Tag Archives: characterization

Characterization in three steps

23 Friday Jun 2017

Posted by in Uncategorized, writing tips

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As a manuscript assessor with over 200 full length assessments under my belt, I’ve seen the whole spectrum of fictional characters, from You’re so real I can almost smell you to Oh dear, he’s made of cardboard. Pity…

We all want our characters to step off the page as living breathing individuals, so I’d like to give you my three most cited reasons for characterization failure and how to correct it.

Use of cliches

The moment I read He was so angry, steam came out his ears, I want to put the book down. Seriously? Do you not realize that readers are highly visual? Unless this is a fantasy/children’s book, your character doesn’t actually have steam lifting their cap, or daggers shooting out of their eyes.

Instead of giving us a cliche (and turning your character into generic angry man) show us how your character is unique. We all experience and express anger in different ways. Some people get theatrical and throw things. Others (scary people) go really quiet and just stare at you. When you’re writing a scene, spend time thinking about your character and how they’re likely to feel anger (physical sensations and thoughts) and how they’re likely to express it (dialogue and action). Then let that flow into the scene.

Sloppy Viewpoint

For those of you who don’t understand viewpoint, it’s the perspective of the character whose eyes/sensations/feelings/thoughts you’re choosing to filter the story through. I’ve grabbed an image from Grand Theft Auto to show you what I mean: your character looking at the world of your story (or their phone as the case may be):

GTA V Online

It’s your job as the author to pick a character in a scene and show us the scene through their viewpoint, along with all their opinions about what’s happening and why and what they think of others etc. When you leave us inside their mind for extended periods of time (not head-hopping from one character to the next), we grow comfortable there and drop deeply into the story, coming to understand that character’s natural biases, interests, memories, desires and fears. This is how you build characterization via the Show don’t tell method, and it’s also the reason that you try to give your main characters the lion’s share of the viewpoint, so their characterization will be strong.

What I don’t want to see is you stepping in as narrator to “tell” me:

Mary was fat and ugly. No man ever asked her out. She often gorged on food instead of taking time to care for her appearance.

I’d rather you sit me inside Mary’s head and “show” me:

Mary slumped onto the stained couch and wondered if there was a spring loose before she dug a half-eaten Toblerone out from under her butt-cheek. She tossed it into the ashtray before reaching for the sticky remote control. Nothing decent on the box, as usual. Only dating shows and they gave her indigestion. Stupid women spending ten hours in hair and makeup just so they could get on tv.

Bitches. Mary reached past the sleeping cat into the opened pizza box and took out the last slice of a family-sized cheesy crust. “Any loser can marry a farmer”, she told Princess Jasmine, who slept on, blissfully unaware of the mozzarella dotting her fur. “If they want to live in the middle of woop woop.”

Not exactly deathless prose, but the difference between what you “tell” the reader (narrative summary) and what you “show” them via Mary’s viewpoint (in a scene with setting, dialogue and action) is the difference between a cookie-cutter character and one that’s starting to come to life. It’s still a little generic, but as the story progresses, you’d have ample opportunity to make Mary truly unique as you show us the world through her eyes so we can really empathize with her.

Stereotyping:

I can’t tell you the number of times I’ve read a character who’s so stereotypical they feel like they stepped out of a board game. You know the type: the sexy secretary, the big bad biker, the gruff boss, the dotty aunt, the feisty grandma, the cherub child, etc, ad nauseam.

I’m not saying kids can’t be cute, but no child is cute 24/7. Neither is every child ‘bouncing off the walls’ (see Cliches above) 24/7. Some secretaries are just good at their job and aren’t there to be lusted over or objectified. Ditto shirtless construction-workers.

Real people are never just one thing. Neither are good characters. For seat-of-the-pants writers, this can be a real problem because as they start the book they might not know their character very well. But by the end of writing a book in draft they should know their character inside-out, and that’s the time to go back and change anything that feels generic or stereotyped. If the secretary in your story is sexy, what if she’s also a math whiz or a kick-boxer or has a house full of adopted pets?

I’m not telling you to go mental with quirks, but try to think past the characterization shorthand we all use when we’re looking at characters from the outside, and get inside them, under their skin, inside their heads. Even sub-characters who never have viewpoint in the story should still come across as unique individuals.

So, there you have it my friends. Three easy tips to make your fictional characters more realistic. If you’ve got questions or further tips, please pop them into the questions below. And if you’re looking for a good book to help with fiction writing, I can heartily recommend this one. My copy is dog-eared!

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How do you build characterization?

13 Friday Nov 2015

Posted by in Uncategorized, Workshop Wednesday series

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I taught a workshop on characterization over the weekend at the beautiful Gold Coast, and was thrilled to be able to meet the local writers and share some of the craft lessons I’ve learned through assessing over 200 manuscripts. At the end of the workshop, one piece of feedback I heard over and over was, “Thanks for giving us specifics to work on.”

On the drive home, I couldn’t help remembering the first time I’d had feedback on a story I’d written. The competition judge told me that my characterization was “thin”, and I remember feeling really confused, because to me, those characters were very real. I clearly had to do something, but I had no practical method of making my characterization stronger.

If only I could go back in time and tell that young writer what I know now!

Of course I can’t. But I can share my hard-earned craft tips with you: so the first and foremost (with both characterization and plotting) has to be Goal Motivation Conflict (or GMC as we call it in the trade).

gmc

Write this out for every main character in the story. I keep mine on a file card next to my computer so I can pull it out each time a character is about to step into a scene. I want to remind myself about what’s important to this character and why. Here are a few tips for filling it in:

1. Clarify in your own mind who your main CHARACTER is and give them the lion’s share of viewpoint in the novel (if it’s a two-hander, say a romance novel, give them equal share of the viewpoint). The more viewpoint a character has, the more their characterization develops through the Show Don’t Tell method.

2. Clarify early in the story what GOAL the character is trying to achieve, and ensure there are serious consequences (either physically or emotionally) if they are unsuccessful. This creates a high-stakes novel with a clear thread for the reader to follow through the story (NOTE: ensure all subplots either help or hinder the main character achieve their goal. If they don’t, the plot can feel loose and unfocused).

3. Create strong MOTIVATION for the character to pursue their goal. You’ll want to put obstacles in their path to create tension and reader empathy, but that will only work if readers believe in the character’s motivation to stick with the goal. The last thing you want is readers wondering “Why don’t they just go home?”

4. Create a balance of Internal (emotional) and External (physical) conflicts for your character to overcome on their way to the goal. The genre of your novel will dictate some of this balance. At one end of the spectrum, Romance novels are usually heavy on Internal Conflict, while Action Adventure tales tend to have much more External Conflicts and less emotional angsting.

My next tip is that CHARACTER TRAITS MUST SERVE A PURPOSE:

AidenTurnerToplessYes, well, of course I’d prefer it if this picture actually had anything to do with the topic, but I suspect it’s simply a good looking man with no shirt on. The things you find while you’re looking for content…

Anyway. Character traits. Don’t invent virtues and flaws for your characters unless they’re going to serve a plot purpose. If you do, your novel will feel loose and unfocused. If a character’s virtue is honesty, put them in a situation where they’re forced to steal or lie (for some greater purpose, of course). The take home here is: A strong plotline tests the character’s virtues and highlights their flaws. Try not to forget that.

And my final tip on characterization is on VIEWPOINT, sometimes called Point of View. The more you are in a character’s viewpoint, the more readers will learn about the way they perceive the world (what they actually notice of the world around them), what their biases and preferences are, what emotional baggage they’re carrying, etc. When you are delivering the story from inside a character’s viewpoint, the character’s internal life becomes obvious via their internalizations (thoughts) which Show Don’t Tell us why they’re doing what they’re doing and saying what they’re saying.

When unimportant characters come into the story, don’t give them viewpoint unless you absolutely have to (they have a piece of information to deliver that we can’t find out from inside the main character’s viewpoint). The more you hand out viewpoint in a story, the more you dilute characterization. You can’t bond us to everyone, so make damn sure you use viewpoint to bond us to the main character/s!

If you don’t understand what Viewpoint is or how to do it, please learn! Viewpoint is the most important tool in a writer’s toolbox. Learn it and use it carefully to craft your story.

I hope this is helps you develop your characterization. Naturally it doesn’t cover all the details I’d get across in a 2hr or a day workshop, but it should give you a few ideas to work with. If you have any questions, please feel free to pop them into the comments below. Cheers!

 

Writers: The Power of Viewpoint

21 Sunday Apr 2013

Posted by in Getting Published series, Uncategorized, Workshop Wednesday series

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Last year 7 of my clients were contracted for the first time by some pretty prestigious publishing houses. In the current publishing climate that deserves a Wahoo! But it also warrants a bit of analysis. Why did those 7 manuscripts get across the line and not manuscripts from the other 15 clients who I either mentored or did manuscript assessments for. In a word, their strength was…

Viewpoint.

Each of those 7 ‘lucky’ authors had a strong grasp of viewpoint hold (sometimes called point of view) and as a result their characters came alive on the page. We saw the world through the filter of the character’s senses (sight, smell, touch, taste, hearing) and were privy to the character’s internal life (thoughts and feelings) which revealed inner conflicts that upped the ante of the external conflicts the character was already facing. Each genre has it’s own formula for how much of the character’s internal life should make it onto the page. Action adventure novels at the low end, romance and women’s fiction at the high end. But wherever your novel fits into that spectrum, you do need to understand and use viewpoint to make us care enough about your characters to read a whole book about them.

I recently assessed a manuscript that had viewpoint problems and I’d like to share here a small section of that report:

iStock_000017868898XSmallTo create an internal life for the characters and thus build characterization, we need to know what characters are thinking and feeling. If the majority of the novel is action and dialogue with hardly any thoughts and feelings expressed, it doesn’t help us get to know your characters. And if we don’t know him and care about his journey, why should we bother to read about it?

The proviso here is that you only give us the thoughts of the character who has viewpoint at the time. Stay deep in their thoughts, feelings, physical reactions, to help us bond with them and feel as if we are them for the period of time that we’re reading.

We need to feel the character’s fear, not just see the circumstances that would inspire fear. And I don’t mean to write He was scared. In a story written for adults you have to pull us into the character’s emotions by ‘showing’ them, not ‘telling’ us about them. Does his pulse jump when he’s excited? Does his heart slow when he’s scared? Does it thump unevenly when he’s terrified? Can he stride when he’s confident and stagger when he’s overwhelmed? Show us how his emotions affect him, and above all keep us in the loop with his thoughts. Not just thoughts about what’s happening right now.  Memories, and visualizations of what you think the future may hold, both have the power to evoke emotion. You need to create a depth to the story because action and dialogue just skims the surface of the character’s experience of what’s happening. You have to make us feel if you want us to care!

Whenever I meet agents or publishers and ask them what they’re looking for, they always give me some version of “An interesting story with characters that I care about.” Every time. Interesting story (plot). Characters I care about (characterization).

Your number one tool to build characterization is viewpoint. Learn it (there are heaps of resources on the internet to help you and I’ve got one on my website here). Practise it. Get published!