Category Archives: Creating Characters

Character Mannerisms: Walking

By Terry C. Misfeldt

Writers often overlook an important aspect of developing their characters. Playwrights have a certain description of their actors in mind when they craft their play. One might have a limp or be blind in one eye and the people who portray those characters may not be lame or blind but they can imitate those characteristics.

In a novel, however, authors forget to describe how their protagonist or antagonists walk. An individual I remember distinctly from my hometown had a distinctive hop step with one leg that was unforgettable. Writers can create an interesting experience for their readers in describing how their characters walk.

Someone who has been overweight most of their lives might have a bow-legged waddle to help their bear the excess weight. Likewise, if the character has lost most of that weight, they may still exhibit a modified waddle when they walk.

If you observe someone who walks a lot, they often have muscular but skinny legs and stride with an air of confidence. Maybe they have a bounce in their step or seem to be someone who could burst into a run at any moment.

Does the character have a bad knee? Weak ankle? Do they favor one leg over the other? Do they shuffle their feet? Walk erect or slumped over? Does someone wearing high heels seem comfortable walking in them, or awkward?

There are numerous variables in describing how a character walks. A hunter may use stealthy techniques to move through the woods. Stalking steps might also describe a predatory human. Short, sure steps may be used by an individual trying to navigate icy conditions. Tip toeing through the house to avoid detection when coming home late is another way of describing a teenager or cheating spouse.

Suggestion: Pay attention to how people you meet or see in your daily activities walk. Make some notes and adapt those mannerisms to your characters.

Character Enhancement

By Terry C. Misfeldt

Far too often writers forget about giving readers a better vision of their characters. What I mean is that we humans touch our faces — sources say — roughly 1,000 times each day. Do writers share any information about how their characters do that?

For instance, imagine a grizzly old man with a scraggly beard. What kind of impression does he make when he tugs on that beard or picks some scrap of food out of it? Is it gnarled and matted or neatly groomed? Gray or brown with streaks of white? Does he stroke the beard when he’s contemplating some advice he’s given or is planning some devious activity? Could you shock your reader by having him shave the beard and appear as a much younger, more vibrant member of society?

Think about the various ways people touch their faces and how you can envelop those touches into your character profiles.

What does it say if your protagonist tugs on his or her ear lobe?

Can you describe how a younger woman applies her make-up versus an older woman?

If tragedy strikes, how does your character weep and wipe away the tears of anguish?

Does your professor contemplate a question by placing their chin in their palm?

Could you divulge a clue about a criminal by whether they use left or right hand?

Take a few minutes and review your manuscript for subtle nuances you could make that bring your character closer to readers. Do you wash your hands after sneezing?

Character Descriptions

By Terry C. Misfeldt

How you craft descriptions of your characters is an important element in gaining and maintaining reader interest in your story. Character descriptions vary from quick sketches to detailed revelations that can include emotional states.

An example of a quick sketch would be describing a female character wearing a sleeveless top with colorful tattoo sleeves from shoulder to wrist on both arms. Main character? Perhaps, but more appropriate for a passing stranger in some scene.

The more detailed character description might be something like this: “The plump four-year-old towhead with sparkling blue eyes and out-turned feet plodded barefoot through the mud with his tossled hair clinging to the back of his sweaty neck. His bleeding hand was wrapped in his blood-soaked t-shirt that he held tight to his chest with his belly hanging over the waistband of his too-tight shorts.”

The point of the examples is writers need to create believable characters with precise descriptions. The scene in the second example is used more to describe what might be going on in the towhead’s brief existence, but you learn he is blond with blue eyes and is overweight for a 4-year-old.

Beware: You can divulge too much information about a character in a single description or scenario. This may force you to repeat traits or descriptions at other points in your story that could potentially conflict with your original picture of them.

Suggestion: Identify your characters and write character descriptions on each of them before you dig too deeply into writing the story. This enables you to sprinkle some of their traits throughout the story at appropriate times rather than all at once.

Observe people who may model the type of character you want to create. Take notes about how they move, what they wear, and, of course, what they look like. Writers call it research.

Writers Are Readers

By Terry C. Misfeldt

Writers have a tendency to also be avid readers. Yes, folks, writers are readers!

We read to explore new worlds without leaving the comfort of our favorite chair. We can cross the plains of America in a covered wagon with a cup of coffee and a doughnut in our hands. We can be enthralled in a steamy romance while lying on a beach blanket.

Why do we read? We get ideas for writing from reading what others have written. We can study character development. We can create exotic worlds from seeing how other authors develop their fantasy planets. We consider sentence length, grammar, punctuation, and style from the words in those published works.

Sure, we read for entertainment or knowledge and sometimes just for something to do. We find authors we love and crave their next book. For me those are writers like Kevin J. Anderson, Brian Herbert, James Lee Burke, and Jeff Shaara…each of whom writes for a different audience. Their work can be inspiring, and writers need to be inspired!

As writers, we also read to learn how other writers grab your attention and keep it as they develop a plot through various crises to a climax. Part of why we read involves a never-ending search for new authors whose work we will either love or despise. Those we dislike usually have but a chapter or two before they lose us.

And no writer wants to lose their readers…for whatever reason! So we read.

How to Write Good Dialogue

By Rebecca Laurent

Writing good dialogue is no small task. I don’t imagine that there is any complete checklist that writers can follow that will allow us to craft perfect dialogue every time. There are, however, a few helpful rules of thumb that can help elevate flat dialogue and keep scenes from boring our readers.

Avoid using dialogue tags other than “said”

Trying to spice up writing using tags such as “she cajoled” or “she jerked out” is an easy mistake to make. Though, consider the reader’s experience. These kinds of tags can become very distracting from the actual conversations we’re trying to pull them into. Some might argue that these sorts of tags provide necessary information about a character’s disposition. Still, if those tags are truly bearing all the weight of such a large job, probably some critical content is missing from a character’s description and the wording of their lines.

Actually, use as few dialogue tags as possible.

Don’t get me wrong. Streams of naked dialogue are doom to any story, but that doesn’t mean every line should have a tag attached to it. Mix it up. Instead of “she said,” include a bit of physical description or body language which tells us more about a character’s mood. Such lines can let us know who is speaking just as clearly.

Edit out any conversations where your characters are telling each other about things they both already know.

Theater scrips have made this kind of banal conversation infamous, coining it as maid and butler dialogue. This is when one character says something like, “As you know, the master is out today.” If they already know it, why are they telling them? To readers, such overt attempts to cram in information come across as disingenuous and tend to pull them out of a story. Instead, ensure that your characters all have an appropriate level of motivation for whatever lines you give them.

Subtext!

So much of what makes fantastic dialogue fantastic is often not everything that the characters have said. Rather, it is what they have not said. Just like in real life, people in our stories can be passive-aggressive or say something which contrasts with what they’re thinking. Consider all the delicious possibilities which come with including a point-of-view (POV) character’s thoughts as they decide what to hold back from their conversation partner.

Writing for Comfort

By Debbie Delvaux

Writing for comfort.

When I was a young girl, I never had the opportunity to really be one of the gang as I was always feeling left behind. Being the second of two daughters and very shy at times.

I would try to keep up with my sister and her friends. You know like the story goes of the second left behind or the tag along. Sigh!!

Well anyway, when I would be finding myself alone and no one to play with, I would either swing and drift to another world or walk the neighborhood and imagine myself as a member of their family.

The older daughter or just a secret agent disguised as one of their own members.
So many lives to pretend to be and yet so little time to be them when you would hear your mother call to supper and then to bed.

But as a day would go on, I would still try to live that life and be off somewhere when the television got too boring or the weekend too long with nothing to do.

To this day I can see myself in one of those many secret lives and that has given me the chance to now sit at my laptop, make that life come true and with no interruptions except when the telephone rings or one of the cats grabs my leg for attention.

Many of the lives spent elsewhere have given me comfort when I had hard times, bad times, or even silly times to say I will try that in a story someday.

So in retrospect, I have been given a gift of imaginary lives and way to live my own life the way I wanted it to be.

How I Started Writing – from a Newbie

By Laura E. Aronis

I didn’t think I could write! Me? I couldn’t imagine having enough imagination for something as enormous as a whole book! Characters? Plots? Climax? Resolution? No way! I was content to read other amazing works of fiction, often rereading them over and over again, (which I didn’t realize was setting me up for being a writer.) 

I might have an idea come to me on occasion, or I might daydream about some scenario taking place around me, but I NEVER thought of putting pen to paper and writing it out! That would just be too embarrassing! No one would want to read something that came out of my head, that’s just silly! Until one day… The day that the idea was just too good, the scenario too exciting and the characters too interesting for me to keep them inside and risk them leaving me as I slowly thought of new adventures and stories. 

I didn’t know how to begin, so I started with something that looked a bit like this:

Jack: Let’s go up the hill.

Jill: I do need a pail of water.

Narrator: Jack and Jill went up the hill to fetch a pail of water. 

Jill: Jack! There’s a boat– (Wait, that’s a different story) Watch out!

Narrator: Jack sees a large boulder coming straight at him and tries to run but…

Jack: Ahhhh!

Narrator: Jack yells as he falls down the hill. There’s silence as his crown (head) breaks.

Jill: (gasps)

Narrator: And that’s the end of Jack. But wait! What’s this? Jill is tumbling after!

The End

Obviously, I knew that wasn’t the way to do it, but I had to start somewhere. I took what I had written and started over, thinking about how other writers had done it and began:

Jack was bored. Nothing interesting ever happened in Kilmersdon, the town where he and his wife, Jill lived. He watched his wife knitting tiny little socks and could take it no longer. “Let’s go up the hill,” he said. Jill finished counting the stitches in the row she was working on and smiled at her husband.

“I do need a pail of water,” she said. Jack took Jill’s hand and they walked out the door. Jill grabbed the wooden bucket that always sat just inside the door of their thatched stone cottage. They walked side by side down the lane that led to the small school, as that’s where the well was located.

They enjoyed the late afternoon sunshine and each other’s company as Jack chased Jill along the old stone wall and up the steep hill that the neighborhood children had to climb every day. 

Suddenly Jack slipped on some loose stones on the path and tried to catch himself by grabbing the top of the wall, but the large stone he managed to grab was loose and came off in his hand. It landed on top of his head, crushing his skull.

“Ahhh,” he said as he started to roll down the hill, much to Jill’s horror. As she tried to run after him, her foot got caught in her skirts and she came tumbling down the hill after her husband. 

The End

So, it doesn’t matter how you start; if you have an idea, just start. You may end up with a morbid nursery rhyme that parents will sing to their babies long after everyone involved is dead and gone.

Writing Perspective – Day 27 of 31

By Valerie Routhieaux

Day 27 – Dramatic Through Lines

Today’s tip comes from the book, Story Structure Architect by Victoria Lynn Schmidt, Ph.D.

Selecting a Dramatic Through Line. A dramatic through line is the main direction of your characters whether you have a plot-driven or character-driven book, the through line is what makes your characters achieve their goals—in most cases staying alive to the end, especially when you’ve got a lot of dinosaurs chasing you as in Jurassic Park. Or aliens coming to take over your world as in Independence Day.

It might not be staying alive that drives your character. It might be finding love as in romances, finding the reason why as in mysteries.

Your through line is what keeps your readers reading, and the more dramatic you make it, the more they will keep turning those pages.

There are five types of dramatic through line:

1. The main character succeeds

2. The main character is defeated

3. The main character abandons his goal

4. The main character’s goal is undefined

5. The reader creates the goal

No matter what kind of story you’re writing, there wouldn’t be a dramatic through line without characters. What are your favorite types of books based on those five types of dramatic through lines?

Tomorrow’s Perspective: Conflict

Writing Perspective – Day 26 of 31

By Valerie Routhieaux

Day 26 – Beginnings

The Hook—good beginnings.

Every writer wants his or her work accepted. How do you make a good beginning that will keep the publisher reading your work, and see your story published? It doesn’t matter whether it’s a short story, poem, or novel. If you don’t grab the publisher in the first few paragraphs it won’t see the light of day.

To help with that, several years ago, I bought a book called Hooked by Les Edgerton. There are a lot of good ideas to not only keep the publisher reading but your reader as well.

The beginning of your book sets up the problem, the scene and you meet the characters. It gives just enough backstory to keep the publisher interested, but not too much that it ends up in the slush pile. You want to avoid the slush pile at all costs.

I’ve heard authors will spend more time on the beginning paragraphs and the first chapter of the book than the rest of the book.

If you don’t know what hooked you with your favorite book, take it off the shelf and read the first paragraph. Not only were you hooked, but more importantly the publisher of that book was too.

I admit I’ve struggled with the opening. I want to get it right. I want to build tension. I want to set the scene. Before I presented Thread of Evidence to my publisher, I read it at Writer’s Guild to get feedback. I value their feedback. I had way too much boring information in the opening paragraphs, boring information best left for other parts of the book and filled in as backstory where it wouldn’t be boring, or taking it out altogether.

You want to give your reader/publisher the setting, what is going on in the opening paragraph. Your publisher/reader needs to know in that opening if they are reading a historical novel, science fiction, contemporary romance, mystery, or another genre.

Does this grab your attention? Why or why not?

————-

Ten-year-old Jo-Ann Carter stood in the drawing room, arms crossed, with a stubborn expression on her face. Her pale green eyes flashed angrily as she watched her mother tie a blue-gray bonnet beneath her chin, matching her long flowing fitted-waist satin and taffeta dress. She stomped her black-shoed foot on the floor, a pout on her face. “I want to go too!”

—————–

That is the opening paragraph of Scarred. Do you want to know what comes next? Wanting to know is the reason behind every book on bookstore shelves and on your bookshelves. You wanted to know what’s next. Keeping your publisher interested will keep your reader interested. Keeping your reader interested will result in books sold and money in your pocket. And that is what every author wants, money in their pocket. It won’t happen without a good beginning. So, get the hook right and you will be on your way.

Tomorrow’s Perspective: Dramatic Through Lines

Writing Perspective – Day 24 of 31

By Valerie Routhieaux

Day 24 – Show vs. Tell

Showing versus telling has been one of those areas that always confused me. However, when I did the research on it, I can say with certainty that yes, yesterday’s example from New Horizon’s – Predators and Blue Fire was a perfect example of Showing.

Not only was I giving you an example of how not to give too much information at once, but also showing you the action instead of telling you what was going on.

When you watch a movie, you don’t need anyone to show you what’s going on in the scene, it’s evident. However, how do you make that same scene come alive in a book so the reader can see the scene in their head as they read? You do it through showing.

Show the reader a person is cold with stamping feet, shivering, blowing on mitten-less, glove-less hands, fog in the air as the character breathes. Those are clear images of showing. Don’t just say your character is cold. You’ve done nothing to show your reader.

Dress your reader in layers – a heavy knit sweater, wool knit hat, large overcoat. What time of year is it? Sweat dripped from his brow and clung in cloying stickiness to his skin. Snow crunched underfoot. He had to crack the ice in order to get water from the well. Humidity hung in the air and took the breath away as she stepped outside. Her nostrils felt like they would freeze together as she stepped into the windless starry night. Color flooded the landscape and crunched underfoot as she walked in the countryside. The air was soft and gentle, the trees budded with new life. Green tongues poked their way through the earth after a fiercely cold winter.

Can you see it? Can you feel it? That’s showing and that’s what you want your reader to see and feel when you write your stories. There are times when you need to tell. Keep the telling to a minimum.

Tomorrow’s Perspective: Avoid Shortcuts