Creating Characters


One of the trickiest issues when writing fiction is creating plausible characters. It doesn’t matter how terrific your plot is or how brilliantly the backdrop of the story is executed, if your characters are two-dimensional duds, the story won’t fly. Think about your favorite book. What kept you reading it? Was it the gripping plot or was it the characters immersed in that gripping plot? Most likely it was the characters. If you find yourself caring about them or identifying with them, you read the book to find out what happens to them.

But how to create an engaging character? The Well Storied blog outlines 33 tips for fleshing out your character and making them more 3 dimensional. It may sound like a lot but if you are serious about creating believable people in your story, its what you need to do.

One problem that can crop up when creating your characters, is that it’s easy to settle on a few basic types of people and not diverge from that. I can remember reading a fantasy series of novels back in the eighties. They were quite good and I read the series (there were about five or six books I believe). Then the author wrote a different series (in a different fantasy universe). This also was quite good but I had the strangest feeling I had met the characters before. It quickly dawned on me that the people in the second series were the same people in the first series, just with different names and back histories. The snotty princess in the first series was practically identical with the snotty princess in the second series. The wise ageless sorceress from the first series changed her dress and name and migrated over to the second series. Everyone had a droll sense of humor.

The problem is that people in the real world aren’t like that. Humans are products of both their genetics and their life experiences. Since everybody is different then no two people will ever be exactly alike in every way. Even identical twins will have differences, largely because of differing experiences. Even if you have two snotty princesses, they will be snotty for different reasons. When it comes to humor, some people will be droll, some will be crude, some go for slap-stick and others for double entendres. Some sad souls will have no sense of humor at all.

If your characters are the victims of violence, how do they respond? Does the experience made them bitter and cynical? Are they traumatized and too afraid to leave home? Do they become violent themselves? Or do they rise above the trauma and become stronger as a result? What happens to your character depends on their inner makeup and this will be what drives them in the story.

What level of education do your characters have? Are they college-level? High School dropouts? Illiterate? Their outlooks on life will be affected by that. Are they Renaissance people or one trick ponies? Do they live a rich and famous lifestyle or are they impoverished? Are they straight, gay, transgendered or asexual? All will have an effect on how your characters react to situations. Is your character a child or a great-grandparent? Are they married or single?

Read up on various cultures. Study the outlook on life that people from different parts of the world have. What are their perceptions of other cultures? Are they very religious or are they atheists? Are they torn between tradition and the modern way of doing things? Are they proud of their culture or trying to distance themselves from it? If so, why?

The more you read, the more grist for the mill. And the better you will be able to make your characters stand up on their own two individual feet and not just be pale copies of all your other characters

More Random Thoughts about Storytelling

In a previous posting a few years back I offered up some thoughts about storytelling. Having published a few short stories with the magazine Into The Ruins, I am in the process of writing another but find myself detoured by a magical realism novel wanting to get written.

This is not something I planned. It just happened. Anyone who’s a writer often gets asked the question ‘how do you come up with your ideas?’ by someone curious about the creative process. The answer that’s given often frustrates the questioner but it’s the only one we can come up with and it kind of goes like this:

“I dunno. They just come.”

And it’s true. Writing a story, drawing a picture, sculpting, dancing, any activity involving human creativity is not something methodically planned out like building a house. It’s an organic process spontaneously emerging from somewhere deep inside the creator. Like Topsy, it just grows. The magical realism novel (currently not yet named) began as idle daydreams, that grew more complex until I realized it was time to write them down.

You can’t force ideas to come. Anyone who gardens knows when you plant seeds, you need to wait for them to sprout. They don’t do it on demand, no matter how much you beg and plead and stamp your feet. If the seeds are not viable, nothing will ever come but if they are, then one day without any warning the sprout breaks the surface of the soil and grows of its own accord.

When it comes to creativity, everything is grist for the mill. Watching people interact, reading folklore, mythology, history, biographies, any snippet of conversation overheard, traveling around looking at different things. All this gets absorbed by your unconscious to be processed, stirred around, incubated, fermented and eventually regurgitated when you start writing (or drawing or sculpting or whatever). Images from dreams can provide inspiration since that all comes from the unconscious.

When you start creating, don’t let your inner critic get in the way. You know, that little voice that keeps saying ‘that’s dumb’, ‘that’s been done before’, ‘that’s not perfect enough’. Just sit down and start doing your thing without worrying if it’s any good or not. The time for editing is after you’ve written down or drawn stuff. Don’t let so-called writer’s block get in the way. There’s really no such animal.

Just sit down and write/draw/compose/sculpt or whatever.

IMadeDis

And if anyone asks you how you came up with your ideas, you know what to say.

Shortest Month (and posting) of the Year

Sorry to be a bit late on this posting. I was laid up early this month with a flu like bug (nasal congestion,chills, aches, fever, general over all blah). Much better now though.

Then a few weekends ago my computer which I got about 7 and half years ago began having issues. It was clear it was time for a new computer. So I got a new desktop unit (already have the monitor,etc) so I have been spending the past week discovering the byzantine software known as Windows 10.

I’m sure I’m preaching to the choir here when I say this is the most Rube Goldbergish bit of software that Microsoft has yet come up with. The initial booting up and configuring took so long I nearly lapsed into a coma waiting.

snoozing kitty



Then the grueling process of creating a password and pin number. Seriously? A pin number? Well…..ok. Then a whole series of options that Microsoft recommended but for which I mostly had no use for. Each time I deselected the option, the font would change to a red color and plaintively warn me of the dire consequences of not keeping that option.

Window 10: But if you dont use this, you won’t be able to use thus and so for this and that.

Me: I don’t even have a this and that,so why would I want to do thus and so?

And so forth. A trial copy of Office 365 proved so cumbersome to try and activate, that I found myself saying Many Bad Words, which would have sent my late mother running for the Lifebuoy soap. I finally gave up in disgust and downloaded Open Office instead. I was intending to do that anyway but Microsoft induced me to do it a lot faster.

So my spare time is being spent on a learning curve fit for Albert Einstein. The folks at Microsoft would do well to take a page from Henry David Thoreau: “Simplify! Simplify! Simplify!!!!”

Happy Valentines!

More tools of an artist

In a previous posting I described one of the most basic tools of a beginning artist, the drawing pencil. Whether graphite or charcoal, the drawing pencil is the best way to begin sketching images of people and/or their surroundings. Along with pencils also come erasers and blenders. While we tend to associate erasers with eliminating mistakes, they can also serve as useful tools for enhancing your work.

The erasers most everyone is familiar with is the rubber eraser.

pink school eraser

I still have fond memories as a child of getting the first eraser of the school year along with new pencils and a ruler. Originally made of rubber, modern ‘rubber’ erasers are now made of a synthetic substitute. These types of erasers can be used in drawing but they tend to leave ‘crumbs’ behind which have the potential to mar your art work.

A better eraser is the vinyl eraser.

vinyl or plastic eraser

Because plastic erasers are harder, they are less likely to leave crumbs when used. It’s important to go easy with these types of erasers as they can damage paper. But the plus side is that you can even erase ink with them.

My personal favorite is the kneadable eraser.

kneaded eraser

Similar in feel to Silly Putty, the kneadable eraser can be molded into a variety of shapes, depending on what you are erasing. It leaves no crumbs but absorbs graphite and charcoal so will turn a very dark color after you have used it on a lot of drawings. It may harden up when left sitting for a long while, but will soften back up when you work it around in your hands.

Also useful are blenders, often called blending stumps or tortillons depending on how wide they are.

blending stumps

These are used to spread graphite and/or charcoal on the paper to achieve a smoother effect. You can use your fingertip or a q-tip but the blenders are more precise and less messy. Chamois cloth, which is a soft piece of leather, can also be used as a blender as well for larger areas.

All of the above tools are not to eliminate mistakes made but to enhance your artwork. A good example of this can be found on this tutorial which give instructions on how to draw realistic clouds.

Buy a couple pads of sketch paper and draw, blend, erase and smudge to your heart’s content.

Happy drawing!

A Book Review

I recently finished reading a non-fiction book titled The Memory Code by Lynne Kelly. She begins her work with an observation about traditional non-literate cultures. While preparing to do research for a natural history book about animal behavior and indigenous stories, she became aware of the vast amount of memorized information possessed by native Australians. Their capacity to recall detailed knowledge about local animals including not just their identification but their behavior, favored living areas, and value to the local humans far dwarfed any knowledge she was able to get out of a book. Coupled with plant lore, the lay of the land, locations of vital watering holes, beliefs, customs, even genealogies, it was clear indigenous Australians must have some way of recalling and preserving this information without the advantage of books.

What they use are songlines, sung narratives tied to physical locations, weaving back and forth across the landscape, with rituals being performed at specific locations using dancing and singing to encode the information associated with that area and make it more memorable. Dr Kelly noted that the songlines were used in a fashion similar to that of the memory palaces used by ancient Greek orators to memorize their speeches.

This in turn led her to wonder if other early cultures also used similar methods to preserve oral wisdom. Could the ancient ruins of Stonehenge, the Carnac Megaliths, the Nasca Lines or even the giant stone heads on Rapa Nui (Easter Island) actually be complex memory spaces used by the peoples who built them? Her subsequent book The Memory Code explores this possibility, carefully examining the archeological evidence of the various sites. Her work is by far the most lucid explanation of why these impressive sites exist and why Neolithic people spent so much time and effort constructing them.

Forget space aliens or refugees from non-existent Atlantis, the reality behind these impressive works is much more mundane and yet at the same time more marvelous. The idea that early people were unsophisticated savages is blown out of the water by the revelation that they in fact possessed a rich body of knowledge which they had built up over thousands maybe even tens of thousands of years. Megalithic monuments like Stonehenge were raised as a way to organize this vast body of wisdom and create memory spaces to preserve this knowledge with as much fidelity as possible.

The ruins of Gobekli Tepe, thought by some to be the world’s first temple, date back to 11,000 years ago. Its elegant design with numerous carvings show that people of the time were already well practiced at creating memory spaces. Dr. Kelly speculates that Gobekli was built as the first large scale memory space. But it is more likely there were earlier ones, either not yet identified or perhaps plowed under by the last incursion of glaciers.

Dr. Kelly points out that many people holding onto their traditions still used memory spaces well within historical times and in some instances even today. The Songlines of the Australians, kivas used by Pueblo people, lukasa memory boards used by the Luba people in central Africa, and the Inkan khipu used by the Inkan Empire all show how widespread the practice is, even in the face of the literacy we take for granted.

Singing and dancing were critical ingredients in the creation of many memory spaces. Recent archeological work at British and European megaliths show signs of large ditches where Dr. Kelly speculates that ceremonies were conducted, taking advantage of the unusual acoustics the ditch would create. Music is as old as the human species itself and possibly even older. Some tantalizing evidence seems to suggest it served as a social glue that bonded human groups together, and ensured their survival even during the hardest times.

Coupled with the need to preserve knowledge, music and dancing became literally hard-wired into our brains. Is it any wonder teenagers insist on listening to music while they do homework? Is it really any surprise our brains are so vulnerable to earworms?

The Memory Code is well worth a read on a snowy winter evening for delving into these mysteries and coming away with a heightened respect for our far from simple ancestors.