Category Archives: Character

The mystery of depth ~ Creating characters we care about

29 Sunday Oct 2017

Posted by in Character, Story, Writing

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Agents and editors want stories that have characters they can care about, characters with depth. For the longest time, I had no idea how to accomplish this. I knew depth meant complexity, but how you created that quality in characters was a mystery. Then one day, while watching an episode of NCIS, the pieces of the character-depth-puzzle magically fell into place. Who knew Abby and Gibbs would be the key that unlocked this literary mystery?

NCIS -- Abby and Gibbs

1. Mix it up with multiple character traits

In a 2-dimensional painting, everything appears flat. You get the same effect with characters that only have one basic trait—bully, geek, mean girl, wimp, etc. To avoid flat characters, give them multiple traits of varying strengths.

I like the analogy of creating perspective in a painting. What’s in the foreground is mountains at sunsetmore intense and has greater detail. As should be the predominant trait of a character. With increased distance in a painting, objects become lighter and have less detail. Secondary and tertiary character traits should have less focus as well.

When Building a Better Character, reveal the traits over time as the character interacts with others and reacts to various situations.

2. Shake & stir: the good, the bad, and the ugly

Just as characters need a blend of traits to be believable, they must also display a variety of emotions. No one is perfect, and we wouldn’t like them if they were. Show their good side, so we like them, but don’t hold back on the bad and the ugly.

3. Peal back the layers

It’s human nature. The longer we savor an experience, the richer our enjoyment. This is why it’s important for characters to unfold and grow along with the plot.

Think of pealing back the layers of an onion. Each layer should reveal something unique and intimately real about the character. When we first meet someone, we get a superficial impression of who they are. It takes time, and a variety of experiences, before we get to know who they really are. It should be the same with our characters.

At a San Francisco South Society of Children’s Book Writers and Illustrators (SCBWI) Agents Day conference, former literary agent, Mary Kole explained how to explore a character’s inner life through interiority. Interiority is a combination of the character’s internal dialog and point of view. To learn more, check out her book on Writing Irresistible Kidlit: The Ultimate Guide to Crafting Fiction for Young Adult and Middle Grade Readers.

4. Pressure cook for change

diamond sitting on coalCharacter depth requires change over the course of the story. The Character Arc is a journey that forces the character to confront their frailties to become wiser and stronger.

All great stories are about transformation. To survive, the hero has to change by facing their greatest fear and overcoming it. Blake Snyder—in the popular story structure guide, Save the Cat!—called this The Dark Night of the Soul.

Joss Whedon (Buffy the Vampire Slayer) puts characters through hell—literally and figuratively. This pressure has the same effect as the pressure that transforms a lump of coal into a diamond. It smooths off their rough edges and makes them shine.

You take people, you put them on a journey, you give them peril, you find out who they really are. ― Joss Whedon

For the Love of Character ~ Idiosyncrasies that Build Empathy

09 Monday May 2016

Posted by in Character, Fiction, Story

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Building Empathy

I’ve written about various facets of character development in the past, mostly in broad-stroke terms, such as quirky characters who dress like Buster Keaton. Such extreme character traits Brenda Leigh Johnsoncomplement some stories. Other stories require a subtler approach. Developing empathy for a character comes from seeing their idiosyncrasies and flaws, which allows us to identify with them.

Let’s face it. No one can relate to a perfect person, because we all have shortcomings of some kind. Which is why a character’s weaknesses inspire empathy, and in turn cause us to fall in love with them. A tough, no-nonsense investigator who stress eats Ding Dongs (and other sweets) becomes instantly more likable.

Creating empathy is a lot like building trust, it happens over time as we get to know the real person from the inside out.

What “The Closer” Taught Me About Character

Research for writing fiction can cover a broad gamut, including watching television. And you wonder why I love this job?

I write for young readers, and initially started watching The Closer — a Warner Bros. Televsion adult crime drama — to analyze the mystery plot structure and well planned plot twists. The series had garnered more than a few Emmy nominations, and at least one win. I figured I could learn something from the writing. I was right in more ways than anticipated. The Closer showed me the power of everyday character idiosyncrasies as a method for building empathy.

For anyone who hasn’t seen The Closer, here’s the synopsis: The Closer is a police procedural series, starring Kyra Sedgwick as Brenda Leigh Johnson, a Los Angeles Police Department Deputy Chief. Brenda moved to Los Angeles from Georgia where she trained in the CIA, and gained a reputation as a Closer — a tough interrogator who solves cases and obtains confessions leading to convictions that “close” the case. Deputy Chief Johnson uses her femininity to disarm and distract, and at times resorts to deceit and intimidation to persuade suspects into confessing.

The Closer -- Cast

Brenda Johnson is an expert in her field, relentless and often intimidating. As perfect as she is when it comes to succeeding at her job, her foibles make her relatable and endearing. Here are a few of her characteristics that won me over and made me root for her:

  • She dresses feminine and understated like the Southern girl she is, rather than embodying the high-power-business-suit-chic of the other women at her job level.
  • She stress eats sweets, especially Ding Dongs, which she keeps stockpiled in her desk drawer.
  • As powerful as she is at work, she is unable to stand up to her father whenever he comes to visit.
  • She has episodes of disorganized absent-mindedness where she can’t find her phone and loses her purse. Hey, we’ve all been there.
  • Her single-minded focus that makes her so good at her job causes friction in her personal relationships — such as her FBI boyfriend (Jon Tenny) who she eventually marries.
  • She has trouble dealing with simple things in everyday life, like remembering the sex of the stray cat that comes with the house she buys. Brenda calls “Kitty” a “he” even after “she” has kittens. This drives Fritz, her then boyfriend, crazy.
  • She is relentless in her pursuit of a criminal, creating loopholes in the system to pursue justice, even when the victims were less than noble when alive.
  • She uses her Southern charm to get what she wants, always ending an unpleasant request with a sweet “Thank you so much” before anyone can object.
  • She stands behind the people on her team, protecting their jobs during budget cuts, and refusing to believe any one of them could be the cause of the information leak in her department.

Every member of the ensemble cast received their share of idiosyncrasies that endeared them to me as well. And the final season closed with all the necessary ingredients for a satisfying ending.

Brenda and Fritz - Final Season of The Closer

Realistic Character Relationships ~ Friend Zone Fact & Fiction

21 Friday Aug 2015

Posted by in Character, Writing, Young Adult

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I followed several Twitter accounts aimed at high-school-age audiences last year, to keep a pulse on the voice, attitudes, issues of today’s teens–a socially acceptable form of Friends1creative eavesdropping.

The exercise paid off better than expected. I found the snarky male voice for my current YA project, and got a glimpse of a teenage guy’s point of view on topics. Topics guys typically didn’t discuss in front girls when I was in high school, but don’t hesitate to tweet about now. Thank you, social media.

One thing I was particularly surprised by, was how easily (it seemed) guys (in the tweets I was reading) believed they’d been friendzoned. That place no one wants to end up when it comes to their crush.

Friend Zone:
When one person wants a romantic relationship with another person
and the person of their affection isn’t interested.

When “Friends” Doesn’t Mean “Friendzoned”

As I develop the relationship between the main characters in my current YA project, this topic came up again. Like so many teens, they have to navigate the pitfalls leading to a romantic relationship. Their personal issues intertwine with their character arcs to deepen the plot. How they relate to others shows who they are, and what they’re made of.

teenage relationshipWhat worried me so much about the “friendzoned” tweets was the innocence of the (girl’s) remarks that made the guy think he’d been kicked into the friend zone.

I realize a lot of tweets are meant for pure entertainment, especially those for a teenage audience. Still, over time I saw a definite trend across the accounts I was following.

In one repeated scenario, the girl referred to the guy as a “friend” after they’d just started talking and the guy assumed he’d been friendzoned. Maybe…but probably not. Healthy long-term relationships start with friendship. At least that’s been my experience. I’d worry if a guy didn’t want to develop a friendship, because that attitude smacks of a casual hook up.

Another scenario involved the girl who remarked “That is so sweet!” after the guy did something super nice for her. In his mind, that one short sentence sent him to the Friend Zone. Um… No. She was probably surprised by his gallant gesture, and at a loss for originality.

Friend Zone Fact and Fiction

My characters stress over being sucked into the Friend Zone mire too. They face the same relationship anxieties as normal teens, all while working to stay alive and outsmart the CIA. Which is the reason for these (hopefully) helpful guidelines:

  1. When you and your crush first start talking, if they refer to you as a “friend” it means they like you teenage relationships(read: romantically). It’s why they’re talking to you.
  2. The Friend Zone isn’t a virus you catch. You usually get there through misinterpreted signals and lack of action.
  3. Not all Friend Zones are created equal.
  4. The Friend Zone does not discriminate. Girls can get stuck in the Friend Zone too.
  5. You can put yourself in the Friend Zone. Don’t.
  6. The Friend Zone is not the Dead Zone.
  7. Sirius Black escaped from Azkaban, so anyone can escape the Friend Zone. It takes planning, positive attitude, and action.
  8. Starting off as friends is a good thing. Happy, long-lasting relationships begin with friendship.

[Photo Credits: morguefile.com]

The Illusive “Voice” ~ What Editors and Agents Want & Writers Seek

20 Monday Apr 2015

Posted by in Character, Fiction, Writing

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Which way?At my first writing conference several years ago, editors and agents told the crowded room of enthusiastic writers that they were looking for “a unique voice”. I had no idea what that meant.

My response: “What the heck is that, and how to I get one?”

Luckily, I had enough sense not to say that out loud. Instead, I kept writing and going to conferences, and eventually I found my “voice”.

If you’ve been writing  fiction for some time, you’ve most likely developed your unique voice. This post is for anyone in the early stages of their writing journey, and are too shy to ask, “what the heck is voice?”

What is “Voice” anyway?

Voice, quite simply, is character and personality.

Voice is the rhythm, tempo, and style that sparks with originality, and projects emotion and tone. Voice blends the personality of the writer with that of the characters in a story.

“What’s so hard about that?” I just have to be myself,” you might be thinking.

True. But in good fiction, characters, events, emotions, and voice need to be larger than life. Translating personality onto the page in a way that is authentic and brings characters to life, can an obscure path to navigate. Trust me on this.

I don’t know about you, but talking about concepts only takes me so far. I need examples to ground ideas in something practical. The following examples of voice are in the first person, so the personality (voice) is easier to ascertain. Third person and omniscient points of view also have distinctive voices, but we’ll save that for another time.

The Princess Diaries

The book series was as popular as the movies, because of the unique voice Meg Cabot brings to her characters. Mia may be a princess, but her voice is that of a quirky, insecure, and slightly irreverent teenager. If you haven’t read the series, it’s a must for character study and voice.

But a PRINCE? Of a whole COUNTRY? I mean, I Princess Diaries DVknew Dad was in politics, and of course I knew he had money–how many kids at my school have summer homes in France? Martha’s Vineyard, maybe, but not France.

So what I want to know is, if my dad’s an actual prince, how come I have to learn Algebra? I mean, seriously.

 

The One and Only Ivan

Katherine Applegate uses the voice of Ivan to tell his heartfelt story. Ivan’s honest simplicity pulls us close and holds us there. Ivan is as believable (as a narrator) as his voice is unique.

 I am Ivan. I am a gorilla.TheOneAndOnlyIvan_cover

It’s not as easy as it looks.

People call me the Freeway Gorilla. The Ape at Exit 8. The One and Only Ivan, Mighty Silverback.

The names are mine. But they are not me. I am Ivan, just Ivan, only Ivan.

 

Rebel Belle

Rachel Hawkins infuses Southern charm and etiquette in the voice of her characters, in this fun and quirky, kick-butt tale.

Now this is when it really gets weird. I know, I know, dead janitor in disguise, killer history teacher, how much weirder could it get?

Lots. Trust me.

When Dr. DuPont put that sword–well, scimitar–on my neck, I didn’t feel scared, like, at all. Instead, I felt that tingle in my chest again, only this time, it was more like this … energy. …

I didn’t knee him in the groin, although I didn’t rule that move out. Instead I … ugh, this is so embarrassing.

I head-butted him.

I know, like a soccer hooligan or something.

Rebel Belle, by Rachel Hawkins

How do you find your voice?

You may be thinking, “Wow, those are great examples. But how do I find my voice?”

It’s a simple, but not quick. Don’t hate me:

Read. Read. Read, and read some more.

Read everything in your genre, then read authors in other genres. When you find an author whose style resonates with you, read everything they’ve ever written. Then read those books again. By reading and rereading their words, you absorb the rhythm and style of the prose. It’s learning through osmosis.

Voice isn’t a static thing, though. It’s a quality that evolves with the author, as they hone and polish their craft. That’s what’s so wonderful about writing. It’s not a static process. There’s always room for growth, for improvement.

Which author’s voice resonates with you?

Music as Character ~ Buffy Wasn’t Just About Slaying Vampires

06 Monday Jan 2014

Posted by in Buffy the Vampire Slayer, Character, Music, Story

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Music that Shaped Buffy the Vampire Slayer

Buffy the Vampire SlayerJoss Whedon inspired many a writer (myself included) with his panache for strong story, witty dialog, and quirky characters in his irreverent series Buffy the Vampire Slayer.

What’s easy to overlook, though, is how Whedon broke new ground with music in the series. To the point where music became a character integral to the story.

Take the Bronze. Sunnydale’s hippster nightclub. Of 144 episodes of the series, 66 have at least one scene at The Bronze. Each of those scenes featured live bands, playing original music. [Wikipedia] By the third season, groups were clamoring to be featured in an episode of Buffy.

But the Bronze’s live music wasn’t just a convenient plot device; it also shaped the mood and tone of the show. New bands from the Los Angeles area were showcased, as well as more well-known artists such as Aimee Mann, Splendid, Cibo Matto, Angie Hart, Michelle Branch, K’s Choice, Garbage and Nerf Herder.  [Wikipedia]

The bands that took the stage at The Bronze weren’t everything, though. The musical scores that flowed through the seven season run, gave depth of story and emotion in equal measure.

Every Buffy fan has their musical favorites. Here are a couple of mine…

Prayer of St. Francis ~ Sarah McLachlan

Try as I might, I couldn’t pick just one favorite song from the classic musical episode, Once More With Feeling, in Season Six, so I opted for the trailer. If you haven’t seen the episode, do it NOW. It’s utterly brilliant. All the more so, when you realize the story, music, and lyrics were all written by Joss Whedon himself!

Buffy ~ The Musical: Once More with Feeling

What’s your favorite Buffy musical moment?

Animated Storytelling: The Character of a Walk

10 Saturday Nov 2012

Posted by in Animation, Character, Story, Writing

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Good animation is based on good storytelling, conveying thoughts, feelings, and emotions by showing rather than telling. One of the principle ways of defining character in animation is “the walk”.

It’s All About the Walk

In animation, “the walk” of a character is everything. That’s because a simple walk isn’t … well … simple. Visually, it is one of the most defining parts of a character. A walk reveals personality and telegraphs mood. You can tell how someone feels by the way they carry themselves, move their arms, and by the quickness or slowness of their step.

Ichabod Crane, in Walt Disney’s “The Legend of Sleepy Hollow”

Walking With Emotion

In short, a walk conveys character and emotion without saying a word, for example:

  • Depressed, discouraged: Head down, shoulders slumped, hands in pockets, slow steps, dragging their feet
  • Happy, elated: Head high, shoulders back, arms swinging, bouncy steps
  • Angry, determined: Leaning forward, chin jutting out, brisk pace
  • In love: Ambling stroll, relaxed, distracted gaze, blissful smile

An extensive resource for conveying emotion through action is The Emotion Thesaurus: A Writer’s Guide to Character Expression. Keep a copy by your side while you are writing and revising. You won’t regret it!

Walk in Your Character’s Shoes … Literally

A great way to internalize a character’s mood is to imitate their walk. The old saying “walk a mile in someone else’s shoes” is too true. Which is why mimicking character movements is a common practice for animators. They physically act out scenes as their character, to study action and emotion.

Savvy writers do this too. Stacy Stokes,  took an improv class to study character first-hand. You can read about her experience in Walking Game (Things I Learned in Improv Class, Volume 4: Getting Into Character).

Tips From a Pro

Ollie Johnston, one of Walt Disney’s “Nine Old Men“, shared the following insights for enhancing character through motion:

  • Show ideas or thoughts, with the attitudes and actions.
  • Let the body attitude echo the facial expression.
  • Show what your character is thinking.
  • The thought and circumstances behind the action are what make the action interesting.  Here’s an example: A man walks up to a mailbox, drops in his letter and walks away. … OR … A man desperately in love with a girl far away rushes to the mailbox, then carefully drops the letter, into which he has poured his heart out, into the mailbox with a sigh.

For more tips on showing emotion through movement, visit the Frank and Ollie web site.

Contrasting Characters and Their Walks

Theory is all well and good, but I’m one of those people who need examples in order to learn. The following two clips show the walks of two opposite-poles characters, Ichabod Crane and Pinocchio. See how much of their characters you can discern just from studying how they walk.

  • Ichabod Crane in Walt Disney’s “The Legend of Sleepy Hollow”…  Ichabod has a walk like no other. It’s one of the most distinctive walks in Disney animation, thanks to legendary animator Frank Thomas. I’d apologize for the “White and Nerdy” song this is set to, if it weren’t so fitting for the character!
  • Then there’s Walt Disney’s “Pinocchio”… You couldn’t find a more different character from ol’ Ichabod, and it’s immediately apparent from Pinocchio’s walk. There’s no music, but something “Short and Bouncy” would have been fun.

What do you notice most about the way someone walks?