Building Character

This week my accountability group is blogging about how we flesh out/develop a fiction character for our stories. Last week’s post on our bookshelves and influential authors is also part of our How I Write series.

In order to answer the question about HOW, I think I need to share what character depth & complexity mean to me. I enjoy reading rich characters, ones who feel like real people, albeit a bit larger than life, but real. I think authors can make this happen through a variety of tools available to them. It bothers me when characters are flat or indistinguishable from one another, even and especially secondary characters. I read for the emotional journey and flat characters just don’t cut it for me as a reader, whatever the plot may be.

I was pondering how to pull this post together and find meaningful photos to use for it when I thought about my daughter’s interests in anime and cosplay (costume play or dressing up and getting into the character of your favorite roles). She’s been enthusiastically gathering materials to portray a number of different characters lately. Putting together a Halloween costume or working with big visual symbols of someone else’s character instead of coming up with your own is a bit easier, but you also employ the same essential steps. You start with the basics and then dress it up with all the bells and whistles until you’re happy with it.

The BASICS

For me, the basics of any given character are those things that make them uniquely themselves. If you took any of those things away, they wouldn’t be the same person, right? At first, they may feel a bit two-dimensional and you’ll want to build on that, but you need a good base. I don’t tend to go in any particular order once I have the general idea of my character in mind. Go where your interest and whimsy take you.

GMC — I’ve never read Deb Dixon‘s Goals, Motivation, Conflict (GMC), but I’ve heard it recommended enough times that I probably should read it over at some point to get it from the source. But I do try to include some of the concepts when creating and then developing the characters for my stories. Characters have to have WANTS and NEEDS as well as CONFLICTS or at least some OBSTACLES to reach them. Otherwise, it’s not interesting or satisfying and I think these fall under the basics of what you need to write a story. Without them, well, it’s just gonna flop around on the page.

Establishing Connections — Michael Hauge recommends using at least 2 of the 5 following ways to establishing rapport between your main character and your audience:

1) likeability — a nice person
2) skill/expertise — they are good at something
3) sympathetic — the victim of some undeserved misfortune
4) funny — not always an appropriate choice, depending on your genre
5) jeopardy — they are in danger of loss of anything of vital importance

These ways are meant to be used at the beginning of your story with your protagonist, but I think they can also be useful to pull readers closer to any character, especially your supporting secondary cast who will have a lot of time on stage.

Strengths/Weaknesses — Knowing your character’s strengths and weaknesses are ways to make sure you’re taking them on a story arc that changes. Not all characters have to, but it’s often more interesting to me if either the hero, the heroine or both of them learn something and grow as people during the course of the story. Knowing their strengths and weaknesses also makes it easier to test your characters and place effective obstacles in their path.

At Least 5 Whys — This tool is most helpful in figuring out motivations for goals and so many other things. Never stop at the first answer you think of. One way to avoid writing clichés is to brainstorm and dig down deeper, don’t settle for the first thing that comes to mind. Let your inner toddler have free reign with this one!

Biggest Fear & how you will make them face it — this one is a bit more tied to plot development, but I think it’s important when you’re fleshing out the character. This may be part and parcel of the next item, but knowing it before you get too far along can be helpful in figuring out ways you can torture your protagonist that will actually move the plot along in ways that should engage your reader in that emotional roller coaster.
Finally, Jodi Henley‘s idea of a Core Event is another concept that I’ve come to view as essential to character development. She explains this much better on her blog and in her workshops, but it is essentially what happened to make this person who they are when you begin their story. It is NOT the inciting incident. It’s most likely backstory that colors their perceptions of the world and the people around them. It is what drives how they make decisions and react under stress.

BELLS & WHISTLES

This is where the fun comes in. Also the depth, the complexity and the versimilitude. Oh, yeah. I used that big word. The sum of all these little details are what make the characters even more unique and memorable. I’m sure we all have friends who have “THAT” laugh. You know the one. Or that aunt or uncle who has always used that same tired greeting that makes you cringe since you were old enough to remember?

Tics, expressions, rituals, habits — These can be nervous or verbal tics. Pick a few from each category and ONLY use them for one character. Give them each their own voice and personality.

Friends, possessions & pets — Who was it who said we are defined by what and whom we surround ourselves? Definitely have friends and acquaintances make observations about your other characters, especially your main characters. Are they showing their true selves to the world or does the reader get a special perspective on them?

Some of these things may seem small and frivolous in comparison to the items you use when building your character’s identity, but little things we can easily picture in our heads are sticky. Think about Sherlock Holmes’ deerstalker and his pipe. And no one would ever mistake Wolverine with his claws out for Cyclops. Ok, those are swinging back into the world of comics, anime and cosplay, but it’s an easy visual example.

WHAT I DON’T USE

Character Sheets — You’ve seen the ones: star sign, height, weight, occupation, model of car driven, all full of useless trivia that probably won’t make a difference in how your character will react to the things you need them to. Oh, and I always read them with much amusement considering I write historical fiction. I don’t think I’d find them very useful even if I wrote contemporaries.

Stereotypes/Archetypes — Ok, I TRY not to use stereotypes and I was re-introduced to the notion of using archetypes again this summer, but I’m not sure that I’ll ever dig too deeply in that direction as something to build a foundation on. Some people may find them useful, but I also think the temptation to slide back into stereotype is too strong for me.

---

And if you’d like to read about how the rest of my group develops their characters, you can find their blogs here:

* Alexia Reed * Angeleque Ford * Danie Ford *
* Emma G. Delaney * Kimberly Farris *