Category: Talking Character

Building Characters: Start with What You Know

Post author By Lisa E. Betz
Post date July 20, 2018
No Comments on Building Characters: Start with What You Know

If you’ve ever been involved in building a house or a major remodeling project, you understand how overwhelming it can be to make all the decisions the builder demands. Creating a character from scratch can feel just as daunting. Temperament, hair color, weaknesses, fears, favorite ice cream, childhood pets, past relationships, education…

How do you know which answers are right? Where do you start?

Start with what you know.

However formed or fuzzy the character is, you know something about her. So begin by writing down everything you know.

What do you know about…

The part she plays in the story? Is she the heroine? The sidekick? The bratty kid who always gets to be first? Define the part she will play as much as you can.
The attributes she will need to be good at the part? A sleuth needs to be inquisitive, clever, and willing to risk danger in order to track down clues. A military officer needs courage, stamina, and a sense of duty. What are the key attributes your character needs to be believable in the role?
The skills, knowledge, hobbies or experiences she will need to draw on? Does the plot involve swordplay? Ballet? Horseback riding? A narrow escape through storm drains? Pretending to be a professional chef? List all the bits and pieces of story ideas and consider what the character will need to get through the challenges.
The backstory facts you already know she’ll need? Jot them down and then do some free writing to see what other gems you may uncover as you build a life story around those facts.
What physical attributes and demographic info make sense? Based on what you’ve written down so far, and what your gut tells you, list the details that seem obvious or fit your mental image of the character. If you have no idea what color her eyes are, skip that detail for now and focus on whichever details you do know.
Random trivia. Sometimes a character inspiration comes out of some quirky combination of colorful tidbits. The girl at the coffee shop who always wears purple and owns a pet boa constrictor, for example. Jot down any miscellaneous information you have about the character. Who knows where it might lead.

Lastly, but perhaps most importantly—don’t be afraid to change things.

Writing down what you know is only the beginning of the process. As you become better acquainted with your characters you will reevaluate and refine the details. Give yourself permission to make intentional changes.

Consider this the foundation from which the real character will grow and mature.

Happy character-building.

[bctt tweet=”When building a character, start with what you know. #writer #writetips” username=””]

Lisa E. Betz believes that everyone has a story to tell the world. She loves to encourage fellow writers to be intentional about their craft and courageous in sharing their words with others. Lisa shares her words through dramas, Bible studies, historical mysteries, and her blog about intentional living. You can find her on Facebook LisaEBetzWriter and Twitter @LisaEBetz

Tags backstory, character development, character traits, character-building, characters, story foundations

Talking Character

Your Character’s Backstory—Use It Wisely

Post author By Lisa E. Betz
Post date June 20, 2018
No Comments on Your Character’s Backstory—Use It Wisely

Every fictional character has an entire life’s worth of backstory that happened prior to the opening of your novel. A writer’s job is to discover which pieces of the story are important.

Why is backstory important?

Backstory is what brings a character to life. Exploring the events in a character’s past yields nuggets of insight that makes them unique and explains why they act the way they do. The deeper a writer delves into the backstory of her characters, the better she can understand makes them tick.

Backstory also provides information on past events and relationships that are critical to understanding the current plot.

The dangers of backstory

Not every detail of a character’s history is relevant to your novel.

It’s tempting to believe our readers are every bit as fascinated with our characters’ backstories as we are. But don’t be fooled. Readers are only interested in what’s gonna happen next. K. M. Weiland in Outlining Your Novel

Backstories can take on a life of their own and lead unwary writers off-track. The goal of inventing a character’s life history is to discover the key events that influence who they have become. Details that have no bearing on the events of the plot should not be allowed to creep in and divert the story in an unhelpful direction.

How to use backstory effectively

There’s a time and place where backstory belongs—and a time and place where is doesn’t. K. M. Weiland

Like other kinds of research, most of the information about character’s past life will not make it into the finished novel. The trick is in knowing how much information to share with the reader and when it will be most effective to share it.

It’s tempting to explain all the important backstory at the beginning of the novel. Resist the urge. Instead, work the important details into the story on an as-needed basis. In other words, don’t explain backstory details until the moment the reader needs to know them to understand what is happening.

That doesn’t mean playing unfair with readers. By providing hints that a character has certain past events that affect how they act, the writer can withhold the details until the moment of greatest impact.

For example, in Kristen Heitzmann’s novel Secrets, she hints early on that protagonist Rese Barret was traumatized by her father’s death, but only gradually reveals the whole story. If Heitzmann had explained the entire backstory at the start readers might feel sympathy toward Rese for a page or two. In contrast, doling out the father’s story in snippets keeps the reader riveted chapter after chapter.

To summarize, backstory is what turns a cardboard character into a vivid and complex person. A wise writer selects only those details that enhance the plot and explain character’s motives and attitudes. Or, to quote from Outlining Your Novel one last time:

[bctt tweet=”The best backstories are those that influence a story without obstructing it. K. M. Weiland #writers #writetips” username=””]

Tags backstory, character bios, character development, character-building, characters, complex characters, timing

Talking Character

Keeping a Character File

Do you have a method for capturing the bits and pieces you use to create memorable, complex characters? If not, consider starting a character file.

What does a character file look like? It’s up to you. You could use a hardbound journal, a file folder filled with clippings and sticky notes, or a program like Evernote. Collect and organize the data any way you like, but if you don’t keep a character file in some form or other, I suggest you start.

Three types of character files a writer might find useful

A people-watching file

Whether you are sitting on a bench watching people go by, or hanging out with friends at a party, a writer should always be on the lookout for character inspiration. Keep a record of interesting details such as:

Quirks
Mannerisms
Striking physical features
Attire, hairstyles, jewelry, and tattoos
How people express emotions, especially non-verbally
How people behave in a given situation—particularly tense or unexpected ones.
How different personalities interact. For example, who is in the middle of things and who has gravitated to the fringes.

A literary file

Books are filled with character descriptions. While it’s not appropriate to plagiarize another writer’s words, it pays to record striking details, descriptions and observations. They might give you insights into technique or become a model for your own creative ideas. You should consider collecting snippets like:

Vivid physical descriptions
Clever metaphors used to describe characters
Insights into a character’s behavior or inner turmoil
Descriptions of highly eccentric characters that work
Quirks or mannerisms that you find charming, or that help you identify with a character
Dialogue or internal monologue that vividly conveys attitude or personality

You might also want to note what doesn’t work, particularly if you can pinpoint why.

Characters you find annoying
Descriptions that fell flat or felt wrong
Characters whose physical descriptions don’t seem to fit their personality

A character-specific file

As you build characters for your stories, you may find it helpful to collect various tidbits that apply to a particular character. Many writers find Pinterest to be a great tool for this, and once the book is published they share the board with their readers. In addition to collecting snippets of character description like those mentioned above, a character-specific file might include:

Photos that look like your character, or that vividly express emotions or attitudes your character often exhibits
Photos or descriptions of clothing, jewelry and hairstyles.
Props your character might use: tools, cookware, swords, chariots, whatever.
Details of décor, furniture, gardens, and architecture that might fill the character’s home.

These are only a few suggestions of what can be included in a character file. Trust your creative intuition and include anything that strikes you, no matter how irrelevant it seems at the time. Who knows what brilliant ideas a random detail may spark—if you take the time to capture it.

Tags character development, character traits, Characterization, description, Organizing Your Writing

Talking Character

Use Setting to Define Character

Post author By Lisa E. Betz
Post date April 17, 2018
No Comments on Use Setting to Define Character

You can learn a lot about a person by visiting their house or office. A writer can use that to her advantage.

Let’s assume your POV character is visiting the office of Mr. Smith, who they are meeting for the first time. You could simply describe the office as tidy or messy and give a hint of Mr. Smith’s character, or you could create a setting that painted a vivid picture of the occupant.

Four office setting examples that paint a picture of their occupants:

Office # 1

Mr. Smith’s office was extremely tidy. Two walls were taken up by bookcases, organized by subject. A third wall was filled by a row of identical filing cabinets, each drawer marked with a color-coded label. The stack of in-boxes was labeled with similar color-coded cards, and the squares on the desk-sized calendar were divided into numbered slices using colored ink. Next to the calendar lay a blank legal pad and a row of colored pens, each aligned perfectly with the edge of the desk.

Office # 2

Mr. Smith’s office was extremely tidy. Two walls were taken up by bookcases, filled with row after row of old books in matching bindings. A white mini blind covered the window, which was flanked by identical gray filing cabinets. A gray desk filled the center of the room, bare except for a pad of white paper, a single black pen and an empty in-box. Behind the desk, in place of the typical swivel desk chair stood a metal folding chair. The unpadded kind.

Two tidy offices. Two very different occupants. The same goes for these two messy offices…

Office # 3

Mr. Smith’s office was a chaotic wreck. Two walls were taken up by bookcases crammed with books, many of which had bits of paper marking various pages. More books were lying open on the desk amidst a jumble of papers. Behind the desk was a white board covered in rectangles filled with compact writing. The blocks of text were connected by arrows and peppered with sticky notes and occasional doodles. A stack of papers at least a foot high filled the in-box, occasional colored sticky notes jutting from the stack.

Office # 4

Mr. Smith’s office was a chaotic wreck. Two walls were taken up by bookcases filled with books, lumps of rock, lab equipment, and a variety of hats. Larger pieces of lab equipment sat on the floor behind the desk, under a pile of lab aprons. A flashlight and a single work boot balanced atop the pile. The desk was covered in a jumble of dented three-ring binders, crumpled napkins, empty coffee mugs, a handful of mechanical pencils, and a large box of jumbo-sized paperclips that had tipped over and spilled its contents across the mess and onto the floor.

As these examples show, before Mr. Smith enters the scene, we have a pretty good idea of his personality based solely on the description of his office.

One descriptive paragraph performing double duty—setting the scene and introducing a character at the same time.

Four suggestions for using setting to enhance your characters:

Create a personal space. Does your character have a space he has some control over, such as an office or bedroom. As in the examples above, those spaces can be filled with possessions and decor that communicate his personality.
Introduce a passion. What kinds of setting best define your character’s passions? A sewing room? The garage? An empty-lot-turned-garden? The local fitness club? A mountain path? Can you find a way to introduce the character in that space?
Define a sanctuary. What kinds of setting does your character go to when they desire peace and quiet, or when they need comfort or safety? A tree house in the backyard? A friend’s apartment? The local library? The attic? Show the details that make the space a sanctuary for your character.
Use character to fine-tune the setting. List words that describe your character. Does the list bring a specific setting to mind? Use it. Does the list include words like messy, colorful, or stylish that could be applied to a multitude of settings? Let those words inform the setting details.

Make your setting do double duty by painting a vivid picture of the characters who belong there.

[bctt tweet=”How can you tweak your settings to bring your characters to life? #writetips #amwriting” username=””]

Tags character, character traits, Characterization, description, Setting, telling details

Talking Character

How Characters Evolve in a Series by Lisa E. Betz

Post author By Lisa E. Betz
Post date March 20, 2018
No Comments on How Characters Evolve in a Series by Lisa E. Betz

Why do we love a good series? Because we love the characters and the kinds of situations they get into book after book.

Once upon a time the characters in a series often remained static from book to book, but most series published today feature characters that evolve gradually over time. Think over your favorite TV shows or book series. Are the main characters unchanged or do they evolve along with their relationships, career, or life goals?

Readers like characters that are three-dimensional enough to grow. However, readers don’t want your characters to change too much. They want each book in the series to feature the same characters they loved in the first book, and they won’t be happy if those characters transform into someone that is drastically different. Therefore, you must plan the character’s arc for a series, just like you plan a character’s arc for a single book.

You main character’s series journey

A series arc deals with incremental steps in a longer journey toward the character’s ultimate goal. What kind of goal? In a single story, the heroine’s goal is connected to the plot, but in a series the goal must rise above the plots of the individual books.

In the case of a female private investigator, for example, the series goal might be finally winning the respect of her male peers—and each successful case takes her a little closer to realizing that goal. Alternately, the series arc might be more concerned with the heroine’s domestic issues as she matures in her relationships, with an ultimate goal of a finding the balance between work and motherhood.

How to define a series arc

Think about your primary characters. What larger goal might drive them from book to book? Is it related to their career? Their relationships? Is there a stubborn character flaw they can slowly work to overcome? A particular person they will eventually impress or conquer? Will their goal change over time, as they achieve one milestone and look onward to another?

Perhaps most importantly, will your readers like the ultimate version of your hero better than the original version? Your series arc should take your main characters on a journey that has your readers cheering them on the whole way.

Evolving secondary characters

What about secondary characters? Do they need a series arc as well? Not necessarily. Some secondary characters need to remain the same to enhance the consistency of your story world. Consider some of your favorite series. Can you name a minor character you looked forward to meeting in book after book, even though they never changed? Those characters are reliable pieces of each story, part of the fabric that makes the series enjoyable. They don’t need to change much, although a few tweaks now and then will keep them interesting.

However, some secondary characters refuse to remain in the background. They might start out with a brief cameo then slowly gain importance in subsequent books. Those characters need to evolve as their role grows.

Try This: Choose a favorite book or TV series and track how the characters (both primary and secondary) evolve as the series progresses. What do you learn? What techniques can you adapt to your own work?

[bctt tweet=”How will your characters evolve across an entire series? #writetips #writer” username=””]

Lisa E. Betz believes that everyone has a story to tell the world. She loves to encourage fellow writers to be intentional about their craft and courageous in sharing their words with others. Lisa shares her words through dramas, Bible studies, historical fiction and her blog about intentional living.

Connect with her:

Website: www.lisaebetz.com
Facebook: www.facebook.com/LisaEBetzWriter/
Twitter: @LisaEBetz

Tags character arc, character development, secondary characters, series

Talking Character

Writing Historical Characters

Post author By Lisa E. Betz
Post date February 20, 2018
No Comments on Writing Historical Characters

Sometimes fiction authors write about real people. Especially those who write historical fiction.

Real historical characters can add a sense of credibility or realism to a story. But they must be handled carefully, because your readers will know when you stray from the truth.

Well-known figures

If you are writing about a well-known figure, such as George Washington or Thomas Edison, you will need to do extensive research to ensure you have your facts straight. The good news is that someone so well known already has a lot written about them, so the facts are readily available. The bad news is that someone so well known already has a lot written about them, so your readers already know the facts and will notice your mistakes.

On the positive side, you already know their family history, their physical description, how they talked, what their voice sounded like, the name of their favorite pet, and a myriad of other details. Your job is to choose the details that are important for your story, without ignoring or twisting the facts you don’t mention.

On the negative side, you are stuck with whatever details are known about a person, even if those facts are inconvenient. Also, you must take care, because without doing sufficient research you can easily misrepresent the truth by making false assumptions, adding details carelessly, or promulgating the commonly-held-but-incorrect legends of the person’s history (such as George Washington and the cherry tree). Also, you risk annoying readers if you choose to invoke artistic license for the sake of your plot.

Other things to consider

The larger the role a well-known figure has in a story, the more research and care the writer must take in presenting them. Bringing George Washington into a scene or two is much easier to pull off than making him one of the main characters.

However you use well-known figures, don’t cheat your readers by making historical characters two-dimensional. Don’t be tempted to fall into lazy writing, assuming the reader already knows about the character so you don’t have to bother describing them. Historical characters deserve as much attention to description and characterization as fictional characters. Use the known details to your advantage. Which details would your POV character notice, and how would she feel about them?

Little-known historical people

Lesser-known historical figures can add the same note of credibility to your writing without the problems that come with using more well-known persons. There are plenty of real historical people who lived interesting lives, but for whom we now have only a handful of facts. That lack of information might frustrate a biographer, but it creates a prime opportunity for a fiction writer. The door is wide open to fill in all those blanks in whatever way suits your story.

Just take care that you stay within the boundaries of the facts that are known. You must honor the few details that are all that is left of the person’s legacy. When there are only a handful of details to keep track of, you have no excuse for getting them wrong.

Fictional characters based on real people

Sometimes a writer uncovers a fascinating historical person that would make a great story—except for a few bothersome details. If you cannot reconcile the facts with the story you want to write, or if the person’s story includes aspects you don’t want to face for one reason or another, there is another option: Create a completely fictional character based on the real one.

This technique allows you to start with the inspiration that a real person gives but then to develop a character that has the flaws, goals, attitudes and beliefs that suits your story, your themes, and your worldview.

Just be sure to play fair. If your fictional character bears more than a passing resemblance to a real person, don’t skew the character so far from the true story that it feels slanderous. Also, if a character is based significantly on a real person, give that person credit in an author’s note.

Bottom line: Don’t be afraid of including real historical characters in your story, but do your homework and don’t forget that real people need to be developed as much as fictional ones.

[bctt tweet=”Can a real historical character add punch to your story? #writing #writetips” username=””]

Connect with her:

Website: www.lisaebetz.com
Facebook: www.facebook.com/LisaEBetzWriter/
Twitter: @LisaEBetz

Tags character development, Characterization, historical figures, historical novel writing, historical research

Talking Character

Which Comes First, Plot Or Character?

Post author By Lisa E. Betz
Post date January 20, 2018
3 Comments on Which Comes First, Plot Or Character?

Plot and character. Two halves of any great story. Both are critical, whether you are telling a character-driven literary story or a plot-driven spy thriller.

Disagree? Consider this quote:

Plot and character are integral to one another. Remove either one from the equation (or even just try to approach them as if they were independent of one another), and you risk creating a story that may have awesome parts, but which will not be an awesome whole. K. M. Weiland in Creating Character Arcs.

Or, to put it differently, consider this statement from Lisa Cron in Wired for Story:

Myth: The plot is what the story is about.
Reality: A story is about how the plot affects the protagonist.

So then, a good story is one where the plot affects the main character. Does that mean plot comes first?

Not necessarily.

I don’t think it matters where a writer begins, so long as you remember that the two are intertwined. The character must have goals and issues that are challenged by the plot. The plot is nothing but a series of unconnected events unless there is a character whose struggles give them meaning. A writer cannot get too far along in one before he needs to consider the other.

The big mistake is to forget they are two sides of the same whole. The great discovery is when you allow your developing character to spark plot ideas, or vice versa.

Where do you start?

Character first

If you are a character-first writer, you begin by crafting an intriguing character. But at some point the character will need a goal, and obstacles that stand in his way. Remember, it is a reader’s anticipation of what the character will do next that sucks them into the story. A protagonist without a clear goal gives a reader no reason to care—and thus no reason to keep reading.

Therefore a character-first writer will need to consider the complex, flawed character you have created and ask what climax moment will force the hero to face the strongest of his inner demons. Come up with a climax that forces the character to dig deep, to strive against the enemy with every fiber of his moral and physical being, and then work the plot backwards from that moment.

Plot first

If you are a plot-first writer, you start with an intriguing what-if or an awesome idea for an amazing climax scene. But at some point you will need to create a character worthy of your plot. One whose inner demons threaten to keep her from defeating the opposition.

The most powerful stories are built on a character whose exterior plot goal is in direct conflict with her inner story goal. This is true whether the story has a classic character arc or not. Even in stories where the character does not change (a flat arc) she still needs to overcome something beyond the antagonist’s evil plans. That something might be as simple as convincing everyone around her that the evil villain is truly an evil villain, but the plot must force her to dig deep inside herself to find the strength to keep fighting when no one else believes.

Therefore, plot-first writers need to stop and consider what conflict of inner need and outer goal will might work with the plot. Create a believable character that embodies those two things, (giving the character enough backstory to explain the why of it) and you are well on your way to a great story.

[bctt tweet=”The character drives the plot, and the plot molds the character’s arc. They cannot work independently. K. M. Weiland #quote #writer” username=””]

Lisa E. Betz is a Bible study leader, drama director, and aspiring novelist. She lives with her husband and a neurotic cat in a scenic corner of Pennsylvania. When not teaching or sorting books at the library, Lisa blogs about intentional living at www.lisaebetz.com.

Connect with her:

Website: www.lisaebetz.com
Facebook: www.facebook.com/LisaEBetzWriter/
Twitter: @LisaEBetz

Tags character arc, character goals, crafting character, inner demons, Plot, plotting, story

Talking Character

How to Create Great Character Bios by Lisa Betz

Post author By Lisa E. Betz
Post date December 20, 2017
No Comments on How to Create Great Character Bios by Lisa Betz

A character bio is a collection of information that delineates and describes a fictional character. It is a tool that helps a writer:

Create well-rounded, interesting, unique, characters
Understand who the character really is and what makes them tick
Ensure consistency in the character as the story progresses

Like any writing tool, character bios should be approached properly in order to achieve best results.

What is critical in a character bio?

Physical description. You don’t need to define every freckle, but you do need enough to satisfy readers and differentiate this character from others in the story. Don’t forget to consider how their size and features will affect the plot.
What temperament and attitude qualities make the character the perfect choice for the role she plays in the story? Start from her essence and then layer on traits that enhance her character, making her more believable and nuanced.
Pertinent backstory. Not a full life history, but the pieces of that history that are pivotal in making the character who he is at the start of the story. This includes the past event that knocked his world out of alignment and created the inner issue he struggles with in the story. It also includes whatever has inspired his motivation to achieve his story goal. In addition to those key elements, backstory may also include information on other significant issues, such as family dynamics or how he acquired the various skills he needs to make it through the plot.
Plumbing the depths. A character bio is where a writer should go deep into the character’s psyche. The more you explore her inner fears, secrets, shames, hopes and dreams, the better. Start from her inner issue and story goal, and push deeper, trying to understand all there is about those aspects of her character and how they affect the rest of who she is.
Other details, such as education, skills, mannerisms, family background, and preferences should be considered, when they are pertinent. For example, the character’s level of education will affect his speech patterns and vocabulary. His preference in music may be critical or completely irrelevant, depending on the plot.

Pitfalls to avoid when creating character bios

Coming up with random answers to random questions that have no bearing on the plot. Does it really matter what kind of ice cream your hero likes best or whether your heroine likes her middle name? It may be fun to think up answers to such questions, but it’s all too easy to pull the answers out of the air without considering how they suit your character or advance your plot. Worse yet, if you throw in a fascinating but irrelevant factoid, you will confuse your readers. For example, if you mention the hero is into falconry, readers will spend the rest of the story wondering how his falconry talents will be useful to the plot.
If you’ve spent hours considering your character’s every fear, triumph, and preference, you will naturally want to share those details with your readers. Use caution! If you flood readers with too many details they will quickly lose interest. Most of what you learn in a well-crafted character bio will never show up on the page, but it will inform every decision and action the character makes. Trust the process and use details sparingly.
Getting so involved in writing character bios that you never get around to writing the actual story. Enough said.

[bctt tweet=”Spend your time concentrating on the right information, and you will be well on your way to crating vibrant, memorable characters. Happy writing. #writer #writetip” username=””]

Connect with her:

Website: www.lisaebetz.com

Facebook: Lisa E Betz Writer

Twitter: @LisaEBetz

Tags character development, Characterization, creating character bio

Talking Character

Five Questions for Portraying Anger

Post author By Lisa E. Betz
Post date November 20, 2017
No Comments on Five Questions for Portraying Anger

Anger comes in many shades, from miffed to murderous. Each shade looks and feels different. When a person is miffed, he might roll his eyes or make a snarky comment. When a person is enraged to the point of being murderous, adrenaline is pumping through his body, making him tense, flushed, and ready to punch someone.

Anger expresses itself differently in different people. No two people respond to anger the same way. Some tend towards melodrama while others keep a tight rein on their emotions. For example: Some teachers constantly yell at their students in order control the classroom. Others rarely raise their voice. I remember being more terrified the one day my normally serene homeroom teacher raised his voice than I ever was at the threats of the constant shouters.

[bctt tweet=”With all this variability, writers must take care to describe anger in convincing and imaginative ways.” username=””]

Here are five questions to ask when a scene calls for anger.

Where am I in the story? A story builds tension as it moves towards the climax. You want to slowly increase emotional intensity, and peak during the climax. That doesn’t mean your characters can’t be angry in earlier scenes, but do keep the overall arc in mind. You should allow your characters room to let their emotions grow and deepen, especially those that will be significant in the climax.
What nuance am I looking for? Look up anger in a thesaurus and scan the synonyms. Select one that best captures the nuance of the emotion your character is feeling. Next, determine what sorts of physical and mental responses suit that specific emotion. A good resource for this is The Emotion Thesaurus by Angela Ackerman and Becca Puglisi.
How does my character’s personality affect how she responds? Some temperaments are naturally more expressive than others. Some characters have volatile tempers while others have learned to stuff their emotions (until the clever writer forces them into a corner and suddenly they can’t hold them in any longer). Like in the school example above, one character’s shout may indicate frustration while another character would only shout when furious. Try to keep your characters’ responses consistent and appropriate for their personalities. And always keep in mind that your characters’ responses to anger are probably different from your own.
Is the response appropriate for the situation? I remember a girl in high school who acted by using stock emotions that she put on and off like a mask. All angry scenes had the same intensity, regardless of the situation. If I had the emotional sophistication to detect this two-dimensional acting in high school, your readers can detect similar lack of authenticity in your characters. A character should not become irate when someone cuts in front of them in line—unless you have built the story to explain why the character reacts so out of proportion to the offense.
What emotion(s) underlie the anger? Sometimes anger is just anger, but often the root of anger is some other emotion, such as fear, guilt, or shame. Humans often use anger to conceal other emotions, intentionally or unintentionally. Consider a character’s backstory and their inner issues. When is their anger response actually hiding something deeper? Do they realize it or not? How can you bring that deeper emotion to play on the page?

Anger. It’s a powerful emotion. Use it wisely.

[bctt tweet=”What other emotions does anger hide in your characters? #writer #amwriting” username=””]

Tags anger, character emotion, Characterization, emotions, portraying emotion, writing techniques, Writing tips

Talking Character

Confused Characters Who Don’t Confuse Readers

Post author By Lisa E. Betz
Post date October 20, 2017
No Comments on Confused Characters Who Don’t Confuse Readers

The trickiest part about conveying confusion is to convey it clearly, without confusing the reader. Ann Hood in Creating Character Emotions

From time to time our characters will be confused about something. Perhaps they’ve made assumptions that suddenly turn out to be incorrect. Perhaps someone says or does something that doesn’t make sense. Perhaps another character is intentionally trying to confuse them.

Whatever the situation, the writer must take pains to make sure the reader know what’s going on, even when the character doesn’t.

Two common pitfalls when portraying confusion:

Sensory overload. Hit a character with enough simultaneous noises and actions and they’ll certainly become confused. However, the reader will be just as befuddled by the mass of details.

Example: Halfway to the mailbox, Sara heard her ringtone and rushed inside. Where had she left the phone this time? She almost tripped on a shoe her son had left by the front door, which woke the dog and started him barking. Gritting her teeth, Sara ran past the stupid dog to the kitchen in time to see her two-year-old dump an open box of cereal onto the floor and break into wails.

A vivid portrayal of confusion, but the reader doesn’t understand what it means unless the writer also shows what emotions the chaos creates for Sandy.

Information that is meaningless to the reader. When you confuse a character with information he doesn’t understand, make sure the reader has an inkling of what it means.

Example: Jared unfolded the piece of notebook paper. Who was K. and why had she stuffed a note in his locker? What did she mean by ‘see you after school at the tree’? Which tree? There were like a million trees in this neighborhood alone.

Unless your readers know more than Jared, they will be just as confused as he is.

[bctt tweet=”Don’t make the reader befuddled just because your character is. #writers ” username=””]

Better strategies for portraying confusion:

Let the reader in on the joke. Characters often mistakenly believe an action or comment means one thing, when in fact it means something else. Readers, however, don’t enjoy being purposely led astray, so make sure the reader is aware (or at least suspects) that the character is making a mistake. In example two above, imagine how much better it would work if the reader knows that K’s friend has the locker next to Jared’s. Now, instead of making the same mistake Jared makes, the reader will grin in anticipation for the awkward scenario to follow.
Show the emotional source of the confusion. What readers really want to understand is why a character acts the way she does. I might improve example one by adding some of the emotions underlying the confusion, like this:

Example: Halfway to the mailbox, Sara heard her ringtone. Why did she always forget to put her phone back in her pocket? She hurried inside and almost tripped on a shoe her son had left by the front door. Uh oh. It wasn’t her turn to pick up the kids, was it? She couldn’t afford to forget again. She rushed into the kitchen. Thank the Lord, only one-fifteen. So who was calling at this hour? Had she forgotten an appointment?

Show the character’s thought process as he tries to make sense of things. As the character works through a situation that doesn’t make sense, he naturally portrays confusion without the writer ever having to say as much.

Example: Jared unfolded the piece of notebook paper. Who was K. and why had she stuffed a note in his locker? Kayla was the only girl he knew whose name started with K, and she would never use sparkly pink ink. Maybe someone meant to put it in Tori’s locker instead? But how was he supposed find out? There was no way he was going to show the note to a girl as popular as Tori.

[bctt tweet=”Confused characters. We love them, just so long as they don’t confuse us, too. #amwriting” username=””]

[bctt tweet=”Pitfalls to avoid when writing portraying confused characters. #writetips #writer” username=””]

Tags character emotion, clarity, confusion, emotion, portraying emotion

Talking Character

Are Your Characters Too Consistent?

Post author By Lisa E. Betz
Post date September 20, 2017
4 Comments on Are Your Characters Too Consistent?

Do you always tell the truth?

Do you use the same tone and vocabulary when speaking to your friends and your boss’s boss?

Do you behave consistently, even when you are stressed, tired, or suddenly facing a roomful of screaming toddlers?

Probably not.

So your fictional characters shouldn’t either.

A fully developed character will act and speak differently based on the situation, the other people in the scene, his mood, or even his changing goals. A writer must be careful, however, to establish a character’s primary voice and modes of behavior before attempting to vary them. Otherwise a reader will likely assume a character who behaves inconsistently is due to author error rather than author intent.

When to allow your character to act inconsistently:

When the unexpected behavior or speech develops character. You’ve all seen the tough guy who turns into a marshmallow when interacting with small children—your characters can react in a similar (but less stereotypical) manner to show the reader a different side of their personalities.
When it enhances the plot in some way. Perhaps your normally calm character has an irrational fear of snakes. Mention the fact somewhere along the line, and then dump them into a critical situation that includes snakes. Now your runs away instead of confronting her nemesis (plot twist), or else conquers her fear of snakes and earns the reader’s respect.

Questions to ask when considering inconsistent behavior

What individuals or groups might cause a difference in behavior? For example, your hero is confident around friends and coworkers, but full of self-doubt when facing the boss. Or he’s generally friendly, except with the waitress at the local diner. (And why is that? You’d better tell us before the story is over.)
In what situations will the character tell the truth, try to evade the truth, or outright lie? Is he usually honest? Then it might be worthwhile putting him in a situation where he doesn’t want to tell the truth.
What groups or individuals bring out the softer side of a person? Alternately, who or what forces a naturally kind person to be insensitive or aggressive?
In what situations might my character feel safe enough to open up and risk being vulnerable? (And did they make the right choice, or do they lack judgment in this area?)
When will the heroine use formal speech, and when informal? What will cause her to swear if that is not her normal character?
What might cause a normally terse character to begin babbling? A chatty character to become non-communicative?
Don’t forget actions. In what situations might an energetic character grow lethargic, or a slow and methodical character become rash? Why might a character suddenly desist from an established habit? (Did he skip his third cup of coffee because his mother is visiting, or is there another reason?)

[bctt tweet=”Where and when might your characters act inconsistently? #amwriting #authenticity” username=””]

[bctt tweet=”How can you add depth to your characters through inconsistent behavior? #writing #writetip” username=””]

Tags character development, character traits, motivation, telling lies, voice

Talking Character

Give Your Character Attitude

Post author By Lisa E. Betz
Post date August 20, 2017
No Comments on Give Your Character Attitude

Dig deep and you’ll find attitude, and when you find attitude, you find voice. ~ James Scott Bell in Voice: The Secret Power of Great Writing.

What kind of attitude does your main character display? Do her words drip with sarcasm? Is his inner monologue colored by his bleak outlook? If your character doesn’t ooze attitude, maybe you need to dig a little deeper.

These simple exercises will help you dig deep and explore your character’s attitude.

One-word lists

Make a list of ten or so words that your character would use to answer questions such as:

What are you most afraid of?
What keeps you up at night?
What are the dreams you are afraid to tell anyone about?
What makes your blood boil?
What turns you into a puddle of mush?

The more intrusive the questions, the better the results. You are trying to force your characters to reveal their deepest feelings, which will color their attitudes.

Connect the dots

Choose a random word from one of the above lists. Free-write about that word from your character’s POV. After a few minutes, randomly choose another word and connect it to what you’ve been writing. Write for a few minutes and then select another word and connect that to what has come before. Keep going as long as you like. Did you discover any interesting connections that surprised you? Did the combination of words take you down a path you would never have thought of? Did you unearth any gems of attitude that make your character more complex or in-your-face?

Do the unexpected

Imagine your character in a typical setting. Now, imagine they do something destructive, like smash an expensive vase, kick the dog, or set a building on fire. Brainstorm what might motivate the character to do such a thing. Keep digging until you discover something that resonates. How can you tap into this deep well of passion in the pages of your novel?

The autobiography

Imagine your character as an older person, twenty, or perhaps fifty years in the future. Put them in a situation where they are compelled to relate their past to someone. When the character remembers the incidents in your novel, how would he talk about them? What would he mention, and what would he rather not think about? What attitudes and revelations would hindsight have given him? How can this exercise inform his character arc?

Mood music

Choose a piece of music that has a distinct mood (romantic, suspenseful, victorious, jubilant). Instrumental music works best. I suggest pieces from sound tracks—especially from movies you haven’t seen recently. While listening to the music, free-write from the POV of your character. Try a journal entry, or plunk the character into a situation from the story and let them react however they like. The more they ramble about their feelings, the better. Now switch to a different piece of music and try again.

This exercise may be particularly useful if you are struggling to understand their reactions to a specific situation. Identify the emotion of the scene and listen to music that captures that mood. The emotions in the music might pull new emotion from the character.

In conclusion, the more attitude your characters exhibit, the more memorable they will be. A writer should not be a good parent, gently instructing our characters to be on their best behavior. Instead, we should prod our characters into letting their attitudes shine for all to see—rude comments and all.

[bctt tweet=”Does your character ooze attitude? #writer #attitude” username=””]

[bctt tweet=”Dig deep and you’ll find attitude, and when you find attitude, you find voice. James Scott Bell #quote” username=””]

[bctt tweet=”Five simple exercises to explore character attitude. #writetips #amwriting” username=””]

Tags attitude, character development, emotion, voice

Talking Character

Developing Your Character’s Voice

Post author By Lisa E. Betz
Post date July 19, 2017
1 Comment on Developing Your Character’s Voice

I was once in a bus full of high school students when I heard a boy behind me read a single sentence. I immediately recognized the author.

That’s voice.

[bctt tweet=”A strong voice is distinct, memorable, and intriguing. #writetips ” username=””]

It can grab a reader like little else. A few examples:

One day soon they hang me for a rogue. Fair enough. I have earned it a hundred times over, I reckon, and that’s leaving out a lot of acreage. Stephen Lawhead in Scarlet

I am the most tolerant of women, but to join my husband, my son, and my butler in a discussion of our evening in an opium den … was really a bit too much. Elizabeth Peters in The Deeds of the Disturber

When it came to shopping for something that required as much hope and longing as a beautiful dress, I was like a child raised by wolves—or some other, more nervous animal. Rabbits, maybe. Alyssa Harad in Coming to My Senses

So where does voice come from? The character? The writer?

Some of both, actually.

Three layers of discovering character voice

Layer one—the basics

Consider all you know about your character. His physical description, temperament, background, and demographics can all affect how he speaks. A well-educated or socially elite character will use different vocabulary and grammar than someone from the servant class. A character may be terse or chatty. He may favor colorful metaphors or concrete descriptions. He may use specific words or phrases that provide a hint of dialect, ethnicity, or historical setting.

Layer two—the deeper stuff

Next consider the character’s inner self. Bring together her two-word thumbnail, backstory, wounds, inner issues, and story goals. From this information, identify five or six key emotions that drive the character toward her story goal. Is she determined, bitter, and desperate or melancholy, yearning, and in love?

Layer three—the writer’s connection

Now that you’ve identified the style of a character’s speech and bored down their emotional essence, you need to find a way to connect with this particular character. Her story may be worlds away from anything you have experienced, but that’s OK. In this case, “write what you know” isn’t about having the same experiences, it’s about experiencing the same emotions. Come up with specific incidents in your own past where you experienced each of the emotions you identified in layer two. If you tap into those memories, you will be able to relate deeply to your character as you write.

Putting it together

You might think of layer one as informing the structure of a character’s voice, while layers two and three inform the content and attitude. Experiment with the voice by free-writing in first person, keeping in mind the style attributes of layer one and your emotional memories from of layer three. Push the character to ramble on about his inner fears or his wild dreams until you begin to sense his distinct voice. Don’t be timid. The more passion, the more risk, the stronger the voice. And don’t forget to have fun.

Voice is born from a lot of words and a lot of work — but not just any words or any work will do. You have to bleed a little. You have to shiver a little. You have to love a lot… Holly Lisle

[bctt tweet=”Where does voice come from? The character? The writer? or some of both? #writer” username=””]

[bctt tweet=”You have to bleed a little. You have to shiver a little. You have to love a lot. Holly Lisle #quote #voice” username=””]

Tags Characterization, emotions, Passion, unique, voice

Talking Character

Dos and Don’ts for Describing Characters

Post author By Lisa E. Betz
Post date June 19, 2017
4 Comments on Dos and Don’ts for Describing Characters

A writer must find the perfect balance when describing characters, especially when introducing them to a reader for the first time. The reader needs enough information to grasp who the character is, but too much information and the reader will likely skip to the next paragraph.

Or worse.

We writers know a lot about our characters. We’ve spent days crafting their descriptions, personalities and back stories. But when it comes to the descriptions we include in our stories, we must remember that we know much more than the reader needs (or wants) to know.

Here are a few tips to help you create awesome character descriptions

DON’T simply give a detailed description of the character’s physical appearance. This police sketch approach lacks emotion and does little to explain who the character is.

DO paint a picture that evokes emotion. Show who the character is rather than tell what they look like. Use dialogue or action to give the reader insight into their personalities.

DON’T introduce the character for the first time in a bland, forgettable way.

DO introduce a character by mentioning the most significant traits, and do so in as memorable a manner as possible.

DON’T include a catalog of irrelevant details. The reader will assume every detail you supply is important. If you mention the character is left-handed, the reader is going to expect left-handedness to be significant somewhere down the road. If it’s not going to be mentioned again, skip that detail.

DO choose only the most telling details, the ones that give is important insight into the character’s personality and attitudes, or that will become significant to the plot. If

DON’T create several characters who are so similar the reader gets them confused. (Unless that is a key ploy for your particular story, in which case the POV character should probably have problems keeping them straight, too.)

DO give characters a unique, easily described characteristic that helps the reader keep track of who’s who.

DON’T tell the reader details about a person that the POV character doesn’t know. Such author intrusions may have been common once upon a time, but they now feel forced or preachy.

DO describe a person through the lens of the POV character. The main character may have a very biased and inaccurate view of other characters, but that is OK. By flavoring each description with the main character’s thoughts and attitudes, you not only introduce other characters but also show us something new about the POV character.

DON’T allow all characters to describe a person in exactly the same way. Each POV character is likely to notice—and ignore—different aspects of a person’s appearance, behavior and personality.

DO show different sides of a character’s personality by allowing each POV character to display a unique attitude. One student’s favorite teacher is another student’s least favorite. By showing the teacher from both sides, the reader gets a more complex and authentic picture.

Most of all, DO have fun creating and describing your characters!

And DON’T give up. The world needs to hear the story only you can tell.

Tags character traits, Characterization, characters, descriptive writing, desctiption, POV

Talking Character

The Power of a Two-Word Character Thumbnail

Post author By Lisa E. Betz
Post date May 19, 2017
2 Comments on The Power of a Two-Word Character Thumbnail

Can you describe you characters with only two words?

I ran across this simple question in James Scott Bell’s excellent book Voice: The Secret Power of Great Writing. He suggests identifying a character’s dominant impression in two words—a noun that describes the character’s main vocation or purpose, and an adjective that sums up the character’s unique personality and/or attitude. I see the two words as sort of a thumbnail description of the character.

An example:

I decided the main character in my work-in-progress is an unconventional sleuth, while her sidekick is a sassy maid. Those descriptions are oversimplifications, but they point to something essential in the nature of the characters.

It wasn’t easy to boil each character down to two words, but I found the exercise worth it. Here’s why:

Identifying a character’s two-word thumbnail helps me to be consistent. When I come upon those inevitable moments when I’m trying to decide how a character will react in a specific scene, my two-word thumbnail is often useful in determining which option best suits their dominant characteristics. Roxana, my sassy maid, will normally err on the side of stating her mind and speaking when she shouldn’t. Since this is the opposite of my normal tendency, keeping her sassiness in mind helps me maintain her unique character and voice.
Searching for a two-word thumbnail for each character pinpointed which characters I don’t yet know well enough. For some characters, such as my heroine and her sidekick, creating a thumbnail was a matter of jotting down possible descriptors and then narrowing them down to the most apt choice. When it came to other characters, however, my descriptors were all over the place. I wasn’t sure whether Curio was a frustrated victim or a reformed rogue. The thumbnail exercise showed me where I need to flesh out back stories more fully in order to determine the primary essence of each character.
They are a handy way to differentiate between secondary characters. I am working on a mystery, and several of the suspects are landlords. Assigning them adjectives like domineering, kindly, and secretive gives me a simple way to make sure each landlord remains distinct from the others.
It helps my critique partners keep track of who’s who. Since we meet once a month, and it may be months between scenes with a given character, the thumbnail list helps them remember which character is which. It will also help when I am working on character descriptions and synopses.

Are you ready to come up with two-word thumbnails for your characters? Are they straight-laced lawyers? Bitter sisters? Overconfident suitors?

Give it a try, and you’ll gain a few useful insights about them along the way.

[bctt tweet=”Author tools: Two-word thumbnails help a writer identify their character’s essence. #writetip ” username=””]

Tags character development, character traits, Personality, thumbnail, unique

Talking Character

Your Character’s Skewed Worldview

Post author By Lisa E. Betz
Post date April 19, 2017
2 Comments on Your Character’s Skewed Worldview

In any good story, the protagonist can only achieve her external story goal by first overcoming a deep inner issue. (Her character arc is her journey to discover, wrestle with, and overcome this issue.)

What is this inner issue?

A belief or fear that gives her a skewed view of the world. In other words, her inner issue is a big fat Lie she believes, a Lie that leads her to act in ways that are unwise—and will ultimately lead to her failure unless she confronts the Lie and discovers a better truth.

Where does this inner issue come from?

Somewhere in your character’s past he encountered a traumatic event, or Wound, which initiated his skewed thinking. This does not mean your character must have been abused or suffered severe trauma. The Wound might be a broken promise, or a word of condemnation, anything that incites the character to believe some lie about himself or how he must survive in his world.

You must know precisely when, and why, your protagonist’s worldview was knocked out of alignment. Lisa Cron in Wired for Story

If you know what initiated your character’s belief in the Lie, you’re halfway to helping him overcome it. K. M. Weiland in Creating Character Arcs.

An Example:

In my current manuscript, a Roman aristocrat named Avitus was badly burned as a youth, and as a result his face, chest and left arm are scarred. Because of this scarring, he was ridiculed and rejected by the peers who had once been his friends.

That rejection is his Wound. It caused him to believe that he was ugly and unlovable (the Lie). To protect himself from further rejection, he became a loner, only trusting others who, like him, have been rejected in some way.

However, a stipulation in his father’s will requires him to marry before he can inherit his share. So long as he remains in his skewed worldview—where he believes he is unlovable—he will remain safely behind his wall of dispassionate self-control.

In order to win the respect of his potential spouse, he must realize that it is the Lie that made him unlovable, not his scars. Only by dropping his mask of indifference and becoming vulnerable can he hope to convince her to marry him.

Further thoughts on your character’s Wound

Identifying a specific wounding event helps the writer create a more authentic character.
The Wound often lies in the past, long before the story starts, although in some cases the Wound occurs in the early scenes of your story.
The more skewed the character’s worldview (the bigger the Lie), the more serious the Wound must be.
In some cases, the character’s wound is revealed as the story progresses. In others the readers never learns about the Wound, but it still informs how the character behaves.

[bctt tweet=”What big fat Lie does your character believe, and what Wound initiated this belief? #amwriting” username=””]

Tags character arc, inner demons, inner issues, the Lie, the Wound, traumatic events

Talking Character

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

Post author By Lisa E. Betz
Post date March 19, 2017
1 Comment on 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=””]

Tags character motivation, goals, inner issues, protagonist, story goals

Talking Character

Do You Know What Your Character Is Doing?

Post author By Lisa E. Betz
Post date February 19, 2017
No Comments on 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=””]

Tags character goals, character motivation, Plot, story goals

Talking Character

5 Character Development Exercises

Post author By Lisa E. Betz
Post date January 19, 2017
No Comments on 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=””]

Tags character development, charicterization, description, Setting, writing exercises

Talking Character

How Selfish Is Your Protagonist?

Post author By Lisa E. Betz
Post date December 19, 2016
No Comments on 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.

Tags character goals, inner issues, motivation, theme

Talking Character

Different Temperaments, Different Fears

Post author By Lisa E. Betz
Post date November 19, 2016
2 Comments on 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.

Tags character development, fears, inner issues, personality profiles, temperaments

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?

Talking Character

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

Post author By Lisa E. Betz
Post date September 19, 2016
4 Comments on 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

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.
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.
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.
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=””]

Tags character motivation, Characterization, communication, dialogue tips, emotions, telling lies

Talking Character

First Impressions Matter, Part 2: Utilzing Point of View

Post author By Lisa E. Betz
Post date August 13, 2016
No Comments on 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.

Talking Character

First Impressions Matter–Part 1

Post author By Lisa E. Betz
Post date July 7, 2016
No Comments on 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=””]

Tags Characterization, introducing characters, telling details