Colorful, Believeable Characters

[Kantarii]

Aside from a great background story/plot, the believeability of the characters within a story draw me in to finishing something I've decided to read that has caught my interest. (I suppose what I'm driving at here is strong character developement) Sure, we can slap stats on characters like a huge 9.5 inch cock or curvaceous 44DD sized boobs) but, that isn't really character "development".

One of me favorite supporting characters from my main storyline named Brenda is a lesbian bartender that is fiercely loyal in friendship to the transvestite main character Ashleigh. She's witty, kind, supportive, smart, out going, protective, and a bit sarcastic. It's all these characteristics that make her a really great supportive character and fuel the character development of other characters in my storyline so much so, that the storyline wouldn't be the same without her character in it.

So, as a tease, would any other authors here like to share what colorful character type they have built up into a believable or relatable character in their stories?Kant

 

[Desiremakesmeweak]

I can never do that kind of thing! I can't 'develop a character' or do 'character development' - I write about people I know. And I have known a lot of people from a distance, more or less, over my life; A LOT of people.

There are only a tiny handful of real interesting individuals you ever meet, from my point of view.

Most people will say something crass like - 'oh everyone has something individual about them, or some corner of them that would be interesting to explore.'

But that isn't true for me.

And even of the tiny handful of people that I have found or still find interesting, not all of them I find 'sympathetic characters;' that is to say, sympathetic to my own outlooks on things.

And to the extent of my own idiosyncratic approach to this, I suspect my 'cameo' characters are probably NOT believable to many readers.

But I just write what I want, not what is folklore about 'how to' do (especially write), anything.

I just can't see the point of writing to some formula about designing characterization and so on.

As someone who writes erotica this whole thing is even more condensed: of those that I find 'interesting' there is a smaller percentage that I find 'sympathetic' - as in 'likable' - characters. And of those, the number that are sexually interesting in any meaningfully 'new' way there would be a point to writing about, are frighteningly few.

I find most people utterly predictable, and too repetitive in their behaviour and behaviours.

Children are cute, but children rarely go on to become extensions of their original selves. They mostly all die in their hearts and souls and especially their minds around the age of fifteen to maybe twenty.

 

[NotWise]

So, as a tease, would any other authors here like to share what colorful character type they have built up into a believable or relatable character in their stories?Kant

My favorite character is the ghost waitress Trish from "Oscar's Place."

To the main characters Trish looks and feels alive. Trish was emancipated by her step father at 14 and started waiting tables and turning tricks in a speakeasy. Oscar (the bar owner) married her to keep her out of trouble. She remained his (mostly) attentive wife for 16 years before she died, then 77 years later she sat down to relate her story.

 

[SimonDoom]

I can never do that kind of thing! I can't 'develop a character' or do 'character development' - I write about people I know. And I have known a lot of people from a distance, more or less, over my life; A LOT of people.

There are only a tiny handful of real interesting individuals you ever meet, from my point of view.

Most people will say something crass like - 'oh everyone has something individual about them, or some corner of them that would be interesting to explore.'

But that isn't true for me.

And even of the tiny handful of people that I have found or still find interesting, not all of them I find 'sympathetic characters;' that is to say, sympathetic to my own outlooks on things.

And to the extent of my own idiosyncratic approach to this, I suspect my 'cameo' characters are probably NOT believable to many readers.

But I just write what I want, not what is folklore about 'how to' do (especially write), anything.

I just can't see the point of writing to some formula about designing characterization and so on.

As someone who writes erotica this whole thing is even more condensed: of those that I find 'interesting' there is a smaller percentage that I find 'sympathetic' - as in 'likable' - characters. And of those, the number that are sexually interesting in any meaningfully 'new' way there would be a point to writing about, are frighteningly few.

I find most people utterly predictable, and too repetitive in their behaviour and behaviours.

Children are cute, but children rarely go on to become extensions of their original selves. They mostly all die in their hearts and souls and especially their minds around the age of fifteen to maybe twenty.

This is an interesting perspective, but after reflecting on it I realize how much I don't agree with it.

The older I get the more I think that normal is an illusion: that weirdness is pervasive. Normal is nothing more than a statistical mean, and the deviation from the mean is much greater than most of society wants to admit. Everyone is interesting in some way or another; you just have to focus on whatever thing makes a person interesting and different. Almost everyone has something, if you look hard enough.

In response to Kantarii's question, I think the thing that makes a character -- any character-- interesting is internal conflict. The character must be introduced as wanting something that the character doesn't have. In the hands of a skillful writer, that thing can be almost anything. You could draw a character with a fetish for socks, and it could be interesting, depending on how it's handled.

An author (non-erotic) who's really good at developing characters this way is Larry McMurtry. What makes Lonesome Dove so poignant is the way he throws together dozens of colorful, interesting characters who all desperately want something and never get what they want.

Erotica is a great field for developing characters in this way because so much of what people want, erotically, is forbidden by society or by circumstance. Almost any erotic desire can create the opportunity for dramatic conflict.

 

[Kantarii]

This is an interesting perspective, but after reflecting on it I realize how much I don't agree with it.

The older I get the more I think that normal is an illusion: that weirdness is pervasive. Normal is nothing more than a statistical mean, and the deviation from the mean is much greater than most of society wants to admit. Everyone is interesting in some way or another; you just have to focus on whatever thing makes a person interesting and different. Almost everyone has something, if you look hard enough.

In response to Kantarii's question, I think the thing that makes a character -- any character-- interesting is internal conflict. The character must be introduced as wanting something that the character doesn't have. In the hands of a skillful writer, that thing can be almost anything. You could draw a character with a fetish for socks, and it could be interesting, depending on how it's handled.

An author (non-erotic) who's really good at developing characters this way is Larry McMurtry. What makes Lonesome Dove so poignant is the way he throws together dozens of colorful, interesting characters who all desperately want something and never get what they want.

Erotica is a great field for developing characters in this way because so much of what people want, erotically, is forbidden by society or by circumstance. Almost any erotic desire can create the opportunity for dramatic conflict.

You brought up a very valuable piece of information that is consistent with my main storyline. Internal conflictMy main character is wanting a meaningful relationship and struggling to put the past behind him/her. On the flip side, one of the supporting characters, who is bi curious, falls in love with a transvestite trying to get away from a guy that has them both caught in a selfish love triangle.
Thanks for sharing the addition to the thread of internal conflict Kant

 

[Elloelle]

Me.

Debbie

 

[My I]

Me.

Debbie

I'll second that.

Actually, I kinda come from the Heinlein school of character development. Get'em talking.

You can write 20 pages of character history and descriptions of every physical feature and still not bring a character to life. but a few pages of meaningful or even trivial dialogue gives the reader insight into a characters thoughts that no amount of description and background can. And without insight into the mind af the character they ar nothing more than a mannequin.

Prob'ly the best example of my dialogue work I have posted her is Saturday's Child. Sadie's interactions with Lucas and the supporting cast tell more about her than all the monologue leading up to it did. I could sum it up as a sacastic, hardened cop with a soft heart at her core, torn between what she needs to be to survive her job and what she wants for herself.

But that doesn't really bring her to life like:

“My house, my rules. Which brings me to Rule Five: In this house I am, like it or not, the supreme authority. Don’t like it? Industrial and Hacienda. Back on the interstate. Happy trails and all that. Do you understand why?” Lucas's eyebrows raised.

“You pay the bills. You need to protect your interests. Makes sense to me.”

“Then it’s settled. I’ll have Samantha show you your room.”

“Not so fast, Big Boy. I said I understood the rules. I never agreed to anything.”

“So, Industrial and Hacienda it is. As soon as I have my meeting with Mr. Silver, I’ll drive you back to town.”

“I didn’t say I wouldn’t agree either.”

His head fell back with a loud sigh, his hands fell slack at his sides. “Are you always this exasperating? What is it that you want?”

“I am when I feel like I’m being railroaded.” I calmed my voice, “If I decide to stay, your rules will be acceptable but there are things I need to know first.”

“Such as?”

“How do I know this is for real? What did I do to deserve your second chance? What am I going to be obligated to? When is this ‘training’ over? What is your success rate? How do…”

“Slow down! You have more questions than a cop. Geez! Be patient and I’ll tell you everything. Right now, though, I have a crisis that may be the downfall of everything I have worked to do here and I need to make some preparations. So, what I suggest is that you have a bath and put on some decent clothes. Then talk to some of the other girls. If I know Samantha, she is no doubt arranging a pow-wow for you with all the other girls as we speak. She likes to make the new girls comfortable.”

 

[ElectricBlue]

Erotica is a great field for developing characters in this way because so much of what people want, erotically, is forbidden by society or by circumstance. Almost any erotic desire can create the opportunity for dramatic conflict.

My Amelia character in my Rope and Veil series is possibly my most believable, using Kant's definition.

When people from the PWD community comment that I created a character with a disability who they can relate to and find credible, is I think my greatest achievement as a writer. This series was certainly the most challenging thing I've ever written - and has been well received. The comments I received from readers with their own disabilities, saying thank you, are my most treasured comments. By any meaningful measure it has to be my "best" work (if not necessarily my best written - it has its flaws, but they are intrinsic to it, in my head) - erotica with a conscience.

 

[Hypoxia]

My players are mostly based on humans I've known somewhat -- but that doesn't stop me from inventing many from zip. Some of my most vivid and colorful derive from nobody I've ever encountered. I'll whip-up someone, imagine what's happening in their brains and lives, and loose them upon the defenseless world.

 

[SamScribble]

You can write 20 pages of character history and descriptions of every physical feature and still not bring a character to life. but a few pages of meaningful or even trivial dialogue gives the reader insight into a characters thoughts that no amount of description and background can. And without insight into the mind af the character they ar nothing more than a mannequin.

I used to have an editor - in real life - who maintained that characters 'are what they say'. 'Don't tell me about them,' he used to say. 'Get the characters to tell me about themselves.' It took me a year or so to get my head around what he meant. But, once I did ....

 

[OmnislashXX]

Danielle is the sixteen year old daughter of Frank Bradley. Now Frank is the responsible sort, as he is a single father but works most of the time in order to provide for Danielle. The story is supposed to be mainly about Frank and the eighteen year old friend of Danielle's named Kelly. As things get hot and heavy between Frank and Kelly, Danielle gets uncomfortable with the growing situation. Danielle questions the friendship she has with Kelly (Is she really my friend?) and the awkward problem of having a friend of yours attempting to sleep with one of your parents.

Every character has to deal with some issues in their own way, which are the driving forces that lead into the story.

Sorry, no, Danielle's feelings are not in any way, shape or form sexually motivated, either toward Kelly or her dad. No, there are no incestual feelings for either of them, nor is this a story about underage. You probably won't ever see the story on Literotica however (unless Laurel suddenly decides to lighten up a bit ).

 

[Zodia195]

I've created so many characters that it's not even funny. Majority of the time my characters are products of the societies they come from, but they don't always stay that way. I do pride myself on my observation skills and use that to my advantage when creating my characters initially. Unless it's the main character, most of the time my characters develop into ways I don't always expect.

I tend to use external conflict to generate internal conflict for my main characters. Now this story isn't on this site (and is yet to be completed), but it has probably the most colorful character I have ever created. Story is called Zodia's Treasures (Zodia is a supporting character and she inspired my screen name) and the character is called Natsuko. She is the most extroverted character I ever created and has high energy. She often gets on the nerves of other characters because of her persuasive personality and her need for speed (she always drives fast). I wanted her to be relatable though, so her main conflict comes in the form of her twin sister, Nanashi, who is one of the antagonists of the story. I love bringing vulnerability to a character and you do see Natsuko's somber side when she learns that her twin is against her. Natsuko also becomes the best friend of my main character, Sakura, and helps her in the self-confidence area.

One thing I am looking forward to my Stones of Incienda story is how my main female characters develop due to the influence of the stone fragments on them because each of them will have good and bad things happen to them due to these magical elements. One thing I wanted to achieve with this story was to show the 'darkside' of magic, like it's not always going to be this powerful thing that solves all your problems.

 

[Blind_Justice]

I think flaws are important. My best story, character-wise, is about an assassin who loses his eyesight. Instead of typical fantasy hijinx, he has to face the crippling issues that go along with that and it makes the story around it so much better. Also, "writing what you know" and all that.

Anyways, I have seen way too many stories about rich, successful, charismatic and awesome-in-bed people to last me a dozen lifetimes. They are boring if there's not one negative trait in them. Even heroes make mistakes. Or they overexaggerate a normally positive trait to the point where loyalty turns into blind obedience or a strong sense of justice ends up being cold, unfeeling adherence to the letters of the law. Even the way a person chooses his/her sex partners could be a fault.

I have read way too much cyberpunk lately.

 

[Kantarii]

I think flaws are important. My best story, character-wise, is about an assassin who loses his eyesight. Instead of typical fantasy hijinx, he has to face the crippling issues that go along with that and it makes the story around it so much better. Also, "writing what you know" and all that.

Anyways, I have seen way too many stories about rich, successful, charismatic and awesome-in-bed people to last me a dozen lifetimes. They are boring if there's not one negative trait in them. Even heroes make mistakes. Or they overexaggerate a normally positive trait to the point where loyalty turns into blind obedience or a strong sense of justice ends up being cold, unfeeling adherence to the letters of the law. Even the way a person chooses his/her sex partners could be a fault.

I have read way too much cyberpunk lately.

Character flaws... another great suggestion. Flaws make character seem remarkably human in a world of fantasy writing. Thanks for sharingKant

 

[CeasarBoobage]

Even though I'm not a great author, I think most of my attempts to build characters that my audience can associate with come out halfway decent.

How I think the story calls for that development differs, but I always at least try to insert real-life things into the characters. Using tidbits from people I know helps me paint these traits easier than completely making something up, but I'll never tell which characters are based on real life and which ones are a figment of my imagination.

There are internal and external conflicts, insecurities, a history with an action/feeling/situation, personal flaws, hidden fantasies, suppressed attractions, etc. A mix of these helps the reader form some type of a bond with the characters, and I hope that it makes the tale flow better. Suspension of reality is a given in erotica, as in any fiction, but if you can still tie it back to reality it always seems better. Getting mentally attached to the lead person in an erotic story feels different than the attachment in a "crime drama", so you've got to know where to build that bond.

On the other hand (the one-handed-read variety), short stories don't always have the time, or the need, for most of those building blocks, and trying to build a personality around the people bumping uglies gets in the way and detracts from the tale.

One of my personal favories is Tanning and Teasing (part one, part two). and from the comments it seems to have worked pretty well. Mark and Karen take a break from life to hang out at the lake where some fun drama draws them out of their shells. Their doubt and internal conflicts start out being barriers, but the sexy college students held replace those feelings with lust and need.

 

[CoffeeWithMonkeys]

Before reading any of the other responses I'll say that most of my main characters have a bit of me in them. Or maybe my alter ego, who I wish I was!

I have been working on a new story and my friend read it the other day and she commented, this character is the first one that is mostly like you.
And she was so right. I wrote that story when I was at a bad time in my life. It's raw and naked and the character is so much me.

 

[weftandwarp]

Different drummer

For me every thing is subsidiary to the story. I don't like excessive dialogue. I feel the story loses its way with a lot of it. I like to have stories with some impact and my characters are developed with that in mind. I don't like reading lots of dialogue either. So much of it misses the mark, makes the story tedious and fails to deliver. Frequently, the dialogue sets up conflicts as to what the plot is and where it's going. I think the story should have character and that is more important than establishing enormous tracts of often irrelevant dialogue that seems intended to smarty pants me. I find it a good idea to have short paragraphs instead. I never give people's measurements and often have almost no description of them except if it is necessary to the story. I know people think dialogue is essential but it is an essential I can do with out if it is irrelevant. I try to build plots with character, rather than the characters with in plots. I know I'm out numbered but I don't mind that. It is good to be different. When I read twenty lit pages of "character development" that could have been done in one or two I get a little angry and am very pleased I don't inflict such injustices on others.

Each to their own though. What works for one doesn't necessarily work for all. Being different is an advantage I think. Being competently different is a massive advantage but I'm not there yet.

 

[OmnislashXX]

Character flaws are what makes a character all that more interesting. No one can be perfect and there has to be something that creates a reason for a person to act the way they do.

 

[Zodia195]

Before reading any of the other responses I'll say that most of my main characters have a bit of me in them. Or maybe my alter ego, who I wish I was!

I have been working on a new story and my friend read it the other day and she commented, this character is the first one that is mostly like you.
And she was so right. I wrote that story when I was at a bad time in my life. It's raw and naked and the character is so much me.

LOL, I always have at least one of the characters in my story with my own traits. Also I can't help it, but most of the times my main characters are blondes. I am trying to deviate from that, but it's hard not to.

The Lost One, my main character, Pristine, is the most like me. The story itself might be a fantasy romance, but it's mostly about self-discovery, hence the title. I was in a transitory period of my life too (I was 17 when I started writing it and finished it COMPLETELY in my 20s after I completely found myself). So The Lost One is semi-biographical.

 

[Kantarii]

Before reading any of the other responses I'll say that most of my main characters have a bit of me in them. Or maybe my alter ego, who I wish I was!

I have been working on a new story and my friend read it the other day and she commented, this character is the first one that is mostly like you.
And she was so right. I wrote that story when I was at a bad time in my life. It's raw and naked and the character is so much me.

I put a lot of me into my characters as wellYou're not alone thereIn a way, I draw off my own character flaws and relate to them much the same way when they translate into the storyThanks for sharingKant

 

[Kantarii]

My players are mostly based on humans I've known somewhat -- but that doesn't stop me from inventing many from zip. Some of my most vivid and colorful derive from nobody I've ever encountered. I'll whip-up someone, imagine what's happening in their brains and lives, and loose them upon the defenseless world.

It's funny you mention this because I based my main characters and some of the supporting characters off actual people I know with my recent work "A Slut's Triangle", but I have learned to create some characters from scratch to fill in gaps and expand the world I have placed Ashleigh within. I find that the characters based off real people tend to have greater character developement, but I'm getting better with the ones I create from scratch. Kant

 

[Kantarii]

Character flaws are what makes a character all that more interesting. No one can be perfect and there has to be something that creates a reason for a person to act the way they do.

I couldn't agree with your statement more. I love character flaws. They make the character believably human in so many relatable waysKant

 

[ElectricBlue]

My players are mostly based on humans I've known somewhat -- but that doesn't stop me from inventing many from zip. Some of my most vivid and colorful derive from nobody I've ever encountered. I'll whip-up someone, imagine what's happening in their brains and lives, and loose them upon the defenseless world.

I'm writing a character at the moment who is entertaining me no end. He's a key player in my yarn, a mover and a shaker, but he's also got personal foibles and desires that bubble up from time to time. Some of what he gets up to I'm thinking, where did that just come from? Oh wait, did I just write that? WTF?

These are the best sort of characters for me, where I the writer can't wait to see what they do next. Give them a pen and they write themselves.

 

[Bramblethorn]

I'll second that.

Actually, I kinda come from the Heinlein school of character development. Get'em talking.

You can write 20 pages of character history and descriptions of every physical feature and still not bring a character to life. but a few pages of meaningful or even trivial dialogue gives the reader insight into a characters thoughts that no amount of description and background can. And without insight into the mind af the character they ar nothing more than a mannequin.

Funny that - I agree dialogue is an excellent way to develop characters, but Heinlein's doesn't work well for me because he often uses dialogue as a way to present his own social/political ideas rather than as character development per se. e.g. Valentine Michael Smith is a literary device that Heinlein uses to challenge our taboos*.

*except for the ones about homosexuality

 

[My I]

Funny that - I agree dialogue is an excellent way to develop characters, but Heinlein's doesn't work well for me because he often uses dialogue as a way to present his own social/political ideas rather than as character development per se. e.g. Valentine Michael Smith is a literary device that Heinlein uses to challenge our taboos*.

*except for the ones about homosexuality

That must be the only Heinlein book ypou read. But, yes, there is political discussions in it. As well as religion, sexuality, relationships, culture.... Harshaws disdain for technology was great. Anne's Fair Witness persona made me think a lot about just what "Truth" is.

And isn't that what a story is supposed to do? Make you think?

Many women have told me they hate Heinlein because he was sexist. I really don't understand that. During a time when women's equality was still being fought for, Heinlein wrote female characters that were every bit as strong, intelligent, confident, capable and had a libido to equal any man's, yet he managed to keep their femininity. Equal but still feminine. Isn't that what women wanted? Sexist? Bah. You need to go back and read it again.