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Writing Excuses 17.30: Know Your Characters
 
 
Key points: How do you know your characters? Exterior, physical characteristics, versus interior, how do they think or feel, what internal forces guide them. Dialogue is an outward expression of attitudes and thoughts. Watch for the collision between character and authorial intent. What questions do you ask your characters to help you separate their speaking? Quirks, speech patterns, ways of seeing the world. Background and attitude or emotional state. Be aware of the context that you need to provide to make prose dialogue clear.
 
[Season 17, Episode 30]
 
[Dan] This is Writing Excuses, Dialogue Masterclass Episode Two, Know Your Characters.
[Mary Robinette] 15 minutes long.
[Maurice] Because you're busy.
[Chuckles]
[Maurice] Because you're in a hurry.
[Howard] And we're dumb.
[Laughter]
[Maurice] Because you're busy.
[Dan] Okay, this is about knowing your characters, not your tagline.
[Maurice] Correct.
[Dan] I'm Dan.
[Mary Robinette] I'm Mary Robinette.
[Maurice] I'm Maurice.
[Howard] I'm Howard.
 
[Dan] And you are both busy and in a hurry, so let's get right into this. We want to talk about knowing your characters. If you want to write good dialogue, you gotta know who's speaking. So, how do we get to know our characters, Maurice?
[Maurice] Well, I tend to think of it in terms of sort of mining out the exterior versus mining out their interior. So, it's like when I think of exterior, I think of like physical things about them, in terms of like their age, or… Let's see. Oh, yeah. Just age and physical characteristics, things like that. The [garbled]… And, in fact, like nationality, origins, culture, those I consider sort of external elements to the character. As opposed to their interiority, which is how do they think, how do they feel, what are their philosophies, what are the internal forces that guide them. I'm fascinated with this whole idea of what Howard talked about earlier about the DTR. [Define The Relationship, Episode 28] So I was hoping he'd jump right in right about now.
[Howard] Well, let me say this. If you were going to define… If you were going to try to write dialogue that sounds like Howard, a couple of the character attributes that I consciously try to apply to myself are I am more inclined to make fun of myself than to make fun of other people and I never make fun of other people unless I know them and know that they can tell that I am joking. So if you were to write Howard dialogue where Howard says something really mean-spirited to someone he just met, that would sound out of character. So that's the sort of thing… It doesn't matter that I'm 54 years old or way 230 pounds and I'm happy with weighing… None of that matters with the dialogue. What matters is how am I going to speak to other people in a way that sounds true to who I am.
[Mary Robinette] There's a thing in the Regency which longtime listeners will have heard me say before that manners are an outward expression of your opinion of others. One of the things about dialogue is that it is an outward expression. So when you are having two characters speaking to each other, when your character is speaking, what they are revealing is their own attitudes and thoughts. It's not just… It's a way of exposing how they are perceiving those around them. Not just by what they're saying but by the way they are saying it.
[Pause]
[Mary Robinette] And I've stopped the conversation completely. Perfect.
[Laughter]
 
[Maurice] I was just thinking… I'm processing all that. So it's one of those things where it's like all right, so. I'm trying… Start off with the Howard thing, because I'm like, "What would it be like to write Maurice as a character?" So that's been like a weird mental exercise, because it's like, all right. So I am black. Spoilers for anyone who didn't know that, by the way. So that is going to affect how I operate in certain contexts. It shouldn't, but it does in a lot of ways. Because I'm going to… I mean, even right now, there's a light version of that going on right now, even though I'm friends with all of you. I'm also in podcast performance mode, as opposed to oh, I'm hanging out with my boys mode. Right? So there's that aspect, which is feeding into how I'm coming across in terms of what I'm saying. But then there's the internal stuff that's going on too, the stuff that informs me in terms of what are my aspirations, what are my insecurities. That's going to weigh in how I frame certain things, in how I want to come across versus how I do come across. Right? So that's that balance of the interior and exterior that I was talking about.
 
[Howard] There's the collision between that information and what Mary Robinette has described as authorial intent. In the Shafter's Shifters cozy mysteries I'm writing, I have five mean characters. It's an ensemble. Often, all five of them are in the room with someone else. I have to remember that authorial intent, I want to move the story forward here, intersects the fact that each one of these characters may have a question that… There's information that they need or there's an objective that they're after, and they will interrupt. They will participate in the conversation, they will turn it from a dialogue into a trialogue or a quadalogue or whatever. I'm breaking the word dialogue, I'm sorry. I shouldn't do that.
[Chuckles]
[Howard] But it gets very confusing because when you have that many voices, if they're not distinct, you have to start using dialogue tags. Now the page gets cluttered. Now it starts to slow down. And now I flip back to authorial intent and ask myself, "Do I get to override what I know those characters want in order to make this scene function the way I want it to function?" It's challenging.
[Mary Robinette] Yeah.
[Maurice] So I think… Oh, go ahead, Mary.
[Mary Robinette] No, no, no, you go ahead.
[Maurice] Well, so one of the things I… So along those lines then, so I think there's one part where we're figuring out… Each individual character, what they want, in terms of what they want to accomplish in the story, what they're trying to figure out, that sort of thing. But there's also that… That kind… You have to sort of like figure out what is their relationship to each other character, also. It's almost like a separate column. 
[Meow]
[Maurice] Right?
[Mary Robinette] There's a kitty.
[Maurice] There is one. She can always sense when I'm on a podcast.
[Meow]
[Mary Robinette] It's purrfect. So, this is another great example of dialogue, and how when you're trying to get to know a character, sometimes having them interrupted by something unexpected is a way to expose stuff about a character. Dialogue is rarely totally linear. So sometimes having something happen like a random cat walking through, having a waiter interrupt a conversation, can help shift the conversation. It can also help you understand more about that character. The… Going back to something that…
[Howard] Maurice?
[Beep… Beep… Beep]
[Mary Robinette] So, for instance, Maurice, when confronted by a cat, reaches down and pets the cat. Howard, when confronted with a beeping alarm, has walked away from his microphone and into another room. Both of these things expose different things not only about the interruption, but about the way the character reacts to that. So…
[Dan] Now I am going to interrupt all of you.
[Mary Robinette] Fine. Fine. I mean… Oh, of course, Dan. Please do what you must.
 
[Dan] Maurice, what's our book of the week?
[Maurice] Our book of the week is… What is it? Oh, shoot. The Ballad of…uhm... Let me think. I'm sorry.
[Dan] The Ballad of Perilous Graves.
[Maurice] Thank you. This cat is all over the place right now.
[Chuckles]
[Maurice] It's by Alex Jennings, and I just started this book, but I'm falling in love with this book. It's New Orleans, it's music, it's magic. Alex really put his foot in it. Which… Oh, yeah, which is a good thing. Trust me on that. But it's just… You have this world of magic that's going on and… Uh. I'm sorry, this cat is killing me right now. But I've just started this book. I'm falling in love with what Alex has done in terms of creating the magic and tying it in with music in this world.
[Howard] That's The Ballad of Perilous Graves by Alex Jennings.
[Maurice] Yes.
[Dan] Fantastic.
[Howard] And what's the name of the cat?
[Maurice] Ferb.
[Mary Robinette] Ferb. Oh, that's great.
[Maurice] As in Phineas and Ferb.
[Mary Robinette] Yup. Yes. At some point during this, we will be visited by Elsie as well.
 
[Mary Robinette] So I want to tie us back into some concrete tools based on something that Maurice talked about in the first episode, which is thinking about questions to ask about your character. I talked about the interiority of the character, the… What the… Their manner exposing what they think about other people. But the way they express themselves is not just that attitude. It is also about their culture, their nationality, their class, their age, what their home language is… Language or languages. So if you think about these things when you are sitting down to approach that dialogue… Patrick Stewart is going to say things in a very, very different way than Woody Harrelson. Well, did I just get the actor's name right?
[Dan] Yeah.
[Mary Robinette] Oh, good. Good job, me.
[Dan] You did, assuming you were talking about Woody Harrelson.
[Mary Robinette] Yes, I was.
[Dan] Okay.
[Mary Robinette] But they have enormously different approaches to the way they would say something. Dan, one of the things that I love about the way you handle dialogue and characterization in the John Cleaver books is with Marcy and the way we can tell who is kind of present at any given moment. Do you want to talk about some of the tools you use for doing that?
[Dan] Oh, boy. First of all, thank you. Yeah, so I assume you're referring most specifically to books four and five?
[Mary Robinette] Yes.
[Dan] In which Brooke is essentially possessed not by an actual spirit or person, but by a vast backlog of memories that have been downloaded and different ones will take over her personality at different times. I gave her, first of all, a set number of people who would be in charge. Typically we will get Brooke, we will get Nobody who is a demon, we will get… I can't remember the name, but there was a medieval woman who appears a few times, and then eventually Marcy shows up. So, knowing first of all, knowing your characters, knowing who the main personalities were going to be, me to give them specific quirks. Different speech patterns. We have the two modern girls, Brooke and Marcy, who I had already written several books about and I knew them well and they were very different people. Then we had the medieval one, who of course spoke in a different way. She had a child, she had very different life experiences than the others, that allowed her to speak in… Use different words, notice different things about the world, ask questions about the world because she came from a different time, things like that. Then, of course, the demon, Nobody, who is again someone that I had known fairly well. She is very acerbic, very biting, very aggressive, but also incredibly and deeply broken, and kind of flawed as a person. She hates yourself, and that's kind of the root of the whole problem that drives the book for about… Or drives the whole series for about three books in a row. So making sure that they all had these very distinctly different ways of viewing the world meant that as soon as one of them popped up, they had a different relationship with John, so that they would refer to him by different names or they would use different tags, different vocabulary, when they were talking to him, when they were talking about him. They would ask different kinds of questions. That made it relatively easy, after the giant amount of work that you've put in.
[Laughter]
[Dan] Then it's relatively easy to use those tools once you've built them and put them on the wall. To say, "Oh, well, this is clearly Marcy who's talking right now."
 
[Mary Robinette] So, just to recap, what we're talking about there is knowing the background of your character and also generally speaking their attitude or I guess emotional state at any given moment.
[Dan] Yes.
[Mary Robinette] Which is why when I'm building characters, I'm always trying to focus in on… Well, not always, but there's like a series of questions I tend ask each of my characters. Like, what is your dream, what's a traumatic experience, what is… What's your greatest fear. These sort of questions. So I can just get a feel for who they are. Then, in essence, writing dialogue boils down to knowing your characters so well that you can drop them into any situation and you're just going to know how they're going to respond. You know how they're going to speak in that given situation.
[Dan] Yeah. I have found lately, and there's actually… We could talk about this for an hour, so I will give you the truncated version. Most of what I have written over the past several years, and everything that I have published over the last several years, has been audio drama scripts rather than prose novels. That has caused me to think about dialogue differently. Not that I have learned new things that are… That make my novels different or better. In fact, it often is more difficult. When you're writing an audio drama, there are no dialogue tags. You are relying on different voice actors to convey the idea that this is a different person. So there's no tags, there's no narrative… No editorializing, he said, suspiciously. Things like that. Some of the little tricks that we use when we're writing prose I absolutely can't do when I'm writing scripts. So, being forced to strip the dialogue down, removing all context from it, removing all commentary from it, so it is just words and voices and nothing else actually made it hard to come back to novels because I'd forgotten how to do some of that stuff. But also really forced me to get into their heads and make sure that when you heard somebody speak, it was different words. I had to find other identifiers aside from dialogue tags and adverbs and so on and so on.
[Mary Robinette] This is a really great thing to underline here. Prose dialogue and scripted dialogue, anything with an actor, are not the same thing. It's two different toolsets. It's not just that you can't use the things in prose to go into scripts, it's that when you are writing for an actor, they're going to do some of the lifting for you. You can give them a line that is… Would be ambiguous on the page and trust that they will have done their character homework and come to it and give it a spin. Like, you can just say, "What?" And they can find five different ways to say it, one of which is going to be completely appropriate for the character. But if you just put the word what on the page, there's so much ambiguity there that it's not… It's the kind of thing that you maybe due deeper into a novel when the reader is doing that lifting for you. But it's not something that you can get away with in a short story or the beginning of a book where the reader doesn't yet know that character. So learning… I've seen a number of things that I've gotten from an early career writer where it's clear that they have learned their dialogue from watching media. Because of all of the ambiguity that's inherent in it. Because it doesn't… Because it's dialogue that would work great for an actor because you left space for the actor to do their job, but it doesn't work on the page. Because there's no one there to provide that context for you.
 
[Dan] With that, we're going to go into our homework. Our homework is me today. This is something that I have talked about before, but it is something that I still do all the time. When you're trying to figure out who a character is, write a monologue. Pick one of the characters that you're working on in a work in progress or something like that, and write something. I have done job interviews, I have done just straight let me tell you who I am. Let that character talk for a page or two and just tell you about themselves. This doesn't have to be part of the story. It can just be the character speaking, breaking the fourth wall, telling you what kind of character they are. Whatever it is, write a monologue in which a character talks about themselves. Let that kind of… Use that to discover the character and get to know them better. This is Writing Excuses. You are out of excuses. Now go write.
 
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[personal profile] mbarker
Writing Excuses 13.9: Quick Characterization
 
 
Key points: Quick tips for characterizing side characters? Give them something weird and memorable, something in conflict with the reader's expectations. Also something that conflicts with the POV character's expectations. Or use the tricks people use to remember names, e.g. alliteration. To make a character come to life, write a brief scene or piece from their viewpoint. Play two truths and a lie with your characters! Beware of turning characters into a single quirk, a.k.a. Flanderization. Figure out what makes the character do that thing, then pay attention to how that motivates other things. Use peekaboo moments, add a splash of color to a scene highlighting something unusual about this side character. A juggling guard? Just a momentary glimpse of the motivations and passions of the side characters. To quickly introduce characters, have the characters, justifiably, talk about each other. Beware of overdoing quick characterization of side characters! Finally, make sure that the side characters are doing something when the protagonist walks on stage.
 
Rounding out the flat side characters... )
[Brandon] This is Writing Excuses, Quick Characterization.
[Mary] 15 minutes long.
[Dan] Because you're in a hurry.
[Howard] And we're not that smart.
[Brandon] I'm Brandon.
[Mary] I'm Mary.
[Dan] I'm Dan.
[Howard] I'm Howard.
 
[Brandon] We are talking all this month about side characters. It's a topic we've touched on before on Writing Excuses, so I want to dig into something specific about side characters this week. I want to talk about how we characterize people quickly. Because sometimes, you just don't have a lot of space to dedicate to these side characters. So let's say you only have a couple sentences to characterize someone. Dan, how do you go about doing it?
[Dan] Kind of the cheap and dirty hack that I use is just to give them something that is, in my opinion, unexpected. Based on what their role is or what their situation is in the story, I will throw something else weird on top of that so that you'll remember, "Oh, yeah, this is that kid, but also he really likes this one strange thing."
[Brandon] Right. They put them in conflict with the reader's expectations. It's a really good way to make someone memorable.
[Mary] One of the things that I try to do, actually, is that thing, except not just the reader's expectations, but the point of view character's expectations. I… Because using that allows me to kind of slide past some of the I am telling you what this character looks like. It also allows me to then convey information about my main character, which, when I'm writing short fiction, I have to be able to get every sentence to do double duty. One of the sneaky tricks that I will use sometimes is I will use some of the tools that people use to remember names in real life. Which is… If the character says their name, I will slide a detail in that is alliterative without…
[Brandon] Wow!
[Dan] Without calling attention to it?
[Brandon] That's interesting.
[Mary] Yeah. Monty with the mustache.
[Unsure] [inaudible now]
[Brandon] Oh.
[Dan] So, like an example?
[Mary] Monty with the mustache.
[Dan] Monty with a mustache. Okay. Awesome.
[Mary] I mean…
[Howard] Howard with the hairless…
[Laughter]
[Mary] Hairless Howard. I get… And there are other memory palace kinds of things that you can do with that, too. So…
[Brandon] Right. Make the guy named Jim a butcher.
[Mary] Yeah.
[Laughter]
[Mary] Actually, that would totally work. So, I was… I'm terrible with remembering names. That's when I meeting someone in real life. So I was taking a class on how to remember names… It doesn't help me actually that much. It's a little better. But I suddenly realized that these were all very useful tools for cementing a name with a reader. So… If I have a character who is a jeweler, then I will… One of the details that all call attention to is the earrings that are hanging from her pendulous earlobes…
[Brandon] Nice.
[Mary] If I have named her Patricia, pendulous…
[Howard] Pendularia…
[Laughter]
[Mary] Yeah. Penny. That is a very sneaky… I do not deploy that all the time, but that is a trick that works distressingly well.
[Chuckles]
[Howard] I think I got better with side characters once… And this is kind of coming back to the name thing. Once I realized that I wasn't good with names, and I wanted to be, so I started practicing any time I was in public. I learned the names of all the people working the line at the place where I got salads. In the course of doing that, they always gave me the best strawberries. Because I was the guy who came in and knew everybody's names. But in the course of learning their names… They were all wearing identical clothing. They're all working this salad line. But in the course of learning their names, I forced myself to remember some of these details. I taught my brain that this is important. So I started retaining that information. It's fascinating that the two seem to be related. If… I will often see in movies, when I can't tell two side characters apart, I know they've done it wrong. Because I'm pretty good at tracking those things, and if I can't tell, then it's just… It's not been done right.
[Brandon] So…
[Dan] Well…
[Brandon] Go ahead, Dan.
[Dan] The… One counterexample being something like Crabbe and Goyle from Harry Potter, who are supposed to be interchangeably faceless.
 
[Brandon] How do you characterize people without viewpoints? Let me explain this. I find it, as a writer, really easy if I give myself a brief viewpoint through someone's eyes to dig into their back story, to kind of discovery write…
[Mary] Luxury!
[Brandon] Who they are, right? And just suddenly they come to life. If I don't have a viewpoint, then I have a lot of trouble with that. It's like…
[Mary] I will go ahead, sometimes, even when I'm doing short fiction, I will go ahead and do a little bit of an exploratory scenelette thing from the other character's point of view. Usually the same scene that I'm writing. Especially if I've got a character that is being very flat, which still happens sometimes. It's just you're not getting traction on them. So I'll do exactly that. I'll write that scene from their point of view, which helped me figure out what their motivations are, and some of the physical… The body language that they're going to be using. Then I'll flip back to my main character, do the scene again, incorporating the information that I've learned. Which will often… I don't do that every time, but it's a very useful exercise to engage in sometimes.
[Brandon] I've seen you do something similar.
[Dan] Yeah. So the thing that I do, all the time… And this is… This is such a dumb little thing. I will play two truths and a lie with my characters. Because then I get to know things about them, and I get to know what kinds of things they would lie about. It's fascinating. I've done it with… I think at this point, all of my young adult series. The one I'm writing right now, I actually put a scene into the book because I find it so interesting. But just to watch them tell truths and tell lies. Inevitably, I'll have one character that tries to cheat. It just tells me a lot about who they are, very quickly.
[Mary] I want to point something out that you said about what are the things that they would lie about and why would they lie about them? I think that when we have characters who wind up dropping into being just a single quirk, then I think one of the reasons that that happens is because we've thought, "Oh, I'm going to do that quirk. I'm going to give him this quirky thing." That the flanderization…
 
[Brandon] Right. We'll talk about flanderization in a minute. We can just dig into it right now. Why don't you tell us what flanderization is?
[Mary] So, flanderization is referring to the slow evolution of a character into just being a quirk. It relates to what happened to the character Flanders on The Simpsons. That he started out as being this very rounded character, and then eventually became a single joke.
[Brandon] Because when people saw him come on the screen, they all wanted him to do his thing. So he did his thing, and the writers all just had him do his thing. Then he stopped being a person, and started being a quirk.
[Mary] So, I think one of the things that you can do to keep that from happening is figure out why your character does that thing. Then, only deploy it when the triggers happen. If you want them to do it, then you have to give them the trigger, and the trigger then has to be coherent to the rest of the story. It also makes the character more rounded, because you… Whatever reason they have to do that thing, that same reason is going to motivate a lot of other different choices.
[Brandon] Month, we're going to dig into this kind of idea really deeply. We'll do an entire podcast on the idea of characters who are self-contradictory, or characters who wear different hats in different social situations and act differently in those social situations.
[Mary] Spoiler alert!
[Brandon] We will dig…
[Mary] Everyone does.
[Laughter]
[Brandon] Into this a lot.
 
[Brandon] Let's go ahead and stop for our book of the week. You are actually going to tell us about Brimstone.
[Mary] Yes. Brimstone by Cherie Priest is fantastic. It is a story set right after the 1st World War. There are two main characters. The… One of them is a young woman who is a medium. She has traveled to this new small town to learn how to use her powers. It's a real town that really had a spiritualist movement in it, and still does. The other character is a man who survived the war and has come back with a ghost. But he doesn't realize he has a ghost. Things just keep catching on fire. It's their interaction and figuring out what it is that is haunting him and has come back with him from the war. The characterization in this is so rich. It's a huge cast, because she's in this small town, filled with spiritualists that she's meeting. There's… It's this very huge community. Each character feels distinct and individual. Even ones that are on stage just for a few moments. It's… Even the ones who actually never come on stage, because they're dead already.
[Chuckles]
[Mary] It's wonderful storytelling. It's…
[Brandon] Brimstone.
[Mary] Brimstone.
[Brandon] By Cherie Priest.
[Mary] By Cherie Priest.
[Dan] And if you've never read Cherie Priest, she's one of the few writers who can hook me from the very first sentence of a book. The just… The writing itself, the language is incredible.
[Mary] It's written in an epistolary form so that each character is… That what you're reading are there journals.
[Yeah!]
 
[Brandon] So one of the things I've learned over the years for characterizing side characters in specific, doing things quickly, is what I call peekaboo moments. It's a measure of great gratification to me as a writer when occasionally someone will come up and say, "Oh, this little side character just came to life for me." Almost always it somebody I've done one of these peekaboo moments, where you are writing a story. In general, you'll describe the scene and then focus in on the main characters and have the conversation or the conflict and things like this. Everything else fades to background, even some of the side characters who are coming in and interacting with them. What I like to do is occasionally say, "No, we're going to add a splash of color to this specific scene, to this specific person. We're going to fade them from the black-and-white background into the characters paying attention to them, saying, 'Oh. This person wasn't what I thought they were.'" This guard, who's standing guard at the door, isn't the person I thought they were. They are, between… While they're waiting, they're standing there juggling or something like this. What I tried to do in these peekaboo moments is show a moment of humanity and back story and passion from somebody who's not related to the main story at all, just so that you get a glimpse that hey, all these people populating this world have their own motivations and their own passions. I find that the occasional use of one of these can really add a lot of vividness to your story. Or using them with a character who's often in the scene, but is never the main character. The reader will take that character and take that image of them and bring it to the next scenes where they're going to be like, "Oh, yeah. This is the person who has twin daughters and is always on the lookout for two copies of things, because they like to give it to their twin daughters." I don't know. Something like that, that human… Gives humanity to the background characters.
[Dan] There's a… One of my favorite movies is Brick by Ryan Johnson. Which is a… Basically a film noir, but set in a modern high school. As much as I love it, I could not tell you who any of the side characters are, except for one drug dealer, who pauses somewhere around the second act break and gives a little monologue about how much he likes the Lord of the Rings books. He's such a beautiful character, because of that moment. It's amazing how much richness that adds.
 
[Howard] One of the tricks that I use is having the characters, justifiably, talk about each other. The 18th… 18th, good Lord!… Schlock Mercenary book, one of the opening scenes, the company's about to take a job, and our protagonist is talking to her sister. Her sister's saying, "You know, I need medical help." She's like, "I'm not a doctor. Why are you calling me?" "You work for a mercenary company. You got battlefield medics, don't you?" "Well, yeah, our doctor. I guess she's okay. But our battlefield medic is like a walking cutlery station." Then we have the battlefield medic show up behind her and say, "Saved your life." Schlock says, "She also hears really well."
[Laughter]
[Howard] Now we have, in two panels, insight into five characters. Okay, it helps that I'm able to illustrate them, so some of this context is…
[Luxury! Chuckles]
[Howard] But the… I did it specifically. I've got a spreadsheet for this. I did it because I knew these characters are all going to be critical to this story, and I need to introduce the reader to them early in a way that is memorable.
[Brandon] But doesn't take a lot of panel space.
[Howard] But doesn't take a lot of panels. Yeah. It took two panels. And while this is happening, we are moving the story forward by establishing why this job is going to make sense for the company to take.
 
[Brandon] There are some books out there, and I was going to give the kind of warning, that you can't do this too much in most books. If every scene, you're spending a paragraph on five different side characters, then suddenly the point of quickly characterizing…
[Mary] A paragraph!
[Brandon] Yeah.
[Laughter]
[Brandon] But there are some books that this is kind of the way the book is. We've recommended the Gollum and the Jinn.. the Genie... The Gollum and the…
[Mary] Jinni.
[Brandon] The Gollum and the Djinni on the podcast before. I read that because you guys recommended it.
[Mary] [inaudible]
[Brandon] It is a story mostly about the side characters. On this page, you will spend three pages on this side character. On this one, you'll… They just kind of are there, populating the story and constantly interacting with the main characters. But the main characters are almost there as an excuse to explore entire community… [cough] Excuse me.
[Mary] I think one of the reasons it works in that book is because everything is new to the main characters. So that's one of the reasons that it works, is because of the POV focus on who is this interesting person that I've encountered that is unlike anything that I've ever seen, living in a glass bottle for a thousand years. So this is… There are many other books that do that where I think it does not work, it's not compelling and engaging.
[Brandon] I would agree.
 
[Mary] Can I offer one other trick? Think about… One of the things that I will do sometimes is think about where the character was or what they were doing before the protagonist walked on stage. Because I think one of the things that will make a character seem flat is when they have just been waiting for the main character to appear. So, it's… You don't even have to give the character a name or anything like that, but if my main character walks in and the clerk behind the counter wiped mustard off her mouth and then smiled brightly. "Can I help you?" That character already feels more real and compelling than just…
[Brandon] That's a really good tip.
 
[Brandon] I think we're out of time. Howard, though, you've got a cool thing that cartoonists use.
[Howard] Oh, yeah. The silhouette test. It's not… Cartoonists, comic book writers, anybody who's working in sequential art where there are characters.
[Mary] And puppeteers.
[Howard] Yes. Puppeteers. If you're going to keep these characters straight, they have to be able to pass the silhouette test. Which is where all of the details of the characters are removed, all you can see is the outline, or all you can see is the filled outline, just the silhouette. If you can't tell them apart, something has to change. I… I have… I ask myself this all the time. What is the prose equivalent for the silhouette test? What I've kind of boiled it down to is the adverbs and adjectives that I will so rarely let myself use when I'm describing characters. Which are the ones that I would only use on character A and would never use on character B? Just make a quick list of those adjectives and adverbs. Once I have those, when I am writing the characters, those adjectives and adverbs need to disappear. Because you expand them out into other things.
[Brandon] So your homework…
[Howard] Come up with those.
[Brandon] Is to come up with those. Yeah, you don't necessarily want to always describe somebody who comes on scene as greasy. But if on one scene, they're the person who's always eating a big hamburger and dropping bits of it to they… To their jeans, then that image you can use repeatedly.
[Howard] So, the homework. Take your cast of characters, and make their adjective/adverb list, so that, in terms of those words, they are passing the silhouette test for you.
[Brandon] That's great. This has been Writing Excuses. You're out of excuses, now go write.
 
mbarker: (BrainUnderRepair)
[personal profile] mbarker
Writing Excuses 13.8: Making Characters Distinctive

From http://www.writingexcuses.com/2018/02/25/13-8-making-characters-distinctive/

Key points: How do you make your characters flawed? Start with the characteristics you expect, the stereotypical stuff, for your protagonist or character. Flaws, or quirks, come from things that don't match that. Think about the character's situation, how does that affect their dialogue, actions, and thinking. Give your characters something to get in their way, and add texture. Look for try-fail cycles where the protagonist fails because their competency is not what they need to succeed. What flaw can they have that is important to the story? Do you use a tragic flaw, that causes the character's downfall, or just weird flaws that the character is constantly fighting? Tragic flaws are good when you want things to go horribly wrong. Think about flaws that can go either way. Use an ensemble cast to practice and play with flaws. Distinctions are not necessarily flaws. Look at Sanderson's second law of magic, what a character can't do is more interesting than what they can do. When you are creating distinctive characters, the flaws help! Sometimes flaws are what make characters lovable. How do you avoid just stapling a quirk to a character? Look for the things that are important to that character. Look at what's behind that quirk, what's the explanation for it. Find things in the environment or setting that differentiate this person from everyone else.

Flaws, quirks, how is this distinctive? )

[Brandon] We are out of time. This is been a great discussion. Howard has our homework.
[Howard] Okay. We are talking about distinctive, distinctiveness, failings, quirky, whatever. Make a shortlist of five of the people you know best. They can be family members, they can be friends. Include yourself in that list. Imagine them as characters in a story. Then, next to their name, start writing the attributes that make them distinct from each other. The things that might be failings, the things that might be quirky, the things that might be weird. Include the things about yourself. Don't show this list to anybody else, because they'll find it highly offensive. You now need to keep this a secret for the rest of your life.
[Brandon] All right. This has been Writing Excuses. You're out of excuses, now go write.

[identity profile] mbarker.livejournal.com
Writing Excuses Season Two Episode Three: Characters with Brandon Mull

http://www.writingexcuses.com/2008/10/27/writing-excuses-season-2-episode-3-characters-with-brandon-mull/

Key points: make your characters feel real by understanding them. What are their personality quirks? What do they want? Quirks that are a little bit extreme help make the illusion real. Ask yourself, "Why can't this character fill this role?" Design imperfect characters who are interesting in that slot in your story. Know the three act format and remember that real heroes always fail twice (at least) before they succeed.
Much ado )

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