Absolutely not! I forbid it, young lady! What do you know about this… this… CHARACTER… you’re writing about? Nothing, that’s what! Well, I won’t have it! Before I allow you to write him, you’re going to figure out who he is!

Too much? Really? ‘Cause I didn’t th… Oh well, you get the idea.

Earlier in the week, as I was thinking about how to begin a short series of posts on characters for my Nailing Down The Essentials series, I came across this CuriosityQuills post. The author lays it out far better than I could.

Back in The Good Ole Days…

Way back, when I was a young writer determined to create a best seller, I wrote what I thought were extensive character profiles. Then I spent two decades just dabbling, while I focused on being all I could be as an Army wife, and a mother, and held down a demanding career. When I came back to serious writing a couple of years ago, I’d forgotten about character profiles.

I’m too old to waste time…

Okay, so I’m not ancient. 🙂 But, at 44, there are so many things I want to accomplish. I don’t mind taking the time to do something right, or to savor experiences. But wasting time, especially mine, really irks me.

I started writing my first weredragon novel with not much more than a vague physical description for Van, the hero. Really BIG mistake. I had no idea how or why he would act, what he might think or do in certain situations. I didn’t even know whether he was gay or straight, or what he liked. As a result, I spent a great deal of time writing scenes that didn’t ring true, and trashing them.

In frustration, I took another approach, that also wasted time and words. Every time I needed to make a decision about him (Was he modest, or comfortable with his body?), I wrote a scene justifying the decision (Slightly modest, as a result of his cousin’s cruel teasing when they were adolescents). I ended up writing dozens of scenes that I knew I would never use, but to be sure my decision rang true to his character, I wasn’t sure what else to do.

Why write character profiles?

Some writers might be able to write complex, multi-dimensional characters beginning with only the vaguest of details, and manage to keep every moment real. They make all those bits and pieces cement into characters that are more real and consistent than your college roommate. I can’t do it, though.

These days, I get to know my characters pretty thoroughly before writing the first word of the book, as part of my outline process. I’m not talking about their physical descriptions, or the list of events that make up their lives. I’m talking about the series of experiences that turned them into the people they are. I’m talking about WHY they make the choices they do, and react to certain situations the way they do.

When I know WHY, I can be sure all my characters’ decisions and actions will be realistic for them, that they will be consistent and multi-dimensional. After I point them in the general direction I want them to go, I can trust them to take care of the WHAT and HOW. It becomes their story. The events fit the character, rather than the character changing at the whim of the events.

Getting to know the stranger

HOW do I get to know them so well? Well, the process changes a bit with every new character. First, I decide the superficial stuff, but that could just as easily come after. The physical description, and things like: sex, age, race, profession, birth family structure, location, and etc., are pretty basic and generic.

Then we get to the hard parts. I write their backstory by first dividing their lives up to the present into stages – infancy, early childhood, childhood, adolescence, young adulthood, adulthood (sub-divided into regular intervals, depending on age, decades, half-centuries, centuries, and etc.), and if necessary, middle-age and old-age, subdivided in the same way as adulthood. For each of those stages/intervals, I write two influential memories, one good, one bad – just a brief little scene overview that can be fleshed out further if necessary.

My vampire’s having a rough day

For a one-hundred and fifty year old female vampire, I would write one good and one bad significant memory for infancy, early childhood, childhood, adolescence, young adulthood, and adulthood. The second interval of adulthood would begin at fifty years old, then one hundred, then each decade thereafter.

Maybe her old brother threw her down the well when she was six, and now she fears water and cramped spaces, after spending thirty six terrifying hours in the well waiting to be rescued. So, she isn’t going to willingly explore the narrow cave that’s actually a tunnel leading to the bad guy’s compound. She’ll need serious motivation, and no alternatives, to go there.

Since I know that, I know that when the bad guy’s henchmen try to force her into the cave at gunpoint, she’s going to fight hard, because she fears the cramped, dark, and damp cave far more than she fears a gunshot wound. I need her to get in that cave, though, so after she kicks the henchmen’s collective ass, I have to throw something else at her, something worse than the cave.

The vampire bounty hunter, with orders to bring her head to the bad guy, bursts into the clearing at the mouth of the cave. Enough? No, maybe she’ll take her chances and fight him too. Let’s add to it. The bounty hunter’s two assistants are with him. And the love of her life will die a permanent death in less than one hour unless she finds a way to save him. Maybe. Oh, and she has the secret weapon, the only thing on earth that can kill the bad guy and ensure her, and her lover’s, survival. She darts into the cave.

Adding it up

If I hadn’t known about the well incident, I might have sent her bravely forth into the cave, even after an earlier scene hinted at her fear. The phobia wouldn’t have been integral to who she is, just a passing fear. We’d have missed that kick-ass fight scene, and the additional conflicts and complications. The character would have been less complex, less real. Each of those memories can be used to add additional facets to the character, and new conflict or resolution to the story.

I don’t stop developing the character when the memories are written. I also create a short story for each main character, just a couple of pages, summarizing the story from their point of view, as if they are THE main character. This takes care of each character’s agenda and motivation as it fits within the larger picture of the whole story.

Now, not only do I know my character quite well, I know how she’s going to react to each situation. I know what else I need to throw at her, for the story to have the kind of impact I want it to have, while being logical and realistic for my character. She’ll be a multi-dimensional person, rather than just blinding going along the road I set for her, overcoming obstacles and making the changes I think she should. She’ll think and feel, and change on her own, and her character arc will feel natural and organic to the reader. She will have a REASON to be in the story.

Yeah, it took extra work at the front end, but it saved countless hours of floundering around trying to get characters to do things that don’t fit their personalities. The result is that I’m writing the story to fit the character, rather than writing a character to simply plug in to the story.

What do you do to get to know your characters before you start writing? Or do you jump in with little more than a vague idea what the character looks like?


10 responses to “STRANGER DANGER!!

  1. This was PERFECT. Awesome awesome job! Now all the character development I do feels WORTH it Such a perfect analogy too. Why in the world would we try to be intimate with somebody we don’t even know? Sometimes I don’t mind having a “stranger” for the hero to “react” to, but even that has its dangers. This comes down to the panster vs outline paradigm. While I like spontaneity, and the creative twists they offer when we’re in a pinch, the havoc they can cause is just sometimes NOT worth it. Yeah, that was one hell of a night (or scene), but look what it did to the PLOT line! Like unprotected sex, you end up with babies you didn’t plan for.

    I don’t mind considering a tango with a complete stranger, but, I’m not going to go very far before I pop the question, “where are you taking this?” Cause as the Writer, I need to have a clue so that some flaky character with initial flare doesn’t turn out to be some GIGOLO (sp?)

    • Thanks, Azure. You’re right, it does come down to pantser vs plotter, at least to an extent. A pantser *can* do the character profile, etc, and get to know their character before they write, but most choose not to, I think.

      I come up with my one-off characters on the spot, but the protagonist couple and the main antagonist, I take time with beforehand. LMAO, gigolo!

  2. Great post! You know, I’m really curious about this weredragon…*evil stare* Because my first published book was about a shape-shifting dragon. And I remember rewriting him a bit. You know, I always rewrite quite a bit about my characters after hitting THE END. All that character profiling–well, I’m so not into wasting my time either. It must be the 44 thing. Nor was it a 33 thing. But I don’t sit down and spend loads of energy typing up some psychological notes for anybody in any of my stories. I do have one novel I need to get back to dust and detail because I thought of something major toward the end. *sigh* That’s just the price of quasi-plotting. LOL

    However, don’t throw rotten cabbages, I’ve learned that if I ONLY read through the hero’s or the heroine’s POV (the one needing scene medical assistance), it’s a brief revision and only requires changing a few words here and there. Seriously! Back before I was published in 2007, I had a gal in my critique group who had attended the second most prestigious creative writing program in the country for her Masters Degree. This gal caught the eye of a Harlequin romantic suspense editor who told her to do a character overhaul on one of the main characters. Um, you know how that unfolds–you’re unpublished and you jump through burning hoops to land the contract and wind up with a book on bookshelves across the country…Well, this gal opted not to because it would be too much work. Huh? I looked her in the eye and told her just read that character’s POV. It’ll take you two hours max to tweak it. Alter the character’s inner thoughts and dialogue to make the editor happy. I do it all the time. She decided to just write another book! OY! I guess I should say I know how it feels to face that big ugly revision. But it isn’t that difficult if you do it one character at a time. Just take it one POV at a time.

    Now what about that weredragon?

    • LOL, Skhye!

      When I end up having to change something about a character, I actually use that approach. Saves SOOO much time! And it doesn’t have to be about the character as a person, really, but a little revision for more voice, etc, can be done the same way.

      OMG re the friend that just wrote a new book instead of revising! There are times when revisions are so extensive it might be easier to start from scratch. But just for a character overhaul? Wow.

      Hmmm. The weredragon. Van, the one I mentioned, was nearly eaten by a genetically engineered monster. Oh, and he likes her on top. And in the air. And… 0.0 Looks like I’m gonna have to post a dragon sex scene, at the very least, LOL.


  3. I think Im more of a Pantser than a planner when it comes to my characters. I do have an idea about who they are and what they ‘feel’ like and I will often spend time thinking them over before sitting down to write but for the most part I don’t really do a character profile. Instead, I tend to write down the characters as they come along. If something doesn’t fit in with the voice of the character then it gets changed and I write down WHY I changed things. So details about the character get noted down along the way. Then at the end I will double check details make sense. It does usually mean that I end up rewriting bits but I have the content straight and I can play with it from there. 🙂

    • Hi Leonie.

      I guess the reason I need everything plotted out, characters and plot, is the science geek/technical writer in me. I’m very methodical about things, love lists and written plans of action. For 20 years, I wrote far more non-fiction than fiction, in the form of professional articles, reports, etc.


  4. I’m glad you wrote this post. It makes me feel as though I’ve been on the right path. I have notebooks and notebooks of background stories, etc. 🙂 I didn’t plan on plotting out each of my characters. It was just…well, fun! It’s almost like solving a bunch of little puzzles. Why are they the way they are? Who were they? What are their hopes and dreams? What kind of music do they like to listen to? Sometimes I’ll listen to a character’s music, when I’m writing about them. 😉 I still don’t always know what my characters will do, but I know how they’ll react. My characters feel very “real” to me.

    • Thanks, Juli!

      Yes, writing those background stories is fun! I don’t do anything nearly as extensive as you’re talking about, but I probably would if I had time. I end up spending at most a day’s work on each of my main characters, and usually have them all done in one day. I spend a couple hours on the major supporting characters, too. But all those that are just there for a scene or two, I make up on the fly as I’m writing.

      Knowing how the character will react to different situations is exactly the point. Some women get pissed if they notice their man watching another woman walk, and if your character is one of those, you’ll know. What you won’t know is if she’ll elbow his ribs, throw a drink in his face, or slap him, LOL.


  5. Pingback: Who IS This? Making Minor Characters Useful | Kenra Daniels

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