Character Development

[wishfulthinking]

Following on from questions raised on Varian's thread and Colly's thread in the AH ...

How do you flesh out your character? (eg.s welcome)

How far do you go to create a picture in your head before you write?

Are character flaws important?

Do you find you are better at plot or characterisation?

You don't have to answer any of these, just wanted to get the ball rolling

 

[Penelope Street]

How do you flesh out your character?
I try to focus on the character's problem(s) and the aspects of the character that will change as the story unfolds.

How far do you go to create a picture in your head before you write?
I'm afraid I'm not terribly visual. When it comes time to describe a character, I usually find a picture and describe the person in it.

Are character flaws important?
Sure, but only those that impact the characters.

Do you find you are better at plot or characterisation?
How would I know? I seem to get more compliments on my characterization, if that's any indication.

You don't have to answer any of these, just wanted to get the ball rolling
Damn. Wish I'd read this part first.

 

[oOScarletWingsOo]

How do you flesh out your character? (eg.s welcome)

For me it depends on the length of the piece. But I try to bring out characteristics when my main characters interact with supporting characters.

How far do you go to create a picture in your head before you write?

I've recently been playing with character sketches, brief ones about a page. I find them really helpful when I come to a point where I'm stuck. I lean more toward the picture of they way the will carry themselves and react in a situation opposed to the way they look, which is less important in certain storylines.

Are character flaws important?

Very much so. Perfect people don't play well on the page. Imperfections give you more writing possiblities I think.

Do you find you are better at plot or characterisation

At this point I'll say characterization.

 

[Colleen Thomas]

How do you flesh out your character? (eg.s welcome)

This depends totally on the story, the character, voice, POV, the character's purpose for being in the story. You can't be formulamatic with it an hope to be really successful unless you've devloped a writing style where a formulamatic approach is part and parcel of your style.

Very generally, I'm going to give a physical description, this can be highly detailed or very vague, tailored to other factors. I'm generally going to give some back story and history to a significant character, something to let a reader make gross generalizations about him or her. If there is a particular detail that's important, I'll emphasise it. Most of my character building comes through watching the character act and interact with their world. that's where you can do the most to really bring him/her to life.


How far do you go to create a picture in your head before you write?

I don't. Not at opening, but I will go to great lengths to make sure I'm accurate. If, for example, I'm writing a character with a shaved mound, I'll go online and find a pic or two of shaved girls to make sure I can describe it. If my characters have a great disparity in heighth, I'll go to some photos I have of a couple like that before I write physical scenes, to make sure I keep my perspectives correct. My characters come alive in my head as I write and quite often they change meins as the story develops and I perhaps take it in a slightly divergent direction from the original thought.


Are character flaws important?

Depends, but in general, I think the only thing that makes us individuals are our flaws. In some stories, a physical flaw is central to a character's self perception, for example I have one coming up where the main character is a femoral amputee. IN some, there is a psychological flaw that is overweaning, depression is one I often address or low self esteem. In some characters there are no major flaws, but that only makes the minor quirks more important. So a charactr may be opinionated or reserved, therse aren't neccissarily flaws, but they are strong personality traits that I play up at need.


Do you find you are better at plot or characterisation?

I think I do well with both of these. In general, I have a plot and it's more complex than A meets B, A & B fuck, A & B have a problem, A & B resolve probelm, A & B fuck again.

I think even my minor characters have somepersonality and don't closely resemble cardboard cutouts.

My dialogue is horrible. Any scene with strong social interaction is likely to be stilted or impersonal, etc. etc. etc.

You don't have to answer any of these, just wanted to get the ball rolling

 

[Penelope Street]

I've recently been playing with character sketches, brief ones about a page. I find them really helpful when I come to a point where I'm stuck. I lean more toward the picture of they way the will carry themselves and react in a situation opposed to the way they look, which is less important in certain storylines.

I've heard of this, but haven't tried it. Any chance we could see an example, especially one from a posted story?

My dialogue is horrible. Any scene with strong social interaction is likely to be stilted or impersonal, etc. etc. etc.

With your permission, may I post a dialogue sample for discussion?

 

[wishfulthinking]

I know that since I started this thread I should have some answers, but I don't.

How do you flesh out your character? (eg.s welcome)

Nothing deliberate or conscious. But I found I like to shape them mostly through dialogue. But I wouldn't say my stories are dialogue heavy. I do like to pepper little tidbits throughout the story, rather than give it in a paragraph straight up. I would prefer to tease a little, like making a crumb trail.

How far do you go to create a picture in your head before you write?

Physically - not much at all. I write in chapters, and unfortunately I have to read the previous one to remember what I said about their appearance because it doesn't feature high on my importance list. I figure people can imagine what they want the characters to look like rather than being told by me.

Personality - not much. I tend to fall into cliches.

Are character flaws important?

Yes and no. But I do like to make flaws positive flaws - that the actual flaw is a good thing.

Do you find you are better at plot or characterisation?

Probably plot. Except for my stories in the sci-fi category - my stories would be too light for serious fans of that category. Even though I love sci-fi books, I get easily bored, and this is reflected in my writing.

 

[Colleen Thomas]

I've heard of this, but haven't tried it. Any chance we could see an example, especially one from a posted story?



With your permission, may I post a dialogue sample for discussion?

A sample of my dialogue? Ick.

Sure, if you wanna. I'm fairly thick skinned

 

[Penelope Street]

I do like to pepper little tidbits throughout the story, rather than give it in a paragraph straight up. I would prefer to tease a little, like making a crumb trail.

As a reader, I prefer this method. For me, backstory and backclick often go hand in hand.

 

[neonlyte]

Trying hard to think of when I described a character other than in the flimsy-est of detail. I much prefer their behaviour to paint a picture, or at least allow the reader to draw their own picture. Of course in real life I am the world's worst at describing people - I actually think I register the shapes, smells and sounds of people rather than the colour of the hair, eyes or their clothes.

To overcome this problem I do construct fairly extensive life histories of characters, below is the original character chart for a story in edit, (note physical attributes are bottom of that chart!) Beneath that is a history/time chart relating all of the characters - note the character Idun only has one child by the time the time/history was drawn (sorry the columns won't stack without considerable effort)

Idun

Age 41
Married
- partner is a businessman
- older than her
- marriage is a convenience
- he provides home and cash
- she provides sex and an acceptable partner for business functions
3 Children, all conceived in her teen’s
- only youngest is her husbands
- first child conceived at 14 / born at 15
- childrens ages 26, 24 and 22
Character
- self centred
- possessive
- independent
- but needs a stable framework for her independence
Profession Ballet Teacher
- financially independent (what she earns, she keeps, husband pays for everything else)
- nearing end of her working life (as dancer)
Sexual Orientation
- mostly straight
- uses sex as a tool to control
- aware of her sexual nature
- prefers masturbation to making love to her husband
- likes to shock
- needs sex in odd places
- first sexual experiences
- boat
- mountains
- much older man
Interests
- history and legends
- ballet
- ‘the Arts’
- people
- specifically men and what makes them tick
- seduction
- likes spontaneous sex (with someone she knows)
- gets a bigger kick from holding out
- likes to prolong the sex until the tension is palpable
- screams in orgasm
- wine
- flowers
- nature
Passions
- sailing
- ballet
- sex
- children
- books and music
Desires
- love
- she has never felt that she belonged with / to someone (except her children)
- relationship with an equal
- she has always dominated her partners, platonic and sexual
Needs
- stability (provided through husband)
- arousal
- provided through annual dalliances at Jazz Festival
- purpose
- she is still looking
- emotional attachment
- sex is a substitute

Physical Attributes
- slim framed
- 5’ 8”
- dark blond, short haired
- bottom large for frame
- slim breasts
- struggling to keep trim
- eats little to maintain trim figure
- exercises voraciously to maintain figure

Chronology Idun Date Simon Idun Annie O/Man Petr

Simon born July 1951 0 33
Idun born November 1959 9 0 42
Simon marries April 1973 21 12 54
Jeremy born June 1974 22 13 55
Robby born December 1975 24 16
Annie born March 1977 26 17 0 59
Idun married October 1980 29 20 3 62
Idun’s Mother dies January 1982 30 22 4 63 (aged 61)
Sells business April 1989 37 29 11 70
Tuscany Holiday July/Aug 1989 38 29 11 70
Simon Divorce May 1991 39 30 14 72
Idun separates from Jan November 1991 40 31 14 72
Fantoft Fire 6 June 1992 40 31 15 73
G’dson (Petr) October 1992 41 32 15 73 0
Jenny Marries May 1993 41 32 16 74
Current Time June 2001 49 41 24 83 8

 

[oggbashan]

How do you flesh out your character? (eg.s welcome)

Flesh? Not much. I tend to leave physical characteristics to the reader's imagination unless they are important to the story, the plot, or the interaction with other characters. I try to let the person be built and develop through the story.

How far do you go to create a picture in your head before you write?

A long way. The characters often 'speak' to me before I start writing and have very definite traits. Once I start writing those traits may divert the story and plot from its planned course.

Are character flaws important?

Yes if they add to the plot or to the interaction with other characters.

Do you find you are better at plot or characterisation?

Plot. But the characters can evolve as the story is written to change the plot, introduce subplots or make the story impossible to complete because the characters have become too real (to me) to fit into the story I was trying to write.

Og

 

[Penelope Street]

A sample of my dialogue? Ick.

Sure, if you wanna. I'm fairly thick skinned

Thank you.

This is a sample from an early story, or at least one submitted several years ago. In this scene, Amber has come to a club to meet her dom for the first time. He proved a disappointment, and she essentially dismissed him and came to the bar for a drink. At the bar she's spoken briefly with another woman while finishing her drink.

[Amber] fished in her purse and placed some money on the bar to cover her drinks. It was late and she wanted to get home while she could still catch a taxi without much trouble. This was not the place to be late at night, in the snow without a ride.

"Leaving?"

"Yes, thank you for the drink, but I had better be getting home,"

"Stay and have another drink," she said. It wasn't a suggestion nor was it a request it was a command. Amber started to say no thank you but her eyes were drawn to the big woman's piercing brown eyes and her protest died on her lips.

"Bring her another Solly," she said. The bartender had a fresh drink before her in a flash. Amber looked at the drink. She wasn't really a drinker and she was already buzzing quite nicely.

"Drink up babe," the woman said staring at her. Amber mechanically brought the drink to her lips and took a swallow.

"Good," she purred. She took her drink and killed it. The bartender replaced it without her even motioning to him.

"So tell me what you are looking for," she said. Her voice was lower now, more intimate, low enough that Amber had to lean closer to her to make out the words.

"I came here to meet a Dom. He wasn't what I thought he would be,"

"Not tough enough?"

"No, or big enough or confident enough," Amber replied bitterly as her frustration and disappointment came out. She was buzzing hard now and it allowed her to release everything she had inside. For a reason she felt she could talk to this woman.

"Poor baby. What are you looking for in a Dom?"

"Someone big and commanding, confident enough to give orders and mean them, but not cold. I want to mean something to him, not just take orders. I want a relationship. I am tired of being lonely and being used,"

"You won't find a Dom like that around here babydoll. This place is full of posers and wannabes,"

"Then why are you here?"

"At least you don't take me as a poser. I was supposed to meet someone too, but she backed out apparently. So we are in the same boat in a way," she replied and then smiled.

"I'm sorry,"

"No need to be, I had my suspicions about her from the start. What about you? What will you do now?"

"Go home I guess. I am never going to find a Dom who meets all my expectations," Amber replied taking another gulp of her drink.

"Indeed?" she asked, arching an eyebrow. She reached over and touched Amber's arm as she said this. Her fingers were strong and her touch sent a shiver through Amber's slight frame. The small woman's mouth dropped open and she tried to speak, but no words would come. The big woman's finger traced sensuously up her arm and then over shoulder and down to her breast.

"No, please. I'm not into women," Amber managed to get out. The probing fingers found her nipple and pinched it through the thin material of her dress eliciting a gasp. They were strong and demanding and as they rolled and manipulated her nipple she felt it become a hard button.

"Your mouth says no, but your body says yes," she breathed in a husky whisper.

The above selection was not arbitrary, but I didn't go looking for a good scene or a bad one. I chose an older story and picked the first scene in which the eventual lovers interacted. Since this is a lesbian story, it's no secret these two will end up together. This, imo, increases the burden on the scene to show their attraction toward one another. So, does the scene accomplish it's mission?

I think it does.

I won't claim this sample of dialogue is perfect or even memorable, but the scene does it's job primarily on the strength of the character's words. If I was to suggest possible improvements, my first would be to leave out some text, such as It wasn't a suggestion nor was it a request it was a command and replied bitterly as her frustration and disappointment came out, because the dialogue is strong enough that explanations are not required. I think there's one section where it might not be quite clear who is speaking, but the dialogue itself is still good.

I expect I could have found a stilted example had I looked hard enough. Almost certainly I could have found some stirring dialogue as well, but that's not what I was seeking. The above is an ordinary run-of-the-mill scene that the reader probably won't even remember after the story, but the story won't work if the scene doesn't. And, imo, both work.

I'd much rather read an active scene like this than force my way through a laundry list or history lesson.

 

[Penelope Street]

... below is the original character chart for a story in edit

Great example. May I ask how long you envision this story being?

 

[Penelope Street]

But the characters can evolve as the story is written to change the plot, introduce subplots or make the story impossible to complete because the characters have become too real (to me) to fit into the story I was trying to write.

Wow. How can a character be 'too real'?

 

[neonlyte]

Great example. May I ask how long you envision this story being?

It is novel length - circa 150k on 3rd re-write. I've 'finished' edit of first third.

 

[oggbashan]

Wow. How can a character be 'too real'?

If the character develops a personality and a voice of their own then it is difficult to force that person into a situation that does not fit with that personality.

If she is supposed to be, for example, a bitch, and she displays caring characteristics - then she can't be the bitch that the story requires.

I try to have two types of characters - the round and the flat. The flat ones are simple two dimensional ones that add little to the story. One might be, for example, the heroine's flatmate who comes back unexpectedly and spoils a romantic interlude. They are necessary for the plot's action but do not have to have any particular characteristics.

The round ones are three-dimensional and the major players in a plot or sub-plot. They have motivations, traits, and a personality.

A round character might be a flat character in another story set in the same locality. A flat character might be a round character in their own story.

What is disastrous is if a flat character becomes round in a story where he/she should be flat. Then that character has become a major player and the plot is skewed or wrecked to include that character as a personality in their own right.

Here is a possible way it could happen:

I start to write a story about a husband and wife. She thinks he is having an affair with his secretary. He isn't but the circumstantial evidence is against him. The secretary is just the unwitting cause of conflict between husband and wife. Who she really is - that is irrelevant to the plot. Simple story of marital conflict that will be resolved when the misunderstanding is sorted.

However, if the husband thinks 'If I am believed to be having an affair and getting blamed for it, what if I actually have an affair with my secretary?" He hadn't really thought about her like that. But when he starts thinking about his secretary as a possible sexual partner, his attitude towards her changes. Will she have an affair with him? Or will she turn him down with consequences for the professional relationship? At that point the secretary becomes a 'round' character who might then interact with the wife and the simple two person story has become a triangle.

That sort of thing happens when I turn from the basic plot to actually writing the story. The final version ends up nothing like the planned story because the secretary has become a personality.

Og

 

[Penelope Street]

However, if the husband thinks 'If I am believed to be having an affair and getting blamed for it, what if I actually have an affair with my secretary?" He hadn't really thought about her like that. But when he starts thinking about his secretary as a possible sexual partner, his attitude towards her changes. Will she have an affair with him? Or will she turn him down with consequences for the professional relationship? At that point the secretary becomes a 'round' character who might then interact with the wife and the simple two person story has become a triangle.

You lost me in there somewhere. These questions, Will she have an affair with him? Or will she turn him down with consequences for the professional relationship? , are they the husband's questions to himself as he struggles with his conscience or are these the author's thoughts as he tries to determine how the secretary will respond?

To me, the secretary can't be 'round' until the hunsband decides he may just as well get some action if he's going to be accused of it. Even if this happens, I think this changes, rather than ruins the story. Or is the entire point that the intended story can't occur because the characters have gained enough depth so that the original plot no longer makes sense?

 

[oggbashan]

You lost me in there somewhere. These questions, Will she have an affair with him? Or will she turn him down with consequences for the professional relationship? , are they the husband's questions to himself as he struggles with his conscience or are these the author's thoughts as he tries to determine how the secretary will respond?

To me, the secretary can't be 'round' until the hunsband decides he may just as well get some action if he's going to be accused of it. Even if this happens, I think this changes, rather than ruins the story. Or is the entire point that the intended story can't occur because the characters have gained enough depth so that the original plot no longer makes sense?

The questions are about the plot, not the character.

What I was trying to explain was the difference between the secretary being a shadowy figure in the background of the husband and wife's story OR becoming a participant in the story (How she participates is irrelevant).

If she is a participant, she is no longer a walk-on part, or just an extra in the original story. She becomes another character and has to be developed (by the author). That development can produce a variety of divergences from the original plot depending on the sort of person she is:

1. In love with her boss but has never declared her love.
2. Willing to have an affair with her boss but without commitment.
3. Reluctant to have an affair because she values her job but loves her boss.
4. Only willing if he seeks a divorce.
5. Likes her boss; willing to provide sex but is involved with someone else (4th character that produces more plot lines)
and so on...

If the original story was 'husband and wife have a misunderstanding, sort it out and have great sex when the misunderstanding is cleared up' then the variations can change a simple story into a more involved and possibly highly complex one - all because the character of the Secretary becomes important.

In the original story, the Secretary is a nonentity. The misunderstanding could be about anything or anyone.

If the Secretary becomes a person then she will interact with the other characters as a person and the plot variations multiply like rabbits.

Og

 

[Penelope Street]

Ok. Got it now. Forgive me if I find the complicated, if unintended, version in your example to be the appealing one?

When I've developed an outline that I'm determined to follow, I rarely write the scenes in chronological order. Most often I write the scenes I consider to be most important first but lately I've discovered writing the scenes in strict reverse order works too. I don't suppose anyone else does this?

 

[oggbashan]

Ok. Got it now. Forgive me if I find the complicated, if unintended, version in your example to be the appealing one?

When I've developed an outline that I'm determined to follow, I rarely write the scenes in chronological order. Most often I write the scenes I consider to be most important first but lately I've discovered writing the scenes in strict reverse order works too. I don't suppose anyone else does this?

That's why my stories tend to be much longer than average.

I couldn't begin to write except starting from the beginning and continuing to the end. I usually have the ending and the stages between the beginning and end fairly well worked out in my head UNTIL the characters develop and write their own stories.

Once the outline of the whole is complete and saved then I can add, interpolate, delete, move, develop and edit. A story planned to be a simple 1,500 words can easily become 15,000 and produce several spin-off stories because the flat characters in one story develop in my mind into potentially round characters with stories of their own.

One of my characters who started as a flat character was Sheila of my story 'The Scarf Dance'. That isn't a particularly good story but I liked Sheila so she has appeared as the lead in another story and two part completed ones. I think she will have several more stories. As she develops the earlier stories have to be rewritten to fit the person she has now become.

When I am writing about her I can 'hear' Sheila in my head, telling me what to write and how. Many of my characters do that. Sometimes I wish they wouldn't because they contradict each other and each wants the starring role. If I could write the stories the characters want me to write, perhaps I'd be a good author. However they have to put up with my limited talent even if they complain about it.

Og

 

[Penelope Street]

I think we've all had a character hijack a story. In my case it usually makes the story shorter; I have this vision of how the character will solve her problem and I get to a point and she says, "Now why would I do all that goofy stuff you have in mind when my idea is so much simpler?"

 

[dr_mabeuse]

Ok. Got it now. Forgive me if I find the complicated, if unintended, version in your example to be the appealing one?

When I've developed an outline that I'm determined to follow, I rarely write the scenes in chronological order. Most often I write the scenes I consider to be most important first but lately I've discovered writing the scenes in strict reverse order works too. I don't suppose anyone else does this?

I've discovered that this is the key to writing a mystery. You start with the ending, then you can go back and place your clues and false leads all through the story. Works great.

 

[dr_mabeuse]

I think my characters are like my stories themselves – they develop as I write them. I might start with a general type – a lonely, awkward man, a feisty career girl – but I can rarely be more specific than that when I start writing. Just how feisty she is and how it shows itself emerges as she moves through the story. I don't try and describe her. I let her actions and the way she does things do the describing.

I tend to write types, and I seem to write the same types over and over again, something I'm trying desperately to get away from. For a long time all my women were successful, sexually repressed businesswomen, and my men were classic anti-heroes, wealthy, powerful, and rebellious. The theme that ran ad nauseum through my stories was the woman's redemption and liberation through his sexual guidance. It's the classic love-story theme, going back to Prince Charming and Cinderella, only modified to fit the BDSM format, and I was stuck in it. I've been working on trying to get away from that.

I'm a firm believer in the theory that says that every story's actually a story of personal change. The hero or heroine at the end is not the same person they were when we started, and it's that change that gives significance to the action in the story.

I also believe every interesting character starts out with an internal conflict, and the story, no matter what it might appear to be about, is the story of them trying to resolve that conflict. So you might start out with a character who's lonely, and the story follows his or her search for love. Or you might start with someone's looking for sexual intimacy, and finding it through – I don't know- anal sex or BDSM or whatever. But even in simple suck stories it's the character's internal conflict that interests us and draws us in.

Without that internal conflict, you get a very emotionally flat story, no matter how many adventures you put your characters through. When you think about it, it's people's flaws that interest us. That's why we gossip and love scandal. We tend to dislike perfect people, and we turn them around and poke at them until we find some weakness we can relate to, and only then do they interest us. (Look at the glee with which we handled the very perfect Martha Stewart. We went after her like the mob went after Frankenstein's monster, desperate to find some flaw.) We don’t want to read about how perfect someone's life is. We want to hear about their heartbreak and drug problems.

As far as showing character, I usually look for incidental things that show character. I don’t want to tell you how lonely she is if I can show her sitting down to eat a frozen dinner alone or the way she rushes into her apartment to try and get the phone before it stops ringing. Those images are so much more powerful than mere words. I think that having an eye for those little telling details – the things that mean so much more than they say – is one of the greatest gifts a writer can have. Not only do they contribute to the density and richness of a story, but they draw the reader in as he or she tries to figure out what those gestures signify. You get to know the character the same way you get to know a person in real life: by observation. The whole reason for showing rather than telling is to pull the reader in in just that way, by making them try to figure out just what it is they're seeing.

I try to keep a careful eye out now for character types as opposed to characters. Character types are clichés. They react to situations with artificial or contrived responses rather than real, understandable human ones. The hero without fear, the new bride without worries, the anxiety-free sexual encounter, the villain who's inexplicably evil. It's easy to start dealing with types, especially in porn, where character isn't our main concern, but it's amazing to see how much depth a story can take on if you jerk yourself back to reality and remind yourself that you’re dealing with people, and not just types.

 

[oOScarletWingsOo]

Character Sketch

I've heard of this, but haven't tried it. Any chance we could see an example, especially one from a posted story?

::LAUGH::

I wish I had come in here before I spent time to type mine up. I guess it's a good thing. Now it's neat and orderly and I can print it out and put it in a folder.

It's really in line with what neonlyte has but in the form of questions.

My character sketch is for Swingline, my discussion story.



What is the character’s identity?
Name: Richard Folsom
Age: 37
Nationality: white, Anglo-American, holiday worshiper of the Presbyterian faith. He can trace his heritage back to first generations of English pilgrims settling in New England.

What do they look like?
His is 5’11, brown hair worn fingertip length but expertly styled, hazel eyes with long lashes. He likes to wear a goatee trimmed nicely now and again but Antonia doesn’t like it, says it tickles her face and not a good tickle. He more often than not dresses business casual: slacksor khakies and a button down shirt. If he had his way, and if it were considered professional, he’d be wearing jeans and a cutoff t-shirt to work everyday. But, he does look splendidly handsome when he dresses up for an event that requires a jacket and tie.

He is moderately handsome. He isn’t the type to turn heads, but is more attractive once a woman has the opportunity to speak with him and find out that he is very well rounded, charismatic and charming.

What is their background?
Family: His is the eldest of four children. The family includs three boys and a baby girl. His parents were married 40 years before his father's sudden death after suffering a stroke. His father owned a successful body shop. He was very close with his father being the first born. He shared with him his love of cars and they often “escaped” into the garage at home to work on “their” project car.

Education: He excelled in school, but it wasn’t with natural talent. He had to work for every A and good mark. He is a college graduate who excelled in business as well as student government but choose less “demanding” roles in the political scene to allow him to pursue more personal interests which included chasing women and enjoying the college experience.

Business Experience: As a young man he spent summers working in his father’s shop. As much as he loved cars, he saw it as more of a hobby but he did pick up his father’s entrepreneurial spirit. He opened a successful staffing agency, supplying local businesses with professional temp and permanent workers. He was the best fit for the field with his innate ability to judge and surmise a person upon the first meeting and his knack for selling anything to anyone.

Home life: He has a very stable home life. His wife Antonia is a former school nurse who, after 7 years and two children, decided that perhaps it was a good time to spend as much time with their young daughters as possible while they were young before returning to work. It wasn’t Richard’s ideal situation but his thriving business allowed her the luxury of becoming stay at home mother. He was disappointed in the decision because he thought that Antonia would be working to help them reach a state when they could upgrade their lifestyles. He agreed under the guise that Antonia would take the time away from work to study for a career as an RN. He was crushed, angered, and disappointed that after a year of being out of work she hadn’t made a move to do anything of the sort. At first he would gently nudge her by asking questions about how far she had gotten in the process. As she continually acknowledged that she hadn’t done anything he increasingly got irritated and then started to really push. The only thing that had accomplished was a high level of tension in the house. The arguments would insue and the sex would absolutely halt. After a few times of this he decided to leave the topic alone altogether.

He loves his two daughters to death and often dotes on them unnecessarily. It occurs mostly out of guilt. During the busy periods in his business he isn’t able to spend much time at home. He would bring some of his business contacts and potential clients home for a business dinner but Antonia despises entertaining and would avoid any “business” affair at all costs. He is aware that his time with his girls isn’t guaranteed so he makes the most of his time with them. He is makes an effort to raise them to be strong young women who are smart enough to avoid the same young men that he once was.

Hobbies:
He is an avid reader. Mostly focused on the murder/crime thriller genre. He spends his time looking at car collector magazines and hopes to one day lift his business to a level, which will allow him to have the car collection he feels he deserves.

He enjoys travel and would one day hope to do more of it as time and his business allows.

He also likes to indulge in the stereotypical activity of vegging on the couch or in the arm chair and watching sports.

Put the characters in a setting:
What kinds of things do they like? (Plush furniture, luxury apartments, bare walls, rustic cabin, open water etc)

He is drawn to a modern décor. The home isn’t decorated that way. It is Americana from the master bedroom to the kitchen. All Antonia’s choosing, but it was one battle he was willing to lose if she agreed to allow the garage and his home office to be his domain.

His office is as modern as the business expenses would allow – desk, chairs, cabinets and artwork. They are of his own choosing…the style being a very forgiving one that didn’t require a lot of experience with choosing pieces.

What do your characters think about?
He at times, more often then not, wonders what is missing in his life and how he could be happier. He feels like there is something missing between his wife and himself. It originates from their sex life with was once very steamy and active and has settled into an easily recognized pace.

He wonders is perhaps Antonia was the right woman for him. At first she seems to have been the ideal partner, but when he thought that, was he only considering his short-term happiness? He wonders what has changed between them, is it her or him?

He wonders if he may have missed his calling at some point and if he should have taken a simpler route to life, one that didn’t require him to work as hard, one that didn’t require him to be away from home so much.

He thinks about walking away from all of it but the thought is very brief when the visions of his two darling princesses come to mind.

How do they react emotionally? ie: frustrating situations
Richard is very calm and calculating. He is very much in control of his emotions. He isn’t hiding them but is very aware of how they will make other’s react to him if he allows himself to over react. He doesn’t bottle his feelings inside, he prefers to talk things out rather than to let them fester.

How do they react to success or embarrassment?
Richard takes everything with good humor. He laughs at his mistakes and teases others about theirs. He works hard and plays harder with the thoughts that time is limited in this world and every great moment should be savored.

What is important in their lives?
His family is most important. Figuring out how to keep it together and successful for both his daughters and himself is the center of his thoughts recently. His family extends outside of his home. He is very close with his brother. They are only 9 months apart and share a lot of their lives. He is constantly concerned with the well being of his mother, who never remarried after losing his father.

His work is important. It is a goal of his to make a name for himself within their city.

What do they sound like when they talk?
He has a smooth tone, a quite, almost lulling speaking voice. He knows how to use it, turning it to commanding when he needs it to be in a specific situation.

What kind of vocabulary do they use?
He uses a moderately elevated vocabulary, frequently using words that show that he’s intelligent, well read and educated.

Is it consistent with other aspects of their personality?
Yes. He likes to let people know that there is more to him then what is on the surface. He is very much the onion, with many layers and many interests.

How do others react to your characters, to what they say or do?

The people around him react warmly to him and respond to his charisma.

He is an observer in a crowd or a group. He doesn’t ever feel the need to call attention to himself. Women often mistake this level of reserve as him being timid or shy, but its his way of calculating how he will interact with each person.

Men often sense his prowess in a business situation and find him a respectable, knowledge man in his field. They respect his competitive nature and his drive. He isn’t someone that men are envious of. He is a good companion and trustworthy.

Do other’s see them the same way?
His friends and colleagues see him the same way. His family, excluding his wife see him much in the same way as his friends and colleagues but they know who he once was, the boy growing up who was mischievous, wasn’t naturally gifted and who, at a point in his life lacked direction. But they ultimately know that his is the cornerstone of the family in his father’s stead and is a warm and generous man to the family he has successfully brooded on his own.

His wife is knowledgeable about his positive traits but knows all of the negative ones as well. A knowledge that only comes with living with someone for many years, cleaning their messes, laying next to them at night and taking the brunt of their piercing criticism.

Do characters see themselves the same way as others?
He makes an effort to keep up with what he perceives as the expectations of others. Frequently it becomes an overwhelming pressure for him and he wishes that he was more like what others want him to be. He has gotten to the point that he is performing for them and he wonders if that is really, truly who he is. He feels like he could do better to live up to that expectation and at the same time wants to break away and find out who he really is.

Everyone thinks that he is so in control of his life and his goals but is put in a position where everything is spun out of control that he struggles to keep it together and wonders if perhaps it’s for the best so that he can be himself…or the person he will discover he truly is.

Who are their friends and enemies?
Richard has many friends and few enemies. If the business competition can be considered an enemy, then that is it.

 

[Penelope Street]

Very cool.

My character sketch is for Swingline, my discussion story.

Think I'll wait until I read the story, then have a look and see if he's what I envisioned. Thanks so much for sharing.

 

[Alex756]

Following on from questions raised on Varian's thread and Colly's thread in the AH ...

How do you flesh out your character? (eg.s welcome)

How far do you go to create a picture in your head before you write?

Are character flaws important?

Do you find you are better at plot or characterisation?

You don't have to answer any of these, just wanted to get the ball rolling

I think I approach characterization a little different than alot of people. I've always had one of those wacked out imaginations.

I start characterization with a voice. Sometimes an internal voice, sometimes a line of dialog.

This is going to be a little hard to explain, like this openeing:

"I love you, dearest."

The words run through my head over and over as I sit in the bathtub, the water slowly cooling to room temperature. "I love you." How he could dare say those words. I don't understand.

The part in red is a hard internal though that might as well be spoken. the how he could dare part starts to form a mental image of a character in my mind, she's getting pumped up and has alot of energy below the surface.

Its through glimpses into the thoughts of the MC I tend to try and present my characterization. If you know how a person thinks you know them.

This is the second paragraph of a horror piece:

He chuckled to himself. He didn't think a single one of these people even knew how to ride a horse. Sure they all had the boots and the hats and the jeans, but all were too clean and new. The suburbs were probably as close to the country as half these people had ever seen. He hated being this far into civilization, but the masses of people gave him the best camouflage possible. In this city filled with strangers, no one would notice him. More importantly, no one would notice his feeding habits.

In my head he's sitting there going 'why the fuck am I here with these idiots and just thinking all those things the real deal thinks when surrounded by posers. They physical description is really secondary.

Often times I -don't describe characters physically though either. I think it goes to I am not a very visual person. blind as a bat without glasses and my color percetion and tone perception is less than average. I find myself disatisfied with alot of what I've written in 3rd person because of the head hopping I tended to do in the past. Now I write in an 'imbedded' 3rd person typically. So I can get into the head like 1st person but with a few less restrictions.

So I don't create a picture before I write I create a voice. Its a reason i tend to write people from areas I am very familiar with. the words a person uses and there thoughts tell more of their character than any mirror scene can ever tell you.

I think al characters have 'flaws' but I don't see them as flaws? does that make sense ... its just part of the character. Like my demon Mark has this bad habit of being stupid around blondes. If he almost gets in jail you know it invovled a blonde. Its just his thing. I don't think the character knows that he is only stupid around blondes. but in writng that sentence I almost indicated soemthing weird about my characterization. I think I personalize them too much. My good characters I just have such an idea of them that put them into any situation and viola, I can tell you what they'd do.

A friend of mine was like sure, we were at a denny's at the time. She was like, "OK, demon boy is at a denny's and he can't let anyone know he's a whatever, what does he order." Boom, the answer, "steak and eggs, rare and soft boiled." Previously I had established he ate raw food. not a huge dif between raw and those items, atually worked the scene into the novel I did.


Well I hope that answered some of the questions. I m defiantely better at characterization. characters to populate worlds was always my responsibility in gaming

~Alex