Hey there,

I wrote this a while back, and even though I realize there already is a column on character I do believe this could offer something different! I hope you like it:




Developing a Character



You have to start at some point. We start with developing a character.

This may not be the best technique if you have a fixed story to tell (and even
in that case the following tips and ideas may give you a different perspective
on your characters and plot) but rather for the writer who is not quite sure
yet what their story will turn out like. The writer, who wants to experiment with genre, plot and style.



First of all we should ask ourselves, what defines a good fictional character. We
all have read a lot, have fevered with sizzling characters, laughed with them
and cried for them. One of the easiest exercised thus might be to take that
book back to hand, and write down maybe in form of a mind-map or a list, what
makes your favourite characters so good.

On the other hand, and maybe even more effective to avoid mistakes in your own
writing, take a character you did not like. Don’t choose them because they were
cruel or evil, because some of these are very well developed (best avoid the
antagonist of your favourite character for this exercise) but because they were
flat, boring, or maybe because their actions were out of character etc. For
this exercise it will be easier to find these characters on the net, maybe in
fan-fiction.



This exercise is very subjective, and it should be. The character you develop
should be the kind of character you like to write about, not what seems like
one that most others will like. You think Harry Potter is a boring all-goody?
You may be in the minority – but stay there. Don’t make yourself write about an
all-goody hero just because Harry Potter is an international bestseller.

It’s all about the work you put into the character, if you put it right even a
mass-murderer can find sympathy with the reader. We all know that effect –
haven’t we all at least a few times read a book or seen a movie and in the end
found ourselves sad that the villain was caught? Wanting him to get away with
whatever he has done?



So what makes the difference between a fictional character and a human being? Or
would a diary work as a novel? Yes you might say – Bridget Jones’ Diary is a
bestseller.

Granted – but Bridget Jones is a fictional character. Fictional characters are
funnier, wittier, more spontaneous, more funny, more quirky – more exciting
then real people.

James N. Frey states in “How to write a damn good novel” (1987) that ‘Even if
he is plain, dull, and boring, he'll be more extraordinary in his plainness,
dullness, and boringness than his real-life counterparts.’



On the other hand fictional characters are also much simpler then human beings.
Even the best developed rounded character can not come close to the whirlwind
of different emotions, passions and quirks real people have to offer. And it
would ruin a story if they did. You will have to make a choice of a few main
character traits, one or maximal two internal conflicts and ruling passions –
all of them have to support you developing a plot for your character later.

Leave out everything that you won’t use in the plot. It’s unnecessary weight.



An example? Take Ron in “Harry Potter” – the guy is afraid of spiders. That
fear however is only interesting because they have to follow spiders and meet
huge monster-spiders later. Without that plot, it might be good for a laugh,
but in the end would be quite superfluous.





How do I start? Plot versus Character.



Obviously when you have a story to tell you start with a plot. You have the
plot in mind and then you try to make up your mind about the details of your
protagonist. Positive about this method is for one that you always have a goal
in mind, which I personally find helpful. Additionally it will be a very
plot-driven story, which can be great.



Negative is that sometimes you have to “force” a character into the patterns of
a plot. The chance of mary-sues and cardboard characters are much higher
because when thinking about the character in detail, you probably keep being
stuck at thoughts like “That negative trait doesn’t go with the plot – but it
would make a great character!” I have made the experience that at some time
during the character development they develop a life of their own, and take you
to places you wouldn’t have expected them to. They won’t do that when you try
to put them into a plot, or rather they will try but you will have to keep
stopping your own creativity.



My advice: Don’t be too strict with the plot. Define the end, the solution, the
key conflict – but let your character define the way there.


The other approach is to start with a character. You obviously need
to have an idea in what direction your writing will go – a genre maybe. But you
haven’t had the spark of inspiration yet as to what your story will be about. Let
your character do the work.

Of course that is a euphemism. At first you have to put a lot of work in the
character and when you are ready and want to get ready to start – don’t.

Character driven stories tend to quite unplanned. And the reader will know. So
when your character starts to whisper the plot into your ears – write it down
in notes. Make it a chain for example: Event leads to – initial passion - event
leads to - conflict – conflict – climax - solution.

Something like that only longer or more detailed, however you like it. But always
write with a goal, writing into the blue very seldom works. I don’t know how
often I have wrote myself into situation with no way out without realizing it –
plan ahead.



One of the best examples for this is again dear J.K. Rowling. She has a way
of introducing a principle that will be crucial in the final showdown quite
early in the story. Take HP5 – in his hearing Harry walks past the department
of mysteries – quite casual at that point, but in the end everything comes
together.

Or in Book 4 – Harry meets Cedric at first in a very casual way, the same goes
for Victor Krum, totally not connected to the tri-wizard tournament. Even Fleur
Delacour – even if not introducing her in person the reader is informed about
Vela and their effect of men and students from Bourbatons.

That gives the story a very very planned and thorough impression to it. It’s
not like “Oh, now I write the chapter of the champions being chosen… hm that
means I need 3 new characters…”



You can only do something like that when you plan ahead!



1. Naming your character:



You have very vague idea of your character and the genre you write in. Let’s
say to keep on the example area, you to write fantasy for all ages.

I often use placeholders and name my characters at the very end (use the
replace function in MS word), but it doesn’t really matter when you do it.
You can try to use a name that has something to do with the character –
the feel to it, or even a meaning that applies to your character. Nomen est omen, as the old Romans say. (And I don’t mean that in a “Biggus Dickus” sort of way),
but you can also do the opposite when facing a stereotype, sometimes a name is the first step out of that trap.

The name should fit the setting; revise calling a girl in a fantasy story
Britney or Christina. On the other hand don’t make them too complicated or
off-putting.





2. Define your character.



Probably the most important part, to developing a character. Lajos Egri in “The
art of dramatic writing” (1946) advises that a good character has three
dimensions. The physiological; the sociological and the psychological.



That is a good point to start.



Take the physiological dimension: What does your character look like. What do
they wear? Superficial? So far, yes, but very important. How we look has a
great impact on how we are. A petite pimply girl with spectacles is very
unlikely to be outgoing and arrogant. But she probably has a thunderstorm of
suppressed emotions and very likely is compassionate and has good empathic
qualities. Like I said a good point to start – however: be wary of stereotypes.
So far she is, and it will be a lot worse if she becomes a bookworm. So try to
put something new to it.



Write it down, make a mind-map (I’m a fan of mind-maps) hey make a drawing of
it, do whatever you like, don’t just think about it.





The second dimension, the sociological dimension has a lot to do with the
characters’ background, their friends and upbringing, what influenced them in
their youth and what kind of environment they live in now. Does your character
live in a place where they can be who they want, or do they have to repress
most of what they are? How does that influence them? Etc etc.

This might be the part that is the most work to figure out. You have to
describe their parents, their school-life, their friends, place they live in –
the constitution, the climate, the place they grew up. Everything might be of
importance. That doesn’t mean that everything will end up in the story as a
detail – but everything will end up there in the actions and thoughts of your
character. Know their history and life as you know your own or at least as well
as you know your brother’s.





The last dimension, the psychological dimension, describes mostly what effect
the last two had on the psyche of your character. What is their ruling passion,
what the key motivation… what are they afraid of, encountering what would
petrify them? How do they deal with love etc etc. Why do they act like they do?
Oh and maybe one of the best: If encountered with the conflict: what makes them
trying to solve it – why don’t they just give up or move on? Why are they worth
being told about?





One thing I cannot repeat often enough in this: Avoid stereotypes. Mistreated
orphan, shy and alone, but brave and courageous when he finds out who he is? That
has been done before. Don’t get me wrong – most things have been done before…
it’s hard to disagree with that. But you can give it a personal touch, make
your character stand out from all the other orphans in literature!





3. Getting to know your character



When you have made lists, and filled out questionnaires made mind-maps - you
should try to write a biography. Some say that should be about 30 pages long –
what I find a little ludicrous – especially for fanfiction! But it should be detailed, maybe told in the
1st person, covering the past the present, thoughts on the future, the things
that drive the character etc.


When you are done with that you might even consider “interviewing” your
character on points where we would squirm and rather keep quiet about. Treat
him like a person, no person would willingly tell all the gory and not so nice
secrets about themselves… but they exist – simmering just beneath the surface.




Problems and troubleshooting


Mary-sue versus a character you care about


Obviously you should write about someone you like, because that gives you the
best shot at sticking with the story. And not being bored of it through half
the process.

However with beginning writers that often turns out to be the kind of person
they would like to be themselves – and that is the paved way into a Mary-sue
trap. Try rather to write about someone you would like to be friends with. Friends,
who are too perfect, are terrible friends and you would end up hating them. No
one wants to be friends with the ever patient, ever sweet always kind, never
rude sort of person. Sometimes you need the quirks and weirdness of your
friends to feel ok about yourself. You are lonely and can’t find a boyfriend? –
but hey your friend keeps fucking up her relationships and makes them so
terrible that you prefer being alone to living that nightmare, so your life is
not all that bad in the end.





Descriptions:

When describing your character try to avoid the following:

- doing all of it in one long descriptive string,

- describing their internal conflicts with a few words instead of showing it by
their actions

- only showing how they look – use all 5 senses!

- “Marry’s hair is brown, she is tall, her eyes are brown and compassionate…
bla bla bla





Maximum Capacity



James N. Frey introduces this principle in his great book “How to write a damn
good novel”, and it was like an epiphany for me. Everything that I never had a
word for suddenly sprang into place.

Maximum Capacity is the most that a character can do. And when he does that –
it may not be a great historical deed – because he is a shy accountant – but he
acts at his maximum capacity, he is a brave man.

Let me show it at the example of Troy (the
movie since there it is more obvious then in the Iliad) Paris is a
man of passion, his ruling passion is love, not honour nor being the best
fighter – just love. He has actually never been in a war, he is young,
impulsive and inexperienced. He can’t be expected to fight Menelaus like a
brave warrior. That is not Paris, at that stage of development. He was rash
and impulsive to offer fighting him, but when he faces almost certain death:
he is a coward.
It is not within his grasp to be a fighter.
Having him haul his sword and decapitate Menelaus would be
completely out of character and make him unbelievable. Even to die fighting
doesn’t seem right for someone who wants love above all – he can’t love when he
is dead.

Achilles, who’s greatest ambition is to be remembered however wouldn’t fear
death that much, the important things is that it is a death worth remembering.



Your maximum capacity can change within the course of the story, people
develop, but always try to keep the range of ability in mind your character can
achieve. An untrained man without special powers will not be able to hang from
a cliff holding on only with his finger-tips. That is a physical impossibility
(and still it is every third movie!). Like that there are mental
impossibilities that vary from human to human.





Leaping Conflict



I don’t know where I read about this, so I can’t quote. But it’s another
important point about your character. When faced with a conflict your character
has to act accordingly. But what is accordingly. Let’s say he has a very bad
day, it starts with slipping on the wet bathroom tiles. Depending on the
character he would maybe try to take a deep breath or curse or whatever. Then
has he wants to go out of the door he realizes he left his keys inside, and
will have to climb through an open window when he gets home from work. The
intensity of his cursing would be higher.

However for a normally quite nice man, who is even tempered it is out of
question to throw a violent tantrum. He might throw a tantrum when 7 other thing
happen throughout the day and then his wife decides to leave him, but not yet.

That would be leaping conflict. Always try to make your character act
accordingly to his character traits and the character of the conflict he faces.




Exercises:



• Make a long list of character-traits. Sort them into “good”, “neutral” and
“bad” – your character should have traits out of every column! And be honest – ‘outspoken’ is not bad trait.

• List greatest loves and hates, fears, dreams, ambitions and secrets

• Make up events that shaped above features

• Make up valid inner conflicts (the reason that keeps the character from
realizing their full potential)

• Answer questionnaires, good ones or weird ones- what matters is that after a while your characters answers should come to your mind as intuitively as your own ones.

*applauds* well said, well said. I'll try to remember that.