Archive for the ‘Characterization’ Category
I’ll be honest: I didn’t pay much attention to the blog world last week. That doesn’t mean I didn’t come across something worthy of sharing, though–contrarily, I have some fabulous advice from an English professor. I’ll try to be short and sweet (since I am often bitter and long-winded):
Each scene should have emotional movement.
What does this mean? Not only does each of your chapters and scenes need to move the plot forward, but they need to start in two different places emotionally. Perhaps you start with happy and end with sad. That’s fine. Or maybe you start with happy, have a bit of confusion, and then have some anger. The point is that there needs to be change. It doesn’t have to be drastic, but think of it this way:
Your reader needs to feel something different at the end of the chapter or they’ll be bored. I don’t want to read about someone who’s happy through the entire chapter. I don’t want to read about someone who angsts during the entire scene, either. Someone who was happy and then angsts because of some twisted plot development? YES. Sign me up!
There was a little blogothon about how to write compelling characters. I didn’t get a chance to read what everyone had to say about it, but I did read what Elana Johnson had to say about it. Oh, and it made sense.
She highlights six things to exaggerate humanness in your characters.
This is what I learned:
Your character has to have flaws to be human, or they’re perfect and not worth reading. We don’t want to read about someone who’s perfect, that’s boring. This doesn’t mean they’re clumsy or bad artists. It means they have a deep character flaw. Something that gets in their way. It’s a limitation or an imperfection. It could be a problem or a deficiency. It doesn’t mean that they can’t be super successful, it just means that underneath that success, there’s some deep, underlying flaw that makes them human and accessable.
Your character will also have secrets or things that they don’t want other people to know about them. No one reveals everything about themselves–their past, maybe their emotions, or maybe their fears. People are very scared of being vulnerable and will often lie or cover themselves in order to appear as perfect as possible.
Humans fear. We fear death, we fear love. Someone who often appears unafraid in real life is often very afraid. There is no such thing as being unafraid. The opposite of fear is courage: looking fear in the eye and facing it. Facing fear and being unafraid are not synonymous.
Your character needs to be afraid of something. It could be loss. Your character could be afraid of being alone. But this fear needs to drive their actions to some degree. It adds dimension to your character. They aren’t sitting with that big group of people just because that’s what the writer decided, but because they’re afraid of not fitting in.
Even if your character is stoic and unemotional, they have emotions, they just don’t show it. If your character is not feeling any emotions, then we’re reading about a robot. Sometimes people want to read about a robot, but only if they’re warned!
People are often guided by emotion and this might drive them to make mistakes. Sometimes these mistakes are because of emotion, or fear, or because their judgment was clouded by something in their past. It could just be because they aren’t perfect. Either way, mistakes are what we want to read about. We want to see someone make a mistake and fix it–so we can have the courage to do the same in our own lives.
Finally, your character needs to grow as a person. We are never the same when we go through something big! And something better be happening in your book. Most books are about your character finding out something about themselves (they’re secretly an alien, they actually really want to be an astronaut and not a lawyer) or learning how to do something new (love, trust, make their own decisions, etc). Books are often about self-discovery and so if your character is the same at the end of the book as they were at the beginning, then there’s a problem.
The key takeaway is this:
You want your characters not to be a “character” but a human.
You want people to relate to your character, to cry with them and love with them and sympathize with them. If your character isn’t human then we aren’t going to feel anything for them.