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Showing posts with label fiction characterization. Show all posts
Showing posts with label fiction characterization. Show all posts

Thursday, January 21, 2016

Making Flawed Characters More Palatable

Jennifer Slattery writes soul-stirring fiction for New Hope Publishers, a publishing house passionate about bringing God’s healing grace and truth to the hopeless. She also writes for Crosswalk.com, Internet Café Devotions, and the group blog, Faith-filled Friends. When not writing, Jennifer loves going on mall dates with her adult daughter and coffee dates with her hilariously fun husband. Visit with Jennifer online at JenniferSlatteryLivesOutLoud and connect with her on Facebook.
Making Flawed Characters More Palatable

Our characters must be authentic, but there’s a fine line between real and palatable, especially when dealing with bitterness and anger. We all act like jerks at one point or another, and so will our characters. The trick is to balance their more abrasive side with likeability. 

This was my challenge with Tammy Kuhn, the heroine in Intertwined. Abandoned by her husband for another woman, she was angry and left scrambling to hold on to her career while raising her children by herself. Plus, his behavior toward her and their children throughout the novel was less than honorable.

If in her situation, most of us would react… strongly. But in my effort to make Tammy real, I also made her unlikable. Because understanding why a character does something and admiring them are entirely different things. Strong characters need flaws and heroic attributes.

Give your flawed characters someone to care for

For Intertwined, this came naturally as my main character was a mother who loved her children fiercely. The trick was making her bitter less self-focused and more protective. Readers have more grace for a yelling Mama-bear than they do for a screaming, embittered woman.

Another example is Katniss from the Hunger Games. Had Suzanne Collins created a surface level character, we’d be left with a self-defending killer. And the series would’ve tanked, because though most of understand why someone would kill to survive, such behavior isn’t admirable. However, because she fought to save her sister and the people in her district, Katniss became a hero. The author gave Katniss hero qualities in the beginning, before we’d developed distaste for the character.

Show the emotions behind the behavior

This is where an author needs to dig until they uncover the vulnerable and good, revealing this in a way readers understand. Show a character’s interpretations, thoughts, and perceptions, in an authentic way—that’s where the challenge arises. Most of us react without understanding why. But regardless of how self-aware your characters are, you know. By placing clues throughout the novel, you can help your reader decipher motivations as well. 

Use secondary characters to reveal POV’s psyche

 My main character in When Dawn Breaks responded to fear and pain by lashing out internally. He called certain adults names in his head. The social worker who ripped him and his sister away from his mother became Ferret Face. The woman in charge of the group home he was sent to became Skin Flapper. I did this because teenagers reveal sorrow through anger.

Unfortunately, one of my early readers didn’t understand and developed negative feelings toward this character. I knew I needed to find a way to reveal the why, but I had to do it in a way that was authentic. So I had the character slip with his tongue and call the social worker, an adult trained to understand childhood trauma and behavior, a name. When he apologized, she said she understood he was merely hurting and lashing out at those he believed to be causing his pain. This gave context and meaning to his harsh behavior.

In both stories, I was able to use present authentic yet unpleasant behaviors without causing my reader to turn on me.

What are your thoughts on this subject? What are some ways you create authentic characters will realistic flaws and struggles without losing their likeability? Share your thoughts in the comments below, because we can all learn from each other!    

Abandoned by her husband for another woman, Tammy Kuhn, an organ procurement coordinator often finds herself in tense and bitter moments. After an altercation with a doctor, she is fighting to keep her job and her sanity when one late night she encounters her old flame Nick. She walks right into his moment of facing an unthinkable tragedy. Because they both have learned to find eternal purposes in every event and encounter, it doesn’t take long to discover that their lives are intertwined but the ICU is no place for romance….or is it? Could this be where life begins again? 

Friday, November 20, 2015

Creative Characterization - Like a Good Neighbor ~ by Shelley Gray


Characterization: Like Meeting Your Next-Door Neighbors

By Shelley Gray


I’ve often told people that creating characters is a lot like meeting new next-door neighbors. Whenever new neighbors have moved in near us, I seem to go through a four-step process. At the risk of seeming like a nosy neighbor, I thought it might be fun to compare the process of characterization to starting a relationship with the folks next door.

Step 1: Peek and Greet. When someone new moves in, it’s human nature to take a quick peek at them. You form a first impression. You look to see about how old they are, if they have kids, if they look friendly.
When I begin a new book, I concentrate on physical information such as hair and eye color, ethnicity, age, glasses, scars, etc. I keep track of things in a spiral notebook. I write each character’s name at the top of a page and write down the characters’ basic information as I create it. Sometimes I even cut out magazine pictures and tape them in.
Step 2: Go Visiting. A few days after a someone new moves into our neighborhood, it’s customary to give them some cookies or a loaf of bread. Usually, we end up visiting for a couple of minutes and learn basic information about them—jobs, where they moved from, do they seem warm and friendly? Standoffish? Grumpy?

I ‘visit’ with my characters when I’m done with the first three or four chapters. During this time, I’ll go back over the part I’ve written and add information about each character. Of course, a big part of all that is developing their goals, motivation and conflict. I try to do this with every character in the book, not just the main characters. I figure if someone wanders into my book’s pages, I need to be kind enough to give them a personality and backstory.

Step 3: Bus Stop Talk. When my kids were little, all the moms would usually congregate at the bus stop and visit until the kids hopped on the bus. This was the best way to get to know other moms better. We discovered who got up early and looked like they were ready to conquer anything by eight am. We learned who worked out all the time. Who was patient with their kids. Who kind of wasn’t. You get the idea.

Around the time I’ve written a hundred pages, I revisit my characters to make sure that I’ve gotten to know them pretty well. If the characters seem flat, I spend sometime ‘fleshing’ them out. I give my characters likes and dislikes. People are interesting because they have quirks. Sometimes they’re big quirks, like a fear of some sort. Other times, I create favorite foods, activities that they like or don’t like, favorite sayings or words. Habits, too. For example, maybe a character always checks in with her best friend or mother at nine o’clock every night. Yep, I do my best to add all this in my spiral notebook, too.

Step 4. You Now Know Your Neighbors Next Door! Usually, by the time the new neighbors have lived next door for a couple of months, we’ve sized each other up. Sometimes we’ve clicked. Sometimes not so much. But usually after four or five months, we know each other pretty well. We have a relationship now.
By the time I’m three-fourths of the way through a manuscript, the plot is set, I know my characters, and I know exactly what is going to happen to them by the time I type The End.
This is the time to really check the whole cast of characters to make sure no one seems superficial or forgettable. Little adjustments are made here. Sometimes it’s giving someone a new name, sometimes it’s writing a little bit more of a backstory or giving them a red bike or car or coat. I basically try to give each character the opportunity to shine, even if it’s in a not-so-nice way.

If you’ve never taken the time to really get to know your characters, I hope you’ll give this method a try.

And if you happen to get some new neighbors sometime soon, I hope you’ll enjoy getting to know them as much as your readers will enjoy getting to know the characters in your book.




BIO:

Shelley Shepard Gray writes Amish romances for Harper Collins inspirational line, Avon Inspire and historical romances as Shelley Gray for Harper Collins Christian Publishers. Her novels have been Holt Medallion winners and Inspirational Readers Choice and Carol finalists. Shelley’s novels have appeared on both the New York Times and USA Today bestseller lists.  
To date, Shelley has published over fifty novels for a variety of publishers. Her novels have been highlighted in the Philadelphia Enquirer, Washington Post, Time Magazine, and USA Today. She has also been interviewed on NPR as well as numerous regional radio stations.

Friday, September 14, 2012

Crafting a Truly Bad Villains ~ Interview with Matt D. Wilson


King Oblivion, Ph.D., has a doctorate in the Nefarious Sciences from Ocean Trench Fortress University.  He is also monarch of the tiny Eastern European nation of Explosia, a title he won in a month-long Rochambeau tournament nearly half a century ago.  In his spare time, he enjoys macramé and telling his various minions to avoid referring to him as “Dr. King.”

MattD. Wilson has written humor for websites including McSweeneys.net, Cracked.com, NationalLampoon.com, and ToplessRobot.com.  He runs the Internation Society of Supervallains website at The-ISS.com.  He is also one of the Bureau Chiefs who run the FaceAPStylebook Twitter account, and cowrote the accompanying book, Write More Good.


Matt, rumor has it you have insider information on the drives that make a man plot to take over the world. Are there certain characteristics you have discovered in the dark dens you visit with Dr. Oblivion (no offense if he prefers His Majesty the King Oblivion Phd...I've never addressed questions to someone of his reputation)? Or does he have certain habits or warps that make him extra dangerous? How might writers learn from your glimpse into his world?

One thing you notice pretty quickly about King Oblivion is that he offers little opportunity for anyone around him to finish, or even really start, a sentence. He dominates every conversation, if you can call them conversations. So when he's dictating, it can be difficult to find opportunities for input. Sometimes, you just have to write in what you can and hope you don't get turned into a statue for a week. 


 
Through the years I'm sure you've encountered a few wannabes. Yawn. What are some differences between wannabe bad and really rotten to the core? Do you have any suggestions to make over a character who just isn't a believable bad guy?

I can't really speak to believeability, since no one in my family believes that King Oblivion forced me to ghost write this book for him, but for effectiveness, I'd say a sense of theatricality makes all the difference. Bad guys who do things the direct way or the easy way are a big snooze. If you're writing meglaomaniacs, you need to make what they do...you know...mega. Planet-scale. Something they announce while they do it. It helps if it's also humanly impossible.
 


What cliches or yawns should writers avoid when writing a worthy foe?

There's nothing wrong with making an antagonist sympathetic or misunderstood, but last-minute changes of heart are almost always cop-outs, especially if they're prompted by remembering some childhood trauma or something. People don't have switches that change them from good to evil. There's got to be more to it.
 

A truly rotten nemesis makes the heroes all the more heroic. Tell us why you think the bad guy can raise the bar on a whole plot?

Great villains can make stories better in two big ways, as I see it. First, they give the audience something to be passionate about. People can certainly feel anxiety about a bus full of kids hanging off a cliff, but their hatred for the person who put the bus there is likely even stronger. If bad things just happen without cause, there's nothing to focus on after the situation is resolved. Having a bad guy to hate makes for the real catharsis.

The other way is that bad guys add this great air of mystery to so many stories. Think about Dr. Doom or Darth Vader. These are guys with full-face masks that we only learn about in bits and pieces. Sure, Spider-Man wears a mask, but we know who he is from the get-go. We spend the whole story with him. Villains give the audience the opportunity to ask, "What's his/her deal?" They're fascinating characters.

 


What are some of your favorite baddies (film, literature, etc.) and why? List some characteristics that really give them that X factor?

I mentioned Dr. Doom. He's probably my favorite. There's just so much you can do with him. The Joker. Anton Chigurh from No Country for Old Men is the best movie bad guy in a long, long time, and he's pretty intimidating in that book, too. Sauron's a great villain. What all those bad guys share is what I talked about a minute ago, this mysterious aura.
 


Costumes and sidekicks? What is really necessary in the realm of rotten?

Costumes are important. We're talking about people who want to demand attention here, and need to make a big first impressions. Sidekicks are more of a superhero thing. Henchmen are the villain's purview. They need lots of cannon fodder.
 


Since most of our readers write novels, their villains need to be of a more subtle variety, do you have tips to help writers tap into the realm of supervillainy without having to visit a hideout?

The same things that motivate supervillains can motivate anybody, just to a less grandiose degree. Greed, revenge, sadism, a skewed sense of morality. People don't need complex backstories to explain why they do bad things. Sometimes people just do bad things because they can, or to do what they deem to be fair or right at any given moment, or maybe just to prove a point.
 


And as amazingly cool as super powers are, can you give us suggestions for super powers on a more psychological or sociopathic level?

It's pretty astonishing how persuasive a person can be if he or she just learns to read someone's body language and subtracts the emotion from a conversation. It's not fully mind control, but it sort of is.
 

 
What behaviors have you seen in heroes that make your cheer for the baddie?

Well, you know, they think they're just such hot stuff. Who are you to decide what's right or what isn't, billionaire in a bat costume? Also, heroes whine a lot. I hate whining.
 

Saturday, June 04, 2011

Exasperating Characters ~ Plotting via Motivation

No, not these 3 characters. But they are cute, aren't they?

Maybe I should have called this NO Plot via Motivation. Have you ever had a character that refused to talk to you? I have. I'm dealing with her right now. I'm in the second book of a series.

This character, Lacy, was in the first manuscript. She's the sister of another character in my small fictional town. My "plan" was to have her story the main plotline of the second manuscript.

The set-up

In the first novel and through the main POV characters, I set-up Lacy's personality ... or at least what I'd gleaned from her character analysis. I use a fairly detailed character interview, including the GMC (goal, motivation, conflict) and the lie the character believes about herself.

In the first manuscript Lacy played a very minor part, so I didn't dwell on her GMC. All I needed to do was let the reader know she was shy, hardly ever spoke, and was plain (and I don't mean Amish).

Lacy is the invisible kind of plain. I wanted a person other people overlooked. The kind who could be at a party and no one remembers them being there. Interestingly enough, her husband is cute, the boy next door. And he adores her.

The problem

I finished the first manuscript having set-up Lacy exactly as I planned. In the second one, she and her sister would both play POV parts. I went through their character analysis sheets and expanded them for POV.

What I discovered changed everything. First of all, I thought these sisters were close, since Lacy's sister, Lydia, had moved after the death of her husband, to be closer to Lacy. Ha! I found deep-seeded animosity between them, stemming from their childhood. Was I shocked!

Lydia was easy. She's open and shared her life with me. Lacy? She clammed up. So much so, I realized she wasn't ready to be a POV character.

Resolution ... for now

I changed the second manuscript's plot and POV character. Lacy will play an increasing part in this one, and it's my hope I'll discover more of her motivation. That's what has me stuck. I know what she wants, I know her conflict, but I don't know her motivation.

At first I thought perhaps I'm not far enough along as a writer to write a character that is so far removed from me. After all, I'm not remotely shy. Well, maybe a tad in certain situations. Oh, come on, I can be shy. But not as shy as Lacy. While we always grow as writers, I'm still fascinated by Lacy.


I've decided to forge ahead, even though I can't figure her out ... yet.

But I refuse to be intimidated by her. So,  I'm taking a course, "Plotting Via Motivation" by Laurie Schnebly Campbell (http://groups.yahoo.com/group/PlottingViaMotivation/). Laurie told me, accompanied by a chuckle, that she's looking forward to playing counselor to Lacy. I'm looking forward to the course.