that Sam’s heart was pounding isn’t much better than saying Sam was afraid. It’s too cliché.

We writers need to push beyond such overused phrases. But before tossing them out altogether, we might look for nuggets of inspiration.

Look for the underlying truth

Many clichés are based on an element of truth. Sometimes when I am afraid, my heart does feel like it’s pounding. Which means a pounding heart is a legitimate physical response to fear, but I need to find a fresh way to describe it. So instead of Sam’s heart was pounding, I might write, His chest throbbed like a subwoofer playing hip-hop. Instead of Mandy’s face turned ashen, I could try Mandy’s face turned the color of unbaked dough. And instead of His head was swimming, how about, His thoughts darted like minnows escaping a net.

Rethink the obvious action

Showing emotion through a character’s actions is good technique, so long as I don’t choose overused actions such as an impatient woman tapping her fingers on the table. For a fresher option, I can look for a different action that describes a similar response. Instead of tapping fingers I might write, She clicked her pen, in and out. In and out. Instead of a boy slamming his door, perhaps he might throw his backpack on the floor and collapse onto the bed. And instead of a girl biting her nails I might try, Kelly ripped the nail from her finger, leaving a jagged edge that had to be nibbled smooth.

Reinvent a tired cliché

I know better than to write that Nicole was happy as a clam. How happy is a happy clam, anyway? And how would I know a happy clam from an unhappy one? (I suppose it’s safe to assume the ones floating in my chowder are unhappy?)

cliche-clams
Can you tell which clams are happy?

Anyway…

This cliché clearly needs an update.  What if I found other clam-like qualities that applied to my character’s emotional state, such as a clam’s habit of quickly closing when threatened, which might lead to this: When he asked her a personal question, Nicole closed up faster than a clam sensing danger.

Instead of describing Alex as, “stubborn as an ox,” I could come up with some other example of stubbornness, such as, Alex was stubborn as a fly beating itself against the car window. Alternately, I could try for a humorous effect by purposely choosing an inapt metaphor. Instead of saying Professor Watkins was stone-faced, I could describe him this way: Professor Watkins was as vivacious as a granite war memorial.

So the next time you find yourself falling into the cliché trap, take a moment to consider how that trite old phrase might lead to a fresh description.

[bctt tweet=”Mine old clichés for creative new descriptions. #amwriting” username=””]

[bctt tweet=”Having trouble describing character emotions in fresh ways? #writetip” username=””]

Characterization Exercise:

Look back over my examples, and describe a character for whom each one might be appropriate. For example, what kind of character would feel fear as a subwoofer throbbing in his chest?

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Talking Character

Body Language: What Your Character Is Really Saying-Lisa Betz

If actions speak louder than words then a character’s body language is an important part of dialogue. And yet writers often waste the potential, using body language merely to reinforce what is already evident, such as a character who both nods and says, “Yes.”

Studies show that body language, including gestures and facial expressions, make up over fifty percent of communication. (Tone of voice makes up another thirty-five percent or so.) That means our characters can give away all kinds of information without saying a word.

When harnessed effectively, body language can be a powerful tool—because it tells us what’s really going on inside a character’s head.

4 ways body language can add useful information

  1. Revealing an emotion the character wants to conceal. The heroine is facing her nemesis in a meeting. She wants to appear calm and in control, but under the table her leg is bouncing or her hands are clenched in her lap. Although her dialogue and tone may give the appearance of complete confidence, the body language tells the reader the whole truth.
  2. Indicating the character is lying. Fictional characters don’t always tell the truth, but without a non-verbal clue, the reader may not realize when a character is being less than forthright. A bit of body language can show the reader what’s really going on, for example: a character refusing to meet someone’s gaze, rapid breathing, or covering the mouth while speaking. If the POV character notices these telltale signs, the reader will get the hint.
  3. Showing that all is not as it seems. In a scene where both reader and character expect a certain response, body language can tell a potent tale. For example, a husband arrives home from work on the day he was to get a long-awaited promotion. When he walks in the door and slumps on the couch, the wife realizes something is very wrong. And the more the husband claims everything is fine, the more out of kilter things obviously are. In a similar fashion, when the felon under interrogation acts smug, we begin to suspect he knows something the police don’t.
  4. Hinting at a character’s motives. When a hostess greets a guest with a smile that doesn’t reach her eyes, we suspect there is something between them. Perhaps the hostess is merely acting polite, or perhaps she has ulterior motives for treating the guest with a kindness she doesn’t feel. Of course, the POV character may misinterpret the clues, reading ulterior motives into a situation where there are none—which might be exactly what the plot requires.

Are you using body language to the full potential?

[bctt tweet=”How can your characters’ non-verbal cues help the reader read between the lines? #writetips #bodylanguage” username=””]

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Talking Character

First Impressions Matter, Part 2: Utilzing Point of View

How we introduce our characters should be designed to create the reaction we want in our readers. Is the reader supposed to like a certain character? Mistrust him? Despise him?

Writers have many ways to influence those first impressions. One of the most powerful is point of view.

Through the eyes of a character

When Todd, the hero, meets a woman named Emma, he will make a judgment of her based on the specific details he notices. His personality and background will color which details he sees and what he feels about those details.

Imagine Todd’s first meeting with Emma:

Example 1 – A woman with shoulder-length blonde hair, wearing a deep blue silk blouse and gray slacks waited in the lobby. Simple yet professional. A good sign.
“You must be Emma. Welcome to Philadelphia.”
Todd offered his hand. Emma’s grip was firm, and she met his eyes, a polite smile on her face. “Good to finally meet you in person.”
Yes, it was.

Example 2 – A woman with bottle-blonde hair, a designer silk blouse and expensive sling-backs waited in the lobby. He could sense her impatience.
“You must be Emma. Welcome to Philadelphia.”
Todd offered his hand. Emma’s grip was aggressively firm, and she stared into his eyes, an arrogant smile on her face.
“Good to finally meet you in person.”
Yeah, right.

The same woman, seen through two very different lenses, leading to very different first impressions.

Conflicting impressions

Suppose in the next scene, Todd and Emma arrive at the office, where we see them through the eyes of team member Sarah:

Sarah caught her breath when Emma strode through the door. This was not the chubby, science nerd with mouse-brown hair and eyes that rarely emerged from the pages of a book. This Emma had poise and confidence. She smiled. She looked people in the face. And someone had taught her a thing or two about fashion.

Just as two friends might have different impressions of someone they’ve just met, so might fictional characters. Introducing somebody new through several pairs of eyes allows a writer to paint a more complex picture, either reinforcing or confusing the first impression.

Misleading first impressions

Suppose by the end of the story we learn Emma is a corporate spy out to ruin the company. If a reader started with the favorable impression of Example One, it may take a lot to convince them Emma isn’t who they thought she was.

Which might be exactly what you want.

A misleading first impression can be a powerful plot device. That first meeting can sway a reader’s impression, leading to assumptions that are far from the truth, and providing the opportunity to set up a false friend or a false enemy.

[bctt tweet=”First impressions. Powerful weapons in the writers’ arsenal. How well are you using them?” username=””]

Learn more techniques about first impressions in part one.

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Talking Character

First Impressions Matter–Part 1

Scientific studies confirm that we humans make a host of judgments about a person based on the first few moments of interaction. And once formed, those judgments can be surprisingly difficult to shift. Fictional characters face the same challenge.

The things that make us instantly like or dislike people we meet in real life are pretty much the same things that make us instantly like or dislike the people we meet in fiction. – Orson Scott Card, Characters & Viewpoint

However, unlike real life, the author has control over how that first impression will play out. Don’t waste that power.

By the time you write your opening scene, chances are you know your characters pretty well: Their physical description, their preferences, their inner demons. Pages and pages of backstory. But you only have a few sentences to make a first impression, so you’ll have to decide what bits of information are most important to introduce the most important essence of a character.

Introduction through physical description

In real life, a stranger’s appearance plays a big part in our first impression. It can work in fiction as well, but remember, our eyes take in tons of information in a single glance—much more than we can describe in a few sentences—so choose the most telling details. The examples below show not only how the character looks, but hints at both demographics and attitude as well.

Sarah waited in the office, wearing a black silk sheath dress and four-inch heels. Her lustrous chestnut hair, worn loose, fell halfway down her back, and one perfectly shaped eyebrow arched when I entered.

Sarah waited in the office, a thin woman with a prominent nose and bony hands clutched in her lap. She wore a white cotton blouse, pilled from too many washings, and black slacks with frayed hems. Her brown hair was pulled into a severe bun at the nape of her neck.

Introduction through context

You can tell a reader a lot about a person without giving a single physical detail. Notice how the context paints two very different pictures in the examples below:

This was the first time Sarah had invited Will to her apartment and she wanted everything to be perfect. She straightened the candlesticks flanking the vase of pink roses, and adjusted the volume on her favorite soft jazz playlist. The oven-roasted vegetables and coq au vin were already in serving dishes, keeping warm in the oven. Should she plate the salads now or wait until he arrived?

This was the first time Sarah had invited Will to her apartment and she wanted everything to be perfect. She checked to make sure no dishwasher gunk was stuck to the plates, and adjusted the volume on her favorite classic rock station. The pizza should be arriving any minute. They’d better get the order right this time—meat lover’s supreme. Should she nuke the wings now or wait until he arrived?

Introduction through voice

A third option is to immediately jump inside the character’s head and give readers a sense of how they view the world:

I knew it was going to be a bad day the moment I slipped my feet into my slippers. Cat barf. Normal people have cats that throw up in the middle of the living room. Mine had a preference for shoes. At least the slippers were washable.

I knew it was going to be a bad day the moment I laced up my boots. Twenty-two miles to the next shelter, and my blistered feet weren’t getting any happier, despite the moleskin and fancy hiking socks. But I would break an ankle before I let on I wasn’t enjoying myself as much as Gina.

[bctt tweet=”What impression do your characters make, the moment they walk onto the page? #amwriting” username=””]

[bctt tweet=”Do your characters make the best first impression possible? #writetip” username=””]

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Talking Character

Creating Villains

In order to really show his stuff, a protagonist needs challenges to overcome. The tougher the opposition, the more our heroes can shine.

In other words, to have awesome heroes, we need formidable villains.

Like any other important character, villains need to be constructed with care. Even if they aren’t given much screen time, they deserve a multi-layered personality and backstory that explains how they got to be so nasty.

Five keys for constructing villains

  1. Give the villain a face. Sometimes our hero is fighting a corrupt government, a corporation, or an epidemic. However, a vague, shadowy them will not make a satisfying antagonist. Create a single person that represents the larger entity, such as ambitious executive driven by greed, or a character whose own agenda is at cross purposes with those trying to control the spread of a disease.
  2. Make the villain hard to beat. Better yet, make the villain seem impossible to beat. The stronger and smarter the antagonist, the more satisfying the story. Nobody will be impressed if the hero outshines the villain in strength, resources, and smarts—because there was never any doubt the hero would win. But if the villain outclasses the hero, the result of their struggle is far from certain, and the reader must read to the end to find out how the hero manages to win despite the odds. Then you have a story!
  3. Don’t let them steal the show. (Because they’ll be happy to, given a chance—cads that they are). Be careful not to create a villain who is so eccentric and flashy that they are more interesting than the upright, do-gooder hero. Also, by the end of the story it should be clear to the reader that the villain’s motivations are flawed and that the protagonist’s choice is the better way.
  4. Remember, all humans are redeemable. Your villain may not budge from his twisted evil ways, but deep inside he must have a small piece of his character that is redeemable. All humans are made in the image of God, therefore no human can be pure evil. This may not be true for otherworldy characters such as demons or space aliens, however. Pure evil works in certain cases, but for most stories a villain who retains some aspects of humanity is the more believable choice.
  5. Make the villain believable. All well-developed characters have reasons they act the way they do. Your villain’s thinking may be twisted, but deep down she must believe she is doing what is right, even if everyone else thinks her actions are wrong. The more readers understand why the villain acts the way she does, the more they can relate. Be warned, however, not to create too much sympathy for the villain’s misery. You don’t want readers to identify with the villain’s pain or the justice of her cause to the point they root for her instead of the hero.

[bctt tweet=”Good villains are important. The tougher the opposition, the more our heroes can shine.” username=””]

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Talking Character

Give Them Something to Hate

I hate making phone calls.

When it comes to picking up the phone, I always procrastinate as long as possible. It might take me a month to get around to calling for a haircut appointment or a wellness checkup. I cannot explain why I hate phone calls. It is simply part of who I am.

Unfortunately, no matter how much I wish I could avoid them, making phone calls is part of modern life. I will never enjoy it, but I do it when I have to.

Do your characters have something they dislike but can’t avoid?

Well-rounded characters need weaknesses as well as strengths. Giving them a specific task or two they detest will add depth, especially if that task is something they cannot avoid.

For example, what if a secretary hated making phone calls? Or filing papers? She couldn’t admit such a thing to her boss, could she? But her secret dislike has the potential to cause complications. She might procrastinate the filing until papers pile up and important documents get lost. She might put off phone calls until the last moment, adding stress to her life and creating emergencies that wouldn’t have occurred if she’d made the call when her boss first requested the information.

Can you see how a detested task will both ratchet up the tension and make your characters more interesting?

Make it authentic: The key is to find something in their temperament or background that gives a ring of authenticity to their particular dislikes. In my case, avoiding the telephone is a common attribute of introverts. Any character with an introverted temperament could believably suffer from the same “the-telephone-is-the-instrument-of-the-devil” mentality.

Make it plausible:  Readers might wonder why the introverted character who hates phone calls is working as a secretary to begin with. So the character needs not only a chore to hate, but also a valid reason for not avoiding it. It may be the secretary is a whiz at administrative tasks, so phone calls are a necessary evil in a job she otherwise enjoys. Or maybe her dread of phone calls makes her hate her job, but expectations or necessity have forced her into a career as a secretary.

Same dislike, two very different stories.

What story are you trying to tell? How can an onerous task enhance both your plot and your character?

[bctt tweet=”Give your character something to hate. Your readers will love it. #writing ” username=””]

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Talking Character

What’s In A Name?

What’s in a name? That which we call a rose

By any other name would smell as sweet.

Perhaps so, but if roses were called Corpse Flowers, Stinking Christopher, or Spurge they wouldn’t be quite so popular, would they?

Names matter

Despite our best intentions, we do judge people (and things) by their names. (Why do you think companies spend so much time and money testing product names?) A host of scientific studies conclude that names make an impact on everything from the likelihood of juvenile delinquency, to college acceptance, to business success.

For a writer, this is great news! It means we can tell the reader paragraphs of information about a character just by choosing the right name. For example:

Alice McGillicuddy is obviously a very different person than Serena Jones or Emmaline Littleton-Fitzgerald.  Which is most likely to be the main character of a comedy? Go to a top-name prep school? Be the most no-nonsense?  If all three were private investigators, you would expect the tone of the books to be quite different, wouldn’t you?

[bctt tweet=”Apt character names can be a powerful weapon in our writers’ arsenal. “]

Use them wisely.

How to pick evocative character names

Consider the key traits you would like a name to convey, things like age, strength of character, temperament, sense of humor, ethnicity, and social class. Select five to ten that are most important. Now scroll through the phone book or an internet name site and jot down first and last names that seem to fit that description.

Don’t over-think this, go with your first impressions.

After you have collected several, try different combinations of first and last names until you find the one you like best—the one that most strongly hints at the character’s important qualities.

I was working through this exercise recently, trying to select names for  my newest work-in-progress. After narrowing it down to three names for each character, I gave the list of character qualities with the three name choices to several writing friends.

There was almost unanimous agreement on the best name for each one. This despite the fact that the names in question were all unfamiliar Greek or Roman names like Lurco, Avitus, Livia and Xanthe.

Fascinating, no?

One more suggestion

As a final check, run the name through a search engine to check:

  • how common it is (this could be good or bad, depending)
  • if it’s been used too often in recent books
  • if readers may associate the name with a totally inappropriate person, such as the main character from a TV show or movie you weren’t aware of.

Happy naming!

And FYI, if you’re looking for authentic Roman names, my favorite resource is Nova Roma’s name page.

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Talking Character

Surprise Them with a Twist

Characters who violate a stereotype are interesting; by surprising us they pique our interest, make us want to explore. ~ Orson Scott Card in Characters and Viewpoint

Writers are warned to avoid stereotypes, but to some extent that is impossible. Our brains automatically put people (real or fictional) into pigeonholes. Even if we try, we cannot not keep our readers from making stereotype judgments, but that is OK because we can utilize those predictable stereotypes to trick a reader into thinking they understand a character.

That’s when we surprise them!

Once we’ve introduced a character—who seems to fit a recognizable mold—we can begin to reveal that all is not as is seems. And our readers will love it.

An example

Falco, the main character in Lindsey Davis’s mystery series, seems like a typical hard-boiled detective: He is single, ex-military, has both pals and enemies in the local police force, lives in a crappy apartment, and earns his money as a private investigator. But Davis purposely turned the stereotype on its head by giving Falco a large extended family, including a strong-willed mother who thinks nothing of interfering in his life and several older sisters who occasionally ask him to babysit. Oh, and his full name is Marcus Didius Falco, because the stories are set in first-century Rome.

All those twists make Falco unique. They also provide lots of opportunity for out-of-the-ordinary subplots that either enhance or hinder his investigations.

Think for a moment about some of your favorite novels. [bctt tweet=”Where did your favorite characters surprise by breaking unexpectedly from a stereotype? #amreading “]

This twisting of the stereotype can begin with the character’s appearance. As Hallie Ephron suggests in Writing and Selling Your Mystery Novel:

Think about which aspects of your main character’s appearance are genuine reflections of character and which make a misleading façade. Create a disconnect between your character’s physical presence and true capabilities.

Perhaps you introduce your main character as a young businesswoman who wears conservative suits, has a rather pinched, plain face, and keeps her hair in a severe bun. She is prompt to meetings and always comes prepared.

Ho hum.

Until we give her a twist or two. Perhaps she once had aspirations of Broadway and teaches ballet on her off hours. Or coaches a girls’ soccer team that is on a two-year winning streak. Or spends her weekends restoring classic Mustangs. That adds some life to our mousy little office worker, doesn’t it?

Just make sure the twists make sense. In My Cousin Vinny, Mona Lisa Vito’s automotive knowledge is vital to the plot. If it wasn’t, her mechanic talk would end up feeling false or purposely misleading. The goal is to delight our readers with a twist that makes a character unique but still completely believable.

So go ahead, do the twist!

[bctt tweet=”Delight your readers by giving a stereotype a twist. #writing “]

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Talking Character

The Power of a Single Detail

In her book The Resolution for Women, Priscilla Shirer tells a story about a tassel. She was in the process of remodeling her writing office, and had not yet made basic decisions on color palette. Then a friend gave her a beautiful tassel. It was a gorgeous, multi-colored piece that came at a bargain price. Priscilla was tempted to keep it, until she realized the tassel would end up dictating all the décor decisions in her new office.

So, despite how much she loved that little tassel, she took it back.

Her point was that sometimes we allow a single detail—like a comment about our talents or character—to become a focal point in our lives, and then find ourselves changing our outlook or behaviors to match it.

Don’t let the wrong details define you. Or your characters.

What struck me as I read her warning was how often I fall into that trap when I am writing. It goes like this…

I am in the middle of a scene and the words are flowing. I run across the need for a bit of description. I grab the first idea that pops into my head and keep writing, trying to keep up with the muse before she gallops completely out of reach. Then, a scene or two later, I bump into that insignificant little detail, which now conflicts with some other detail, requires explanation, or forces the plot to go in a direction I hadn’t planned on.

Instead of thinking, huh, making him nearsighted adds complications I’d rather not deal with. What other unusual feature could I give him instead? I find myself going through all sorts of contortions to make his nearsightedness work.

Not exactly the most intentional of writing methods.

In fact, at my next critique session someone challenges a decision that I realize links back to that little detail, and I find myself forced to either defend a series of decisions that appear to lead the story astray or go back and fix the real problem—the random detail that created the mess.

It’s all about the [appropriate] details

When decorating a room, you sometimes select a single unique piece to become the focal point, but you want that focal point to be a lovely painting not the ugly chair you inherited from Great-aunt Bertha. Likewise, selecting just the right detail can set a character apart in a memorable way. For example, hobbits live in houses with round doors. Triangular doors or trapdoors would not be nearly as appropriate.

So remember to consider your details carefully. Ask why that detail is fitting, and if you’re not sure, take a moment to consider whether there might be a more apt choice.

The trick here is not to stifle your creativity, but to stop and analyze your thinking afterwards, to ensure all those pesky details are taking the story where you want it to go.

[bctt tweet=”Choose your tassels wisely. Details matter. #writetip”]

tassels

For more on the balance of rational and creative thoughts, check out this post from Kristen Lamb.

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Talking Character

Writing Characters of the Opposite Gender

I am not a horse person. I freely admit almost complete ignorance in regard to horses and horse-related things. So, when my critique partner (who is a horse person) suggested I change the word whinnied to the word nickered, I complied.

One little word, but to a horse person it makes a big difference.

talking horse
Get it right, human!

[bctt tweet=”Don’t let your characters whinny when they should nicker. “]

Authenticity is in the details

Authors are typically aware of the importance of such details when it comes to things like setting or historical accuracy, but sometimes we forget about the male-female thing. We are so used to peopling our stories with both male and female characters that we forget half those characters do not think and react like we do.

Sometimes gender inaccuracies are a matter of word choice. Consider the following words:

  • Giggle
  • Guffaw
  • Snicker
  • Titter
  • Whoop
  • Shriek

All synonyms for laughter, but if a male character giggled or tittered the reader might be jerked out of the story, because those words don’t feel appropriate for men. We cannot control the associations every reader has with certain words, but we can be aware of typical attitudes like: women and children may giggle, but men do not.

Obviously, there is more to gender authenticity than proper word choice, such as making sure characters react in gender-appropriate ways. My husband sometimes catches these lapses for me. He will read a scene and say, “a man wouldn’t do that.”

Being the lone female in the household, I have a pretty good understanding of male behavior, but when my husband makes comments like that, I listen. Because no matter how much I try to “think male,” my own personality colors everything I write.

Do you need an expert opinion?

Many writers have a list of experts they consult whenever they need specific details in a certain field. I submit we need a gender expert as well.

My husband is my resident expert on being male. He helps me spot “unmale” details, but he also helps me when I am struggling with a male character’s reaction in a scene:

Sometimes I imagine four or five different options for how a character might react, each of which plays out differently. They all seem valid to me, and I wrestle with the scene, trying to figure out which choice is best. I have discovered that if I describe the scenario to my husband can sometimes say, “forget about A, B, and C. All your character cares about right now is D.”

Lo and behold, when my character focuses on D, the scene plays out and everything feels right. Thank you, Mr. Male Expert!

Photo Credit: Kevin McShane via Compfight cc
Face it, men and women do not think alike.

Do you have a gender expert? Someone who can read through your scenes and spot your lapses in gender authenticity? Maybe you should find one.

This same concept applies when we write characters that are very different from us in other ways, particularly ethnicity. All cultures do not have identical values and expectations, so we may need someone with firsthand knowledge of a culture to ensure we are not putting our values in a character that would not share them.

[bctt tweet=”How do you ensure your characters act with authenticity? #writetip”]

Bottom photo credit: Kevin McShane via Compfight cc

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Talking Character

10 Tips for Writing Secondary Characters

Not everyone can be the hero or the villain. A story needs a cast of supporting characters too.

Here are ten tips for writing characters who play supporting roles.

  1. Every secondary character must have a role in the main character’s story. They may be a sidekick, a coworker, a competitor, the neighbor who happens to be an expert in bonsai, or just the guy that runs the café, but they must have some connection to the main character and his story.
  2. Every secondary character must also have a plot function. Sometimes that function is obvious, such as an ally or an opponent. Sometimes the function is more subtle, such as functioning as a mirror or foil of the main character: showing contrasting choices and behaviors. Sometimes the function is to cause complications, such as a false ally—someone who appears to help the main character while actually pursuing their own agenda.
  3. Speaking of agendas, every character has one. We humans always have our own agenda, which we may or may not sacrifice for our friends and coworkers. Fictional characters do too, even if the reader only gets a hint of what those agendas might be.
  4. Don’t mislead readers by making secondary characters seem more important than they are. You may know their hidden agendas and backstory, but unless it applies to the plot, keep that information in your head.
  5. Each character needs a unique purpose within the story. If two characters fulfill similar roles, combine them into one character. If the hero’s two pals are both allies, consider trimming one from the story.
  6. Look for other ways to eliminate extra characters. Think outside the box and see if characters with seemingly different roles can be combined. Perhaps the pastor who runs the outreach your heroine joins is also the difficult neighbor who complains about the heroine’s garbage-loving dog. Doesn’t that add an extra dose or two of tension?
  7. Give stock characters a twist. Take the time to personalize even unimportant characters by altering the stereotype in some way. Don’t make the hairdresser a talkative town gossip. What about an emo hairdresser with interesting tattoos? Or a hairdresser who hums praise songs while she works, because she refuses to gossip?
  8. Whenever possible, avoid naming walk-on or background characters. The story may need taxi drivers, waiters, and a school principal for specific scenes, but the less attention minor characters attract, the better.
  9. Whatever the heroine focuses on, the reader focuses on, so don’t allow her to dwell on minor characters. Instead make sure she dwells on something they said, something they did or something they represent.
  10. Don’t allow secondary characters to steal the story—even when you fall in love with them. If you discover a character has tons of potential, promise them their own story, but insist they stay within their role in the current one.

Secondary characters add depth and authenticity to a story, but always remember:

[bctt tweet=”Every character needs a purpose. #writetip #amwriting”]

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Talking Character

Where Do Mannerisms Come From?

Habits and mannerisms must originate somewhere, for some reason. In a novel, where aspect of a character should be intentional, a character’s mannerisms should do more than differentiate them from the rest of the cast but should enhance their unique personality.

In her book Getting Into Character, Brandilyn Collins suggests that a character’s mannerisms should evolve from an understanding of the character’s core values. Those values lead to the character’s motivations, and those motivations are shown through specific mannerisms.

For example, a character in my novel is a retired centurion. Like many Roman men, his primary core value is honor. He believes honor comes from fulfilling his duty in a responsible manner, showing courage in the face of danger and always considering the consequences of his actions. He sacrifices self-gratification for what he believes to be the higher good, which leads him to disapprove of the trappings of luxury, which in turn leads to his habit of pinching pennies. (Much to his socialite niece’s frustration.)

During his service in the legions he learned to keep his face impassive no matter how much turmoil or doubt he felt. This forced control over his emotions has become a habit, but it comes at a cost, and he often rubs his temples to ease the stress, especially when he feels his control slipping. Thus the mannerism of rubbing his temples is not merely chosen at random, but evolves from his need to maintain honor.

Another character is a self-centered, wealthy widow whose deepest need is to be in control of her own destiny—a difficult thing in her male-dominated world. Rather than choose the route of open rebellion, she opts to stay within the bounds of society, but does whatever she can to manipulate people and situations to suit her ends. To her image is very important. If she appears confident and in control at all times, others will naturally bend to her will. Therefore, she never leaves her room unless she is completely put together: hair, jewelry, cosmetics and fashionable clothing. Not only does this radiate confidence, but it gives her a sense of control over her physical image. (If she were a modern woman, she would take full advantage of techniques like botox.) Another of her habits is that she takes five deep breaths before facing a strong male, to get her emotions under control and steel her nerves, because she cannot allow anyone to perceive her as weak.

So now it’s your turn. Consider the core values of one of your characters, brainstorm how those values might lead to traits and mannerisms, then select the ones that best serve your plot.

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Talking Character

Drilling to the Core of a Character

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Fictional characters are like onions; they are made of many layers.  A writer must peel back the layers to reveal the core of a character.

The outermost layers include demographics, career, and other information that paints a generic picture: A young, unmarried carpenter named Brandon who lives in suburb of Chicago.

Peel back a few layers and the information begins to get more specific: Brandon played football in high school, works out at the gym, specializes in furniture, and takes care of his younger brother and sister because their parents are dead. With this level of information Brandon is starting to become a unique person with a bit of backstory, but there are deeper truths that have yet to be revealed.

If a writer wants truly well-developed characters, she must drill through layer after layer until she arrives at the core. To get there a writer must keep asking why about the decisions she’s already made until she gets to the bottom of things. For example, why does Brandon go to the gym? Because he wants to stay in shape. Why? Because he wants to take care of himself, but also because he is responsible for his siblings. If we keep drilling along this line of logic we eventually discover that one of Brandon’s core values is the need to protect those he loves. He is willing to sacrifice his religious convictions, his career, or his own happiness in order to protect his loved ones.

That’s the kind of deep truth you can build a story around.

Understanding a character’s core values will inform how they behave in whatever situation you put them in. Or, as Kevin Daum writes at Inc.com:

 …your personal core values are there to guide behavior and choice. Get them right and you’ll be swift and focused in your decision-making, with clear direction. Get them wrong or leave them ambiguous, and you’ll constantly wonder how you got into this mess.

That same truth applies to fictional characters. Understanding the core values of a character will make the writing process smoother.

[bctt tweet=”Do you know your character’s core values? #amwriting”]

How do you know when you’ve reached the core?

Core values are a character’s non-negotiables, the beliefs, needs or truths that form the bedrock of who they are. Core values are things like integrity, the importance of money, and a need for acceptance. Ask what this character will give anything to have or achieve and you’ve identified which values lie at his core.

This post on How Morals and Basic Needs Influence a Character’s Strengths has a great description of how to unearth core values. For more help identifying specific character traits, check out The Positive Trait Thesaurus, and its companion The Negative Trait Thesaurus.

Peeling back the layers to discover your character’s core values is worth the time and effort. Maybe it’s time you tried it.

[bctt tweet=”Drilling to the core values leads to more believable characters and a better story. #writetip”]

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Talking Character

Why Won’t My Main Characters Cooperate?

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Do your characters sometimes refuse to cooperate in the middle of a scene?

Why is that? You know your characters inside and out. You created them. You determined their temperament, their abilities, their fears. After all that work, they should at least have the decency to cooperate.

But sometimes they don’t.

When characters get ornery, try not to get frustrated. It isn’t because you’re a bad writer. In fact, it’s a sign your doing things right, that your characters are coming to life and standing up for themselves.

Call it your muse, your subconscious, or whatever, but trust the process. Your story will be better for it.

What to do when your main character threatens to rebel:

See if they really mean it. Sometimes characters do random stuff on the spur of the moment, just like real people. Allow them to wander down a rabbit trail, but if you discover their path will cause unnecessary complications, stop them.  Back up, return to your plot and see what happens. If they cooperate then put their crazy idea down to a bit of indigestion and stick to your original ideas.

If they refuse to cooperate, it’s time to listen to them. …

Have faith in your characters. Characters are like children: We see they have certain talents and temperaments and we decide they would be well-suited for certain professions, or ought to love certain hobbies. However, children have a way of surprising their parents with the vocations  and activities they choose to pursue. So it is with our fictional characters. No matter how well we think we know their personalities and preferences, when we push them into tough situations they may surprise us. The wise writer knows that if we allow our characters to be true to themselves rather than forcing them to comply with our outlines, our stories will feel more authentic. Trust them.

First find out what your hero wants. Then just follow him. Ray Bradbury

Follow their lead. When they insist on forging their own path, follow them and see where they want to go. Spend a day or two daydreaming or free-writing scenes until you get a sense of where this new path is leading and how everyone feels about it.

Ask the character why. Once you’ve explored this new path, you need to understand why they want to do it that way. Interrogate your character. Talk to them out loud, envision yourself and the character chatting over tea, write a list of questions—do whatever works for you, but get to the bottom of why the character is at odds with your ideas. Why do they refuse to go out with Maddie? Why do they insist on saying such nasty things about the postmistress? Why aren’t they excited about the prize that was supposed to be the main motivation?  Push until you understand why they choose plan B over plan A, and then figure out how plan B can make a stronger story—even if it means a lot more work for you.

If we are brave enough to let our characters disrupt our plot ideas, and clever enough to figure out how to make their ideas work instead, we have the ingredients for a great story.

[bctt tweet=”Are you brave enough to allow your characters disrupt your plot? #amwriting”]

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Talking Character

5 Tips to Deepen Your Characters

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Take your characters deeper

All great writers understand the importance of creating well-developed characters, but how does a character go from predictable to unique? Here are five suggestions to deepen your characters, making them more interesting, realistic and memorable.

  1. Include a habit or two – We humans are habit-prone. We chew our fingernails, shove the hair out of our eyes, or always eat a banana and a yogurt for breakfast. Giving fictional characters habits not only enhances their interest but helps the reader recognize and interpret emotions. For example, your hero’s father always runs a hand through his hair when he’s upset, or the villainess cleans her glasses before making a decision. [bctt tweet=”Once you’ve established a habit, readers will take note if a character suddenly changes their normal patterns. #writetip”]
  2. Give them an unusual physical trait or handicap – What if one of your characters suffers from migraines, or is allergic to peanuts, or is confined to a wheelchair? Giving characters a physical hurdle to overcome not only tests their mettle, but can lead to clever plot points. Example: Juan Cabrillo in Clive Cussler’s Oregon Files novels has a prosthetic leg. At least once each novel that leg (or some tool hiding inside it) becomes significant to the storyline.
  3. Determine their love language – Whether your story is a romance or a family drama, communicating love between characters is important. But when it comes to expressing love, we humans don’t all speak the same “language.” If your hero understands one love language, and your heroine another, you’ve created opportunities for tension. How many stories can you think of where the main character’s most heartfelt need is to hear a parent actually say, “I love you?” Take that deeper by showing the parent did love their child, but showed it another way.
  4. Add a hobby or passion – Something outside the main plot that gives the reader a different angle on the character’s personality. If your main character is an amateur photographer, they might notice background details another character misses. If your heroine supports the local food pantry, readers might be more willing to believe it when she later decides to quit her job and go into missions. Example: Sam Gamgee enjoys cooking, so much so that he brings salt along on an epic quest. The ring would still get to the Crack of Doom without that detail, but what does it tell us about Sam?
  5. Violate a stereotype – Want to surprise your readers? Build a character that seems to fit a stereotype, then break them out of it. For example: a motorcycle rider in full leathers who goes to wine tastings—and knows what he’s talking about. Or a mousy-looking woman who works at the library, but is also a loud and opinionated soccer coach with three championships under her cleats. Go ahead, shake your readers up a bit; just make sure you’re not doing it for shock value alone. Find a way for it to enhance the story.

[bctt tweet=”Make your characters unique, but always remember: Story Rules! #amwriting #story”]

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Talking Character

The Importance of Emotional Continuity

What is emotional continuity?

When actors enter a scene, they bring with them a certain attitude and emotional state that is a result of the moment before they come on stage. If, in the previous scene, we witness a fight between Emma and her mother, when Emma arrives on stage to set the table, we expect some muttering, dark looks and slamming of silverware. If she enters humming, acting as if nothing has happened, we will be confused—or worse, consider it a lousy performance–because emotional continuity was broken.

[bctt tweet=”We expect emotional continuity in our stories. #writetip #writing”]

Writers must be conscious of every character’s moment before, especially in a story with multiple points of view where one or more scenes might fall between a character’s entrance and his previous appearance. It is easy to lose track of where their moment before left them. If we don’t go back and check, we may end up with jarring emotional transitions that don’t make sense.

Elapsed time and the moment before

Sometimes the moment before is clearly defined by the story, but what if hours, or even years, have elapsed since that last scene. Does a writer still need to worry about the moment before if there wasn’t one?

Certainly. A character always enters a scene in some emotional state, as this video explains:

Our job as a writer is to determine what goals, desires and feelings are appropriate for this character at the start of this scene. If the story doesn’t tell us, we need to dig a little.

  • What has happened in the intervening time to bring her to this scene? How does that make her feel?
  • What is his goal in this scene? What moment before would explain this goal or propel him towards it?
  • Does he want to be here? If not, what has compelled him to show up?

Keeping track of your characters’ moments before will ensure emotional continuity and help your characters to remain interesting and engaged in every scene.

[bctt tweet=”When you bring a character into a scene, can you identify his moment before? #writingtip”]

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Talking Character

Pros and Cons of Character Questionnaires

Good writers know that developing well-rounded characters is critical, and one technique for creating such interesting characters is to create in-depth bios using character questionnaires. The point of these tools is to stretch you to think about your character in ways that might not have occurred to you.

[bctt tweet=”How well do you know your character? #amwriting #characters”]

Some examples:

  • As a kid, what did he want to be when he grew up?
  • What is her happiest memory?
  • What does she think makes a person successful?
  • What three words would be on his tombstone?
  • What superpowers does he wish he had?
  • Does she hate her middle name?

The internet offers sites with links to dozens of questionnaires, from basic to comprehensive. I even discovered a random question generator. (Is this akin to Paul’s discovery of an altar to an unknown god? And perhaps just as useful?)

Strategic character building

Running through a few of these questionnaires can help you build a more rounded character, but they might also lead you down rabbit trails that will later complicate or sidetrack your writing.

Wired for Story by Lisa Cron warns that character questionnaires can be “so all-encompassing that, ironically, they obscure the very info you’re looking for. Here’s the secret: you are looking only for information that pertains to the story you’re telling.”

If the fact that your hero is afraid of snakes doesn’t pertain to the plot, then including it does not add depth so much as reader frustration. They will wonder when the hero will be forced to face a snake, and disappointed when it never happens.

[bctt tweet=”Use character questionnaires with caution. #writetip #writer”]

Perhaps a question will spark insights into your character that will make your story richer, but beware of clogging the story with details that lead nowhere.