Character Development ("Characterization")

[glanglais]

I'm finding that when I write my stories have a lot of lead-in. I seem to spend a lot of time on character development and setting the tone. You know what I mean -- a lot of build-up.

In general, how well received is that? Has anyone found that certain story groups tolerate character development more than others?

When I read the stuff myself, I like character development, but I don't like excessive lead-in. On the other hand, I find it difficult to get into stories that have everybody's names, ages, and what they're wearing in the first paragraph.

Is there a happy medium?

 

[soflabbwlvr]

Ask yourself, what is the most effective way to tell this story? Don't search for or get locked into a formula. Different situations and different objectives call for different approaches. Some stories require more build up than others. Sometimes a sexual encounter is characterization. Don't feel like there is a magic recipe. Approach each story as a unique event.

 

[3113]

When I read the stuff myself, I like character development, but I don't like excessive lead-in. On the other hand, I find it difficult to get into stories that have everybody's names, ages, and what they're wearing in the first paragraph.

This is easily solved. A lot of writers have long lead-ins—front-loading information. It can be a perfectly fine for some stories. But usually it's more a matter of you, the writer, needing to know all this. The reader, however, doesn't need to know it all. At least, not upfront. So information like where the character went to school, or what his favorite dessert is or what football team he roots for, or that he hates his job doesn't have to be fed to the reader right away.

But write it all up as if the reader did need to know it. Write it up for yourself.

Then you search through it and find what's most important for the reader to know first and foremost. The thing that the story hinges on. Like the fact that he was trapped in an elevator as a kid and has been claustrophobic ever since—and this story will be how he gets over that by being in a tight spot with some sexy lady. Or that his tough guy exterior hides a romantic interior. And this story will be how he gets a chance to show that side of himself.

What is the story about? What you need to show the reader about the character to tell that story is what you start with. And the rest of it? Well, you seed that through the story as needed. When he takes his date to dinner, you know what he'll order for dessert; and you'll know how he'll react when he finds out she's a fan of the rival football team. You probably won't use all of it, but as the writer, you need to know more than the reader about everything. It's what will make the story easier to write, more solid and more fun.

So go ahead and write it up. But edit out all but what you need to start the story. Save the rest and dole it out as the story goes along.

 

[SamScribble]

I think a useful rule is: tell the reader what she needs to know when she needs to know it.

Focus on telling the story. If the reader doesn’t need to know that Fred is wearing a red T-shirt in the first paragraph, then keep that bit of information to yourself until the reader does need to know it. Don’t overload the reader with stuff that he or she doesn’t need to know. If you start filling the page with stuff that the reader can’t use, then pretty soon his or her eyes are going to start glazing over.

Also, there is a big difference between listing attributes and showing me character. A ten-inch cock is not character. And neither are 48-inch tits. The moment an author starts throwing around numbers like that, I’m off to the next story.

 

[slyc_willie]

I would say it depends on how it's done. If the story starts with five long paragraphs that explain who the main character is, what sort of job they have, the state of their latest relationship, their favorite color, book, and TV show, what they had for breakfast and why, and the importance of their dog Sandy, then more often than not I'll probably click out of the story.

Granted, in some of my earlier stories on this site, I did precisely that. I was still learning what readers are looking for. I wouldn't do that again. At most I try to limit my lead-up to a couple of paragraphs before getting into the actual story.

On the other hand, if you start with an attention-getting opening, and sprinkle in parts of the character's personality, background, affectations, and quirks as the story progresses, it serves the same purpose as a long lead-in without making the reader wait for the story to begin.

 

[RejectReality]

There's a readership for everything here.

Some categories are more inclined toward development of characters prior to bumping and grinding, but you'll find readers in every category who enjoy it.

Some big ones off the top of my head:

Romance - readers in the category are more interested in the relationship ( and thus the characters ) than the naughty bits. You can get away with sex-lite or even no sex here. Sex-heavy stories often fare poorly here.

Sci-Fi & Fantasy/Non Human - readers in the category are more interested in the world and characters you create than the sex. You can go 10k words with little to no sexual content and still keep readers engaged. Readers frequently comment that they skim the sex to get back to the storyline.

Loving Wives - readers are more interested in the marriage dynamic than the sex. Beware, though. There are warring camps of readers here, and they all hate each other. Thus, if you please one group, the opposing group(s) will savage you with low scores and the most hateful commentary you've ever seen.

The tolerance for longer, character-driven stories that don't get to the sex by page two varies a lot in other categories. The more engaging your story is, the more likely the readers will stick with it to get to the naughty bits.

 

[3113]

A good rule of thumb is to start on the day the character's life changed. And the information you give the reader at the start about the character is needed so that they can understand why it's a life changer.

Does that make sense?

 

[glanglais]

Wow!! This is all really good! Thanks a lot!

 

[HeyAll]

The actor Bobby Canavale had a great quote on stories, that good tv is seeing a character on the most important day of his life. (I probably butchered it, but you get the idea)

If you're writing erotica, you're setting up the most important sexual revelation or experience of the character's life. Write what is relevant, and make it clear so that the reader's understand.

The more you get to know the character, the hotter the sex is at the end.

 

[PennLady]

It also depends on what you're writing. If you want a quick stroke story, you probably aren't going to spend a lot of time on character development, and that's fine. But as others have said, there are readers of all types here, and many have said that the more info they have on characters, the more involved they get and (often) the better the sex is.

 

[Bramblethorn]

I'm finding that when I write my stories have a lot of lead-in. I seem to spend a lot of time on character development and setting the tone. You know what I mean -- a lot of build-up.

In general, how well received is that? Has anyone found that certain story groups tolerate character development more than others?

Judging by the feedback I get, quite a few readers on Lesbian Sex appreciate characterisation. But I try to drip-feed it rather than throwing it all at the reader in a big clotted mass.

 

[3113]

Judging by the feedback I get, quite a few readers on Lesbian Sex appreciate characterisation. But I try to drip-feed it rather than throwing it all at the reader in a big clotted mass.

I love this description! Saves the story from having a heart attack and dying

 

[CWatson]

I think everything's basically been covered, so of course I will just repeat everyone to sound smart.

Tell The Reader what they need to know, when they need to know it. That means knowing what the direction of the story is. I did a work called "Tidal" that deliberately had no character development or dialogue, because I over-rely on those things and wanted to write a stroke story in its purest form. As such, nobody missed the characterization and dialogue; they were unnecessary. But most of my stories subscribe to Faulkner's pronouncement: they are about "the human heart in conflict with itself which alone can make good writing because only that is worth writing about". Consequently a lot of set-up is necessary: The Reader needs to know what the character's heart wants, the two self-contradictory impulses that push him or her into choice and growth.

So no, there is no real happy medium because there is no "average." It depends on the story itself, what you're trying to tell and why you're trying to tell it. A story that's about deciding what to eat for dinner does not require great detail. A story that's about a woman deciding whether to cheat on her husband had better not skimp on the details. Every life, every decision, has a context, and you need to provide that context. But not anything more. Beware of extraneous details. Try not to over-indulge.

 

[glanglais]

Those are all very helpful insights! Thanks a lot!