How perceptive a character is of her surroundings may have dramaturgical relevance.
A character who is good at noticing small details may make a good spy or detective, so if you are developing a detective or spy you may want to give your character this ability. But whatever your character’s profession, stop at least once per scene and ask yourself,
What is a detail that only this character might notice?
Why is this important? Because their perceptions can make characters more interesting and vivid.
If a certain plot event hinges on a character perceiving some small detail or other, it may be a good idea to plant a foreshadowing moment long before the scene, to heighten the impact of the act of perception.
Furthermore, a character’s perception may influence how your audience understands and enjoys the entire story. How exactly depends on two important factors:
- point of view
Here at Beemgee, we’re into the thought behind the writing of stories more than the writing itself. So we’re all the more pleased that Writer.com approached us to talk about character development. While their speciality is AI-assisted text generation for companies, in their guest post, they have some good general advice on creating fictional characters. Thanks to Nicholas Rubright for this article. Nickolas is a digital marketing specialist and expert at Writer. In his free time, he enjoys playing guitar, writing music, and building cool things on the internet.
Writing characters with whom readers can identify and empathize should be the goal of every writer, but it’s not a simple task.
To fully grasp a character’s motivations, desires, and anxieties, writers must dive deep into the character’s psyche. Character flaws and strengths work together to build a solid character.
But what is the most effective way to develop a character? And how can you establish a connection between your character’s dramatic decisions and the story itself?
Your characters are the heart and soul of your story. Thus, before you can write a single word, you must first understand your characters.
When it comes to character creation, you have several choices to make, and each choice affects the story in its own way. You must, however, choose what works best for your character.
While an unexpected detail can make the character more interesting, if it isn’t chosen carefully it can damage the character’s believability and ruin your reader’s immersion in your story.
Here are some guidelines and tricks to help you successfully create mouldable character templates for your story.
So, let’s dive in! (more…)
Today’s guest post is by author Stefan Emunds.
Stefan’s favorite genre is visionary fiction – stories that have an enlightenment dimension. Enlightenment and storytelling have interesting parallels, which prompted Stefan to write a book about storytelling – The Eight Crafts of Writing.
Get a glimpse of his approach to story craft in his article.
Art and Craft
Storytelling is both art and craft, authoring and writing, plotting and pantsing.
1.1 Art and Authoring
Art is creativity. Creativity requires receptivity to the Muse and its inspirations.
Inspirations arrive as thought-images, which writers put into words. How to turn thought-images into words and assemble those into a structured story with vivid characters and an engrossing world is a matter of craft and skill.
1.2 Craft and Writing
The literal meaning of Kung Fu is a discipline achieved through hard work and persistent practice. Writing is Kung Fu.
Craft gives form to inspirations. Forms limit. Writers love the artistic side of writing, less so crafting, in particular, Story Outline. Writers are prone to procrastinate crafting.
But no limitations, no story. No canvas, no painting. No net, no tennis.
Understanding the difference between freedom and dominion helps to appreciate the constraints of craft. Freedom is a means to an end. We want to be free to do something, for example, to write a book. That’s all there is to freedom. Dominion, on the other hand, is mastery of structure. (more…)
Guest Post by KT Mehra.
KT Mehra knows a thing or two about writing from her own experience, not only as an author but as a supplier to writers and authors of fine stationary, in particular fountain pens. Not only that, she is digital savvy too.
Back in 1999, KT and her husband Sal started a small web company to create websites for local businesses and provide internet access. They both had a passion for fountain pens, and one day KT, in an excess of enthusiasm, ordered far too many from a pen company. Just for fun, she decided not to return any of them and instead asked her team to design an e-commerce website to sell the extra pens.
To everyone’s surprise and just like that, the website came together quickly and was an instant success.
KT believes that in the modern digitally saturated world, it’s more important than ever to stay true to your thoughts and create something tangible. In that spirit of creation, she feels that something as elemental as putting pen to paper is ever more essential.
Despite offering a digital tool for authors, we couldn’t agree more!
Develop a romantic relationship that your readers will engage with and root for.
Most of the romance novels you love so much use certain secrets to hook their readers in and keep them engaged.
Learning the secrets to create such compelling romance novels will help you perfect your characters’ love story.
The best way for your readers to relate and root for your relationship is for you to make it realistic and dynamic. To build the foundation of any great love story, you need to have a few things down first. (more…)
Where a character comes from may determine their values.
It is not always necessary to explain where a character comes from. Knowing their origin may not help the audience to understand a character.
But for some stories, origins can be vital.
As an example, take a contrast story like In The Heat Of The Night. Police Chief Bill Gillespie lives in the USA’s deep south and is a racist bigot. Such are his values, and for the purpose of this story also his internal problem. That he is a racist does not surprise the audience at all. It is completely credible given his origins. He comes from an area where, at the time at least, such bigotry was rife, and when the African American detective Virgil Tibbs turns up, their conflict is utterly plausible.
What we’re getting at here is that the values of a character have to be made plausible to the audience, which may be achieved by making the origins of that character explicit. In many stories, where a character comes from has to be fitting to what that character is like. Their origin produces the character’s values.
Setting, Origin, and Story World
Are we talking about setting? Well, only to an extent. (more…)
In stories, the characters’ emotions are ultimately the sources of their actions, because motivations are ultimately based on emotions.
Determining the emotional core of a character in a story may lead to a clearer understanding of that character’s behaviour, i.e. their actions.
What we’re getting at here is essentially a premise for creating a story. We have noted that if you plonk a group of contrasting characters in a room – or story-world –, then a plot can emerge out of the arising conflicts of interest. If you’re designing a story, one approach is to create the contrasts between the characters (their essential differences of character) by giving each character a core trait or emotion. One character may be frivolous, another penny-pinching. One may be fearful, another cheeky.
You might object: Isn’t that a bit one-dimensional? Aren’t characters with just one core emotion flat?
Not necessarily. Focusing on one core emotion is not a cheap trick. It is as old as storytelling.
In storytelling, a character’s convictions and beliefs determine his or her choice of actions – at least in his or her conscious mind.
Convictions and beliefs are effectively values put into words. They lead to a rationalised intellectual stance and can be the basis for lifechoices and actions. A set of beliefs or convictions is the articulated version of a character’s values or emotional stance.
Consider story’s predisposition for cause and effect. If we understand the belief-system or intellectual stance as the effect, the value-set or emotional stance is the cause. Now, it may be nit-picking to make the distinction between felt values and stated beliefs. But then again, it might be quite helpful to see by what line of reasoning a character justifies his or her behaviour.
The effect can be powerful when there is a discrepancy (i.e. conflict) between what the character thinks is the reason for his or her actions and the real reason. When the audience or readers see that the words and thoughts of a character do not match with what that character is actually motivated by, the irony can be a satisfying story experience.
The Want as Beliefs, the Need as Values
A character in a story has values and passions. In short, an emotional stance. It’s this bundle of feelings that make the character a character.
By emotional stance we mean a value-set. This is particularly important when one considers that often stories show value-sets in conflict. The protagonist and in particular the protagonist’s journey to recognition and change may represent certain values. These will be in direct contrast to the antagonist’s values. The theme of the story presents one value-set as preferable over the other.
In many stories, the protagonist starts out with a value-set that is warped or flawed. Their real need is to become aware that their value-set is harmful or negative, probably ultimately selfish, and find a way to gain new values that are more social, cooperative and selfless. For the purpose of such a story, the values are initially expressed in the internal problem and by the end have gone through a change.
Values do not emerge in a vacuum, they are instilled by environment or culture. Stories exhibit cause and effect, and the values of each of the characters are no exception. The audience looks for the causes of a character’s emotional stance. By the very nature of emotions and values, their causes can be hard to pinpoint – while at the same time being somewhat obvious. In stories, at least.
Furthermore, values are emotional and therefore exist before they are articulated. A character becomes conscious of a value-set in the form of a system of beliefs. The beliefs are articulated by the character as convictions, and are determined by inner values. In some cases, the stated beliefs may actually be in conflict with the character’s deeper values, of which the character may not be entirely aware. Values tend to feel right to the individual, though they may actually be wrong for the larger community or society.
A character’s values have to be plausible to the audience, which may be achieved for instance giving the characters appropriate social backgrounds or origins and making these explicit. In many stories, a character’s upbringing or their origin is named or described in order to explain their emotional stance.
Alternatively, values may be caused by certain specific events in the history or background of a character, conveyed as backstory in the narrative. A particular circumstance, possibly a trauma, leads the character to feel a certain way about life and the world.
Character Values in Historical Stories
In historical stories the time-setting is particularly challenging in terms of the emotional stance of the characters. Much popular historical fiction may justly be termed anachronistic in that it has characters – especially female protagonists! – exhibiting values and beliefs which do not fit into the time. For example: In the Middle Ages, the advent of humanism had not occurred yet. There had been no Renaissance, no Descartes, no Kant, no French Revolution and no American Constitution. Where is a character in the Middle Ages supposed to get ideas, values and convictions from that today we take for granted? Ideas about inalienable rights such as liberty and equality or concepts such as individualism. People in the past had different values and belief systems from people today, and it is almost impossible to put ourselves in their shoes. Historical fiction that does not at least implicitly deal with this challenging issue is more likely to be clichéd and trivial.
Which does not mean that trivial historical stories can’t be wildly entertaining with strong emotional impact. After all, modern stories address the audience of today. It means simply that an author usually has some sort of attitude to the issue.
Photo by Wonderlane on Unsplash
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