About Walking The Character Tightrope
Post 510:
Writing good characters. There’s probably ten million books or lectures on how to do it. I’ve got an idea. When you’re reading over your story, ask yourself if the character is memorable. If the answer is yes, be able to tell yourself why.
Is it the character’s voice? Their mannerisms? Overall story arc? Did they start dark and find redemption or vice/versa?
The more integral the character to the story, the more of these questions you’re going to want good answers for. Full answers. If it’s a secondary or tertiary figure in the narrative, these litmus tests aren’t as important, but you get the idea.
At times you’ve got someone in your head and they just materialize naturally, but generally characterization takes work.
This doesn’t mean you need two pages of descriptors for every character. The fewer words it takes, the more I personally like it. Vonnegut was a master when it came to this skill: he could sum up a man or woman in a terse, vivid, succinct way.
It depends on the style of the story.
If I’m reading The Name of the Rose or something of bulk, I need to know the crust and marrow of William of Baskerville, the main character. He’s in possession of so many quirks and traits that to make the story better, we long to hear them.
If the story isn’t a thousand pages long and you’re writing for pace—in other words, to be nimble and fluid, get your characterizations done and dusted. Find little places in the story to add to the character.
The main thing: the reader needs to be able to differentiate your characters. After that’s done, you can really dive deep and layer their personality and traits to add to the narrative. When you’re really on fire, the character and story should meld into one.
How does this happen, and what does it mean? It’s hard to explain, but put simply, the circumstances should effect the character and the character should effect the circumstances.
At least, that’s what my brain has today.
Mostly, it’s about work. Butt in the chair, writing and writing until you’re interested in everything that’s happening in your story—interested because it’s interesting—not because you’re holding on for dear life, or because it has to work.
I’ve been there. All this stuff takes time and failure, burning down and sifting through the ashes. I’m sure characters come easier for some writers, but I bet a lot of them have to watch out not to forget about the plot.
Walking a tightrope. That’s what writing is. The good news: if you screw up, the consequences aren’t final. Work on it. Think on it. Come up with your own theories.
Nobody wants to hear about this ever-challenging process, but I’m afraid it’s unavoidable. Unless you’re perfect. If you’re perfect, please teach your ways. I have an opening on Thursday around five. Cheers and see you after.
