Writing Tip: Know Your Characters
by
Theresa Chaze
As simplistic as it may sound, it is also a basic fact of writing--the author needs to know their characters from the inside out. They have to know not only what they look like, but also what motivates them. You need to know their past in order to know how they will react in the present and future. If the author doesn't know the inner fears and passions of the character, there is no way she or he can credibly represent the character; it is like trying to introduce someone you have never met.
Physical appearance is important in creating visual reference points for the reader. But it reality, physical description is the skeleton that supports the personality of the character and how it interacts to with the other characters and the environment. The typical human parameters are:
Age
Height
Weight
Sex
Hair color
Eye color
Distinguishing marks such as scars or birth marks
However, in science fiction and fantasy, if the author is dealing with species that are new to the rest of the world more details are needed. In a sci-fi piece, I created an animal called a liger. It is a large aggressive predator with a single horn in the middle of its forehead, sharp claws and it is nocturnal. In addition, it is highly intelligent and travels in groups called prides. Being nocturnal, would give it sensitive eyes sight, which could be a disadvantage in daylight making it vulnerable. I wanted it to be equally dangerous during the day, so I gave it an additional set of eyelids to act as a filter. Anytime you create something new, you need to be more creative in the way you introduce it. Exposition will only bore the reader if it is given in big doses. However, the information is revealed in a pro-active way in the form of action, the description become part of the story. In the case of the liger: The liger’s talons scraped the rock bed, leaving long slashes in the marble like rock. In frustration, it lowered its head and again lunged forward; the tip of its horn screeched along the ground it until it found its mark in the corner of the shuttle door, denting but not yet penetrating the titanium outer wall. These few sentences give most of the information about the liger while showing some of its temperament as well.
As much as the physical gives the reader a visual picture, the inner motivation explains why the character acts and reacts. It is what fleshes the character out and makes it real. Whether in a novel or a short story, the character has a past and unless it is killed off, a future. Knowing the past influences will help the author and reader predict how she or he will confront challenges and influence the other characters. Once a character has been set there has to be reason for any changes. If a character is quiet and withdrawn, she or he won’t suddenly start attacking another unless there is a basis for it. If the character was restrained with others, it could be from fear or just being shy. The motivating change would be different depending on the reason for the fear or shyness.
In order for the author to fully develop the character, she or he must understand the cultural, familial, and educational background. What was the circumstance surrounding the birth? What was the childhood like? Are there siblings? What kind of education did she or he receive? Why? What were the special events that gave the character joy? What caused fear? What are the hopes and dreams? What does she or he love? On the opposite site, what does she or he hate? Why? I am afraid of dentists, but not for the reason most people are; I grew up hearing how my great aunt came home and bleed to death after having three teeth pulled. Even I know my aunt had other issues, that seed was still planted in my subconscious.
Creating a full character study is the best way to give birth to a character. By formally writing out the details, not only will it be easier for the author to be consistent, but to solidify the character in her or his own mind. The format of the character study depends on the length of the work and how important the character is to the story. A minor character will not be as well developed as a primary. A secondary benefit is that by keeping character studies, the author could put the characters into new situation and in different combinations to create new stories It is also a way to work through a creative blocks. Reusing a character that an author knows well, she or he could recombine them and give them new challenges. Since the author is already knows how they will react and why, the story will more easily flow to the natural conclusion.
The following is the character study I did for a character in my novel Dragon Domain--Book Two of the Dragon Clan Trilogy.
Cheyenne
Age late twenties/early thirties
Height 5’ 5”
Weight 145-does manual farm labor making her muscular and fit
Sex female
Hair color long blond hair-straight
Eye color-hazel with gold specks
Distinguishing marks such as scars or birth marks
healed scars over torso from abuse in childhood. She was beaten and left for dead.
Education
Celeste taught her the way of the Hopi and home schooled her as they continued to travel across the county. At first, Celeste solely supported them using her psychic gifts. However, by the age of eight, Cheyenne's were nearly as equal to her.
--expert in herbal medicine
--empath
--intuitive
--clairvoyant
--affinity with the earth spirits but had a disconnect with humans; between early childhood trauma and the continual movement she never learned how to make emotional ties
--no formal education: learned from Shamans, teachers, and healers around the world as Celeste kept them moving not only find work but staying to long in one place made her nervous
Cheyenne is afraid of:
being vulnerable
that she is a coward and weak
remembering her past; if she knew what happened, she would have to do something about it.
that she will loose her honor by over stepping the bounds of justice
to loose Mercury and Aries
closeness with other people--they confuse her
that she has set so much pain aside in her life that she will never be able to heal it all
Cheyenne hopes to
create a spiritual learning place where the wounded can come to heal
she wants to make peace within herself by healing her old wound without having to revisit them; she knows it is an unreasonable expectation but it is her goal
to understand others
to be wise
to leave the world a better place
regain the knowledge and wisdom from her past lives so that she may return it to the world
Cheyenne sees herself:
as sometimes wise
practical
sometimes cold to others when they try to get to close
spiritual
direct and honest
impatient with others
At age 5, Cheyenne was found in the desert by Celeste, who nursed her back to health before taking her from the mesa. The memories from the time before she woke up have been deeply buried. She doesn't want to dig them up.
--learned Celeste’s grandmother died; Celeste refused to go back to mesa; Cheyenne didn’t understand why; asked questions. Celeste became angry
--age 13 Mother Dragon called her and she started down the dragon path (Celeste was furious; she reluctantly accepted what she couldn’t change)
--age 18 she confirmed her commitment and became a member of the Dragon Air clan
--Celeste’s mother died; again, Celeste refused to go back to her family; Cheyenne started obsessing about what it was like for Celeste to grow up having a home and family. She started dreaming of a valley in the past, where there was love and security. She saw faces that her soul knew but she had no memory of.
--she wanted to find a home and settle down. She began perceiving of a place that she needed to find. The need increased daily until she heard of the missing child in Coyote Springs; Cheyenne insisted they offer their services; The Mother Dragon told her that she would find her answers there
--age 24 came to Coyote Spring to find a missing child; they found the child, but Cheyenne found an abandoned farm and knew it was home; new friend Jane helped buy it
--Celeste pushed them to quickly move on; Cheyenne refused and Celeste reluctantly agreed to stay
--Cheyenne met Lilith, Selene and others in the sacred field.
--Selene joined farm and help build Dragon Eye Herbs and arranged to cottage rentals
--Jane moves on farm
--Cheyenne adopts Shepard and wolf pups Mercury and Aries; opens life to others
--spiritual classes start being taught on farm; spiritual family formed a close knit group
--farm becomes prosperous healing center
--Dominic and followers arrive
--Selene takes children and leaves farm; Celeste takes over management of farm
--animal sacrifices start happening; tension created on farm; Cheyenne suspects Dominic; relationship with Celeste and Jane becomes strained; Cheyenne returns to old emotional patterns and starts to pull away
--Rachael moves to Coyote Springs; another dragon in area creates conflicts; Cheyenne suspicious of Celeste and Jane; believe they did something to bring another dragon; becomes angry and paranoid
--Rachael shows power of the dragon and exposes murderer
--people stop coming to farm; no one attending classes; lost income; Dragon Eye Herbs and cabin rental sole source of income
--Dominic manipulates Celeste into turning against those she loves and back to the dark path
--Cheyenne breaks ties with Celeste
As the Dragon Domain unfolded not only did I add to the profile, but I was able tot change it as character matured. By the end of the first draft, the full profile was about ten pages long. In the third in the trilogy, Cheyenne will be developed further as she grows in that novel as well.
The more an author knows her or his character, the more real they can be presented to the reading public. By making them three dimensional, the more likely the readers will be able to identify with the character and be able to suspend their disbelief.
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Showing posts with label character study. Show all posts
Showing posts with label character study. Show all posts
Saturday, February 02, 2008
Thursday, January 31, 2008
Writing to Activate the Reader's Imagination
Writing to Activate the Readers Imagination
By
Theresa Chaze
Although novels are written in two dimensional black and white, the story actually happens in the four dimensional realms of the reader‘s mind. Multi-sensory books are the ones that become the most successful. Capturing your reader's imagination, by helping them to be able to see, hear, smell and feel every aspect of your story draws them and helps them experience the story through the characters.
Sight involves more than what the characters see or don’t see. It involves the subtle shades of color, shape, dimension and distance. A writer could write about “a new green leaf” or just as easily write that the “slow unfurling of the heart shaped leaf, contrasted against the darker older foliage of the plant.” Giving details doesn’t necessarily mean a long string of adjectives or adverbs, but a creative use of description that shows instead of tells.
Hearing is the most versatile of the senses. Sound or the lack of sound can also add to the story’s dept. What the character hears can extend her or his awareness beyond the immediate environment. Sound’s ability to travel great distances, allows remote action to be brought into a scene without disrupting the point of view. A wolf howling from somewhere in the night will be heard both in and out of the cabin. The characters inside don’t have to see it to know that the wolf lurks some where outside their door.
Touch can be experienced as a caress or a punch along with everything in between. However, touch is more than skin on skin, but it also includes any contact that is important to the story. The soft fur of cat rubbing against the character’s leg feels different than a skunk brushing passed while trying to escape. In the same way, the rough scales of an alligator feel different than the bark of a tree, so are reactions the images elicit in the reader.
The sense of taste is the most personal and individual. What one person finds appealing, another could just as easily find repulsive. How the character reacts will further define her or him. Most people are aware of the more common foods and drinks. If an author introduces something out of the ordinary, it is simple to you use comparisons to give the reader a sense of the taste and texture.
The sense of smells is the most effective way to activate memories and emotions. The two areas of the brain are closely related in location and synaptic connection. Using odors, either pleasant or unpleasant, is the fastest way to get a response out of the character in such a way that the reader will be able to relate.
Perception or intuition is the sixth sense that is frequently over looked by writers. This is not a reference to ESP or psychic gifts, but how a character sees or judges her or his world and everything in it. By showing how the character perceives her/himself and others, you define her or him without long descriptive sentences. The best example is a character that is afraid of other people; she or he may be paranoid or someone might actually be out to get her or him. By contrasting the perceptions with the reactions of the other characters, the writer reveals more about the personality and the inner motivation of the character.
In addition, similes, allegories and contrasting comparisons can add texture and set the mood. Sarah was as graceful as a bird is an example of simile. Like Amazon warriors of old, she marched into the room would be an allegory. While looking dapper and smart in his new suit, Dan smelled like down wind of a pig farm would be a contrasting comparison. All three examples give added information about the character in a pro-active way that allows the reader to visualize the character.
It is unusual for one sense to be used alone. More often than not, they are combined to give layers of images and sensations. Sight and hearing are frequently combined. A character hears a noise and starts looking for the source or a character smells something wonderful and decides to taste what is in the pot. By coalescing the senses, the author creates a four dimensional world on a two dimensional medium. It makes the characters and their environment more real and relatable for the reader, which in turn makes the novel more popular.
Technorati Tags:
writing, publishing, best selling, Theresa Chaze, ebooks, successful, writing techniques,
By
Theresa Chaze
Although novels are written in two dimensional black and white, the story actually happens in the four dimensional realms of the reader‘s mind. Multi-sensory books are the ones that become the most successful. Capturing your reader's imagination, by helping them to be able to see, hear, smell and feel every aspect of your story draws them and helps them experience the story through the characters.
Sight involves more than what the characters see or don’t see. It involves the subtle shades of color, shape, dimension and distance. A writer could write about “a new green leaf” or just as easily write that the “slow unfurling of the heart shaped leaf, contrasted against the darker older foliage of the plant.” Giving details doesn’t necessarily mean a long string of adjectives or adverbs, but a creative use of description that shows instead of tells.
Hearing is the most versatile of the senses. Sound or the lack of sound can also add to the story’s dept. What the character hears can extend her or his awareness beyond the immediate environment. Sound’s ability to travel great distances, allows remote action to be brought into a scene without disrupting the point of view. A wolf howling from somewhere in the night will be heard both in and out of the cabin. The characters inside don’t have to see it to know that the wolf lurks some where outside their door.
Touch can be experienced as a caress or a punch along with everything in between. However, touch is more than skin on skin, but it also includes any contact that is important to the story. The soft fur of cat rubbing against the character’s leg feels different than a skunk brushing passed while trying to escape. In the same way, the rough scales of an alligator feel different than the bark of a tree, so are reactions the images elicit in the reader.
The sense of taste is the most personal and individual. What one person finds appealing, another could just as easily find repulsive. How the character reacts will further define her or him. Most people are aware of the more common foods and drinks. If an author introduces something out of the ordinary, it is simple to you use comparisons to give the reader a sense of the taste and texture.
The sense of smells is the most effective way to activate memories and emotions. The two areas of the brain are closely related in location and synaptic connection. Using odors, either pleasant or unpleasant, is the fastest way to get a response out of the character in such a way that the reader will be able to relate.
Perception or intuition is the sixth sense that is frequently over looked by writers. This is not a reference to ESP or psychic gifts, but how a character sees or judges her or his world and everything in it. By showing how the character perceives her/himself and others, you define her or him without long descriptive sentences. The best example is a character that is afraid of other people; she or he may be paranoid or someone might actually be out to get her or him. By contrasting the perceptions with the reactions of the other characters, the writer reveals more about the personality and the inner motivation of the character.
In addition, similes, allegories and contrasting comparisons can add texture and set the mood. Sarah was as graceful as a bird is an example of simile. Like Amazon warriors of old, she marched into the room would be an allegory. While looking dapper and smart in his new suit, Dan smelled like down wind of a pig farm would be a contrasting comparison. All three examples give added information about the character in a pro-active way that allows the reader to visualize the character.
It is unusual for one sense to be used alone. More often than not, they are combined to give layers of images and sensations. Sight and hearing are frequently combined. A character hears a noise and starts looking for the source or a character smells something wonderful and decides to taste what is in the pot. By coalescing the senses, the author creates a four dimensional world on a two dimensional medium. It makes the characters and their environment more real and relatable for the reader, which in turn makes the novel more popular.
Technorati Tags:
writing, publishing, best selling, Theresa Chaze, ebooks, successful, writing techniques,
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