Category Archives: Character

Complex Characters

Complex character img 2-20-13We’ve all heard the criticism:  “Your characters are flat” or “One-dimensional” “Make them deeper, more rounded.”

The problem is, most of the time the people offering that vague advice have no concrete suggestions for fixing the problem.  Many newer authors often fall into the trap of trying to add quirks or other surface affectations to try to make the characters appear ‘interesting’.  Quirks can be cool, but only if they tie into the character’s real psyche.  If not, they’re just weird and don’t help.

In my last post, I explored what it means to have deeper, more complex characters by utilizing Larry Brooks’ three dimensions approach to character development.  Today I want to explore additional examples from books and television to highlight what we mean when we say a character has ‘depth’ or is ‘complex’.

First, we need to know our characters, know them better than we know just about anyone else in our life.  Think about it – most of the people we interact with are enigmas.  We know their surface personalities, and we may know a little about their history, but how many people do we know well enough to imagine them in an extremely difficult situation like the ones we’re going to place our protagonists in, and then feel confident we can predict how they’ll react?  The number is probably smaller than we usually assume.  We can’t have that ambiguity with our main characters.  When we place them in extreme situations, we need to know how they’re going to respond.

Many of the ‘flat’ characters we see are ones where they don’t seem to have a history.  They step onto the page with no back-story, no childhood, no past mistakes or triumphs to be reminded about.  As a result, we only see the surface of a character but get no insights into why or how they reached that stage in life.  These are characters with only that first dimension defined.  Fine for secondary characters, but not for central characters.

For example, in The Dark Knight, the joker is such a fantastic character not only for how crazy he is on the surface, but also for the hints he gives us of his tortured past.  We never actually learn the truth, but just hinting at it is enough to make him far more deeply fascinating and freaky.  Who’s ever going to forget the line, “Want to know how I got these scars?”

As a reader, knowing a character’s back-story helps us develop empathy with them.  This is the why of a character’s actions that gives them meaning.  Without it, we cannot connect with them.

Another fascinating example is the character Cobb, the main protagonist in the movie Inception.  On the surface, Cobb is an efficient dream spy, capable of infiltrating the best-kept mental secrets.  Then we’re faced with his ex-wife who continually threatens to undermine all his work.  That twist becomes infinitely more interesting when we learn she’s actually dead, a projection created by Cobb’s own sub-conscious that refuses to be ruled by him.  Throughout the movie, the layers are peeled back as the stakes rise, until we realize this projection is his inner demon, the part of his psyche he has to face.  We’re left wondering right up to the end:  how did she die?  Was he really responsible?  Why can’t he let go?

Brilliant use of back-story and inner demons.

Another wonderful example, and an excellent venue for studying complex characters is the tv show Once Upon A Time.  Not only is the concept fantastic and the writing brilliant, but the show offers many examples of great character development.

Virtually every character in the show has a complex back-story that interweaves with other characters and generally experiences at least one major flip that catches the audience completely by surprise and challenges expectations.  This is especially true for the evil characters (the wicked queen and Rumplestilskin – the dark one).  We see them struggling against evil impulses and trying to live the best lives they can.  It’s absolutely brilliant because we end up developing empathy with characters we should simply loathe.

There is nothing simple about any of these characters.  Their second dimension is fully fleshed out and complex.  Even better, in critical moments, we see even some of the evil characters try to break out of the mold they’ve placed themselves in, and we root for them.  At other times, we see the heroes struggle with powerful temptations to do terrible things, usually with plenty of justification.  These are the deep moments when characters’ true selves are revealed, the third dimension moments of truth, and it’s wonderful to see a character we think is evil show us a hint of good, even if they back-slide later.  I’ve learned a great deal from this show, and hope to apply it to some of my own writing and character development.

Of course, most of us won’t get to use our back-story as heavily as Once Upon A Time.  They set up the show format around this complex back-story, and the very structure of the show allows them to maximize the power of it.  Still, the point is valid – it’s absolutely vital for the writer to know what happened in their characters’ lives before page 1, and find ways to share that information with their readers.

Another fun example is Shrek.  The funny, irreverent ogre who refuses to live within the narrow boundaries expected of him.  As he explains to his companion, donkey, he has layers, like an onion.  All good characters should have those same layers.

Of course, once we’ve created our onion characters, we then face the daunting challenge of when and how to weave that back-story into the narrative without falling into that dreaded ‘info-dump’.  It’s hard to not share the cool stuff we know about characters, but that information is best served in small portions, sprinkled throughout the story.  It’s the seasoning that separates the simple stories from the great.  But like any seasoning, apply too much, and you wreck the effect.

What other characters stand out as exceptional examples to you?  Why do you find them so powerful?

3 Dimensions of Character – A Review of Larry Brooks’ Character Development Technique

3 dimensions imageWe’re talking a lot about character this month, as well we should.  Great characters are critical components for great stories.  We need to understand our characters, their relationships, and then we need to reveal the truth about our characters with a deft hand, weaving in back story and inner demons.

It can prove a daunting process, and sometimes it’s hard to know how to approach working with our characters to maximize their effectiveness.  At times, it’s like looking at a hidden 3d image, like the one at the top of this article.  Can you see the hidden image?  It takes effort and practice to train your eye to see what’s right there.

Same with building great characters.

There are lots of opinions and articles and books on the subject, including this month’s Fictorians posts.  One resource I highly recommend is Orson Scott Card’s book Characters & Viewpoint.

Another, which I found extremely helpful, is Larry Brooks’ Three Dimensions of Character.  This is available as a standalone ebook, but is also incorporated in Larry’s best-selling book Story Engineering.

The brilliance of this approach is that it explains complex character building in a direct, understandable way that makes it accessible to every writer.  Larry provides a toolbox to assist authors in crafting great characters, and knowing what is required to do so.  He teaches, in essence, how to see the hidden image by removing some of the vague, mysterious elements from the process, which I found refreshing and extremely helpful.

I won’t explain the entire system.  This short article won’t do it justice, but I will review the core concepts to illustrate the power of it.

Characters have three distinct dimensions that authors need to understand and define, and which they can then apply for greatest effect.

Dimension 1:  Personality.  What a character looks like, their quirks, how they present themselves to the world.  This is all surface material, without any assigned meaning.  For minor characters, this may be all we ever see, and it’s left to the reader to assign any deeper meaning, if they choose.  For important characters, we cannot stop here without getting the dreaded “your characters are flat” reviews.

Dimension 2:  Back story and inner demons.  This is where things get interesting.  This is the why of a character’s choices.  This is where meaning is assigned, where they face their inner struggles, hide their deepest fears.  It’s the world view that motivates their actions, and it may or may not coincide with the face they choose to show the world.

Dimension 2 is where characters gain depth, it’s where the reader gains a glimpse into the why, and gives us a chance to build empathy with the character, which is absolutely crucial for our story success.

However, we’re not finished with Dimension 2.  Dimensions 1 and 2 are still what the character wants us to see, to understand.

Dimension 3 is where we get to the true heart of a character, their moral substance, or lack thereof.

Dimension 3 is what a character does in critical moments, moments of extreme stakes, moments that count.  This is where everything is stripped away and their true, inner core is revealed.

It may surprise us.  It may surprise them.  This is where a character really becomes a hero, or a villain.  It’s where they shine, or where they run away screaming.  This is where inner demons are excised, when a character arc is complete.  Only then is the hero ready to overcome the external antagonistic forces.

This is powerful stuff!  Too often advice about character lacks this level of clarity.  Larry goes on to expand upon this in his books, and I highly recommend you study his system, because it empowers authors to elevate character development to a much higher level.

To illustrate briefly:  Assume we have a character, a middle-aged school teacher who works with first graders.  Never married, but beloved by her children.  All first dimension stuff.  Then, let’s give the readers a glimpse into her past.  Maybe she went into teaching because a younger sibling died and she always felt guilty for not protecting that child, and has dedicated her life to teaching to help excise that guilt.  Second dimension back-story and inner demon.  She’s an easy character to empathize with.

Then let’s set the school on fire.  Children are in danger.  What will she do?

Well, that’s the question, and the moment that will make the story.  Will she rush into a burning room to save children, perhaps by making the ultimate sacrifice, and therefore justify her life’s work?  Or will she break down and ignore everyone around her, perhaps letting children suffer because she’s unable to break out of the prison of her memories?  Or does she do something totally different?  It’s not until that moment of crisis that her true character is revealed.

In my next post, I’ll explore examples of great complex characters, and lessons we can learn from them.

Romance in the Air, But Not Taking Over the Plot

romance-04If you’re a genre writer, you’re probably a romance writer. But no, you say? You write fantasy, or science fiction, or mysteries, or…doesn’t matter. One thing about us genre writers, to some extent our genres usually mix, and the most common secondary element is romance. There’s a reason that so many writers from so many genres show up at the romance-centered panels during conventions. For many of us, romance is a strong sub-plot that runs through most of our fiction. So, why should we use it, how should we use it, and to what degree?

Every element of interest we add to our story increases the level of interest to readers. Of course, we don’t want some eclectic hodgepodge, but who doesn’t love a good fantasy book with elements of horror, mystery,  and romance. Sometimes we substitute the romance with the growth of a friendship or business partnership, but that relationship growth is something that carries us along. It gives the story focus when the main plot needs a hiatus, when the bad guys are readying their next assault, when the good guys are recovering or regrouping. Some type of relationship story, in some form, is almost always fundamental to a good book. We need those relationships in order to become truly invested in our protagonist’s well-being.

Integrating romance into a story is like adding spices to a good pumpkin pie. The crust may have no extra flavor, but it’s taste is influenced by the spices running throughout the filling.  And the best pies will have the occasional design on the crust, maybe a cut-out leaf or a small pumpkin, with plenty of cinnamon and sugar sprinkled on top that gives our palates a surge of the wonderful flavors within. So, in a good story. Hints of the relationship will flavor the entire story: a look, a touch, a comment, a moment of inner dialogue. But then we will have the turning points in the relationship, where it takes center stage, even if only for a few paragraphs; the moments when the relationship moves to the next level. This may be the moment when the protagonist realizes he has feelings for his love interest, maybe their kiss, maybe more. It may be a point where the protagonist realizes his contagonist isn’t his enemy but can become an ally. Moving this story arc in concert with the main story will make a more intriguing book. These sugar-coated biscuits dotting the crust move us eagerly through the story as much as the action scenes, giving our tales more depth and emotional resonance.For anyone needing help with this, let me refer you to David Farland’s book, Million Dollar Outlines. I attended the workshop, but I’m sure the same tools and techniques are discussed in the book.

What level of romance or relationship we use can vary from book to book or author to author. For the best discussion I’ve yet seen on the subject, I refer readers again to David Farland and his writing tips at www.davidfarland.net.  Though romance may lead to a sexual relationship, romance itself is the process of falling in love. I think most readers, even men, enjoy participating in that process. Some readers would like to see that romance go to the next level, with every sexy detail, while others would rather have the door closed and know the protagonist and their love interest lived happily ever after. Which is right for you, as a writer, is a very personal decision. I will say though, when you put romance in your books,  or any other kind of relationship, learn how to do it right. Just as a reader won’t accept a moral, honest character suddenly stealing a horse and knifing their victim, they won’t accept a usually open and forthright person suddenly clamming up about their feelings for the sole sake of adding tension to a relationship. Keep your actors in character, in ALL situations.

For me, romance is the cinnamon in my cinnamon rolls, my favorite flavor in fantasy and science fiction. Even my upcoming horror short story, Demon River, has an element of romance that helps us root for a very troubled and difficult protagonist. Love makes the world go around, whether it be this one, a planet galaxies away, or the fantastical ones of complex imagination.

 

Calling all Alpha Males”¦Romantic Character Needed

heart 1

In romance, we have fairly specific types of characters running through our pages: The hero (probably alpha, could be beta), the heroine, the best friend or side-kick, and perhaps a villain or antagonist.

Let’s look at these characters in terms of romance because romance is almost always a character-driven tale of ups, downs and eventual happy-ever-after (HEA) togetherness.

I’m not discounting any combination of relationship (male/male, female/female or anything else) because to my mind you’ll still have at least one person who is more or less portraying the hero and one the heroine, regardless of gender. So, with that disclaimer let’s start.

While many heroes are alpha males, there is also the beta hero.  What’s the difference?  For me – it comes down to ease of emotion and sensitivity.

Alphas are strong – they ooze confidence and strut arrogance.  They’re über capable and may even be abrasive because they don’t really care if they offend anyone.  They don’t worry about their emotions or being sensitive.  They don’t need to.  They’re too busy kicking-ass.  If they were a doll (action-figure, for the guys), they’d be G.I. Joe.   Guys want to be them and girls want (desperately) to be with them.

Beta heroes are more subtle.  They’re often funny and charming.  They may be able to kick ass, but they’d rather reason or humor their way out of any conflict.  Mother’s love them.  They bring flowers just because and remember anniversaries.  They’re in touch with and willing to express their emotions.  They can (and do) plan candle-light dinners and know what present will bring their lady-love joy.  If they were a doll/action figure, they’d be Ken.   Happy to hang out in Barbie’s dream house for romantic weekends of long talks and walks along the beach.

I love both types of heroes.

Our heroines need to be smart and capable. No one wants to read about a lead character who is too stupid to live (it’s a thing… really).  We want our heroines to perhaps need rescued from a situation but not from their lives.  They need to be able to stand on their own two feet just fine without our hero, so they don’t need the hero, but they want him.

The key is that our hero and heroine are both better people for having the other in their life.  And as a reader, we need to love them both.  If we don’t, we aren’t rooting for them to get together and find their HEA.  Through this identification with and love for the characters, we are invested in their path to happiness, and that’s what a romance is all about – the emotional journey.  Next month when we discuss genres, I’ll go into more depth on the whys and what-fors that make romance … romance. Right now, let’s continue on with the people inhabiting our stories.

We may also have the sidekick/best friend characters. Like other genres, these people can be a huge amount of fun because they don’t have to be heroic. They get to have a lot more flaws and we don’t have to love them.  They can be cowardly, obnoxious, slightly stupid, clumsy… a whole host of things that our heroes do not get to be.  They are perfect foils for our leads characters.

Our villains and antagonists in romance may or may not be actual bad guys/gals, they may just be the wrong guy/gal for our hero/ine.  How far this character is willing to go to keep our leads in their lives determine where they fall on our villain – antagonist spectrum.   Or they may be someone (a well-meaning, or not, relative?) who feels these two should not be together and will do whatever it takes to keep them apart.  Often though, what is keeping our lovebirds from their HEA isn’t a who so much as a what – their flaws or internal conflicts.  I’ll discuss more on this next month as well.

What traits do ya’ll think are necessary for our hero/ine to be identified with and loved?