Writing Games: Birthday Presents!

    Birthday presents are awesome, and also interesting in the way that they kind of reflect who we are that a certain point. At the very least, the presents we've really, really wanted accurately represent our interests. But have you ever gotten gifts that don't reflect your chief interests, but a smaller aspect of who you are? Like a book about a certain activity that you do in a class--naturally, given by a classmate from that course. In that case, the gift doesn't so much represent who you are, but what another person has gathered about you.
    Wouldn't that be interesting to apply in our stories as a writing exercise? Using birthday gifts as a way to reflect what characters think about each other? The kind of birthday present that the love interest would give the protagonist would certainly be different than the one that the antagonist would give.
    Just like no two people in real life view one person they both know the same way, characters surely would have slightly different views of each other. And any gift is a thing that the giver thinks is appropriate for the receiver. The characters who are really close with the protagonist, mainly the best friend(s) and the love interest, would probably give them a gift that compliments or matches their genuine interests and personalities. Whereas the people they meet only briefly on their adventure would probably give a gift that's more generic, or some kind of reference to something they touched on when they met (like a comment about liking sushi). The antagonist or a rival character, on the other hand, would probably give a birthday "present" entirely meant to jab at the protagonist--it could be something mocking, or it could actually be potentially harmful.
    So what kind of birthday presents would your characters get? Interesting objects? Or are they the kind of character who would really get bland things like a plain coffee mug for their birthday?

 

Music Pieces

    My parents are mega fans of Downton Abbey. When new episodes aired, the family would get together and watch, then talk about it later. During those conversations, my father always liked to point out small clever details about the show--like the way colors and light contrast were used. And one of the nice touches he particularly liked to point out how lots of the main characters have their own theme music.
    Which is really an interesting concept. A music piece that perfectly summarizes a character, place, or scene taking place in the story. There are lots of intricate aspects involved.
    Like, for example, the way instruments can reflect special details about a character. NBC's Heroes has a villain who used to work as a watchmaker, and sometimes during his main scenes, you can distinctly hear a ticking noise. Various instruments were being used to imitate the ticking of a watch, hinting at his rare skill and his old occupation. In another show, where the main character is a lady usually tasked with running errands, her music is calm but purposeful, a soft kind of sound with strong undertones. The choice in music not only perfectly characterizes her daily duties, but it also sums up her own personality as well.
    Music pieces can also set the mood for different places and societies. If you've watched The Hobbit movie trilogy, you know that the music sounds different when the plot takes the group to the Woodland Elves' territory than it does at the Shire, or at the Misty Mountains. Because the Hobbits, Elves, and Dwarves are very different peoples, and their music reflects the different values of their cultures. Hobbits are homely and value keeping peace, so their music is pleasant and almost sleepy. The elves value beauty and dignity, so their music is serene and elegant. The dwarves, finally, value strength and glorious building accomplishments, so their music has loud notes and a grandeur tone. The music serves as such a perfect reflection that a person could easily picture these places just by listening to its respective musical piece for just a few moments.
    Sometimes, certain music pieces can also signal a break in the action, the "normalcy status" in a story. They do this quite a bit in Downton Abbey, and also in Sherlock. This is usually snippets or variants of the main theme, played at a break in the action or between scenes, where the characters aren't directly pursuing their goal or working hard. It's kind of relaxing, actually; like taking a nice, deep breath before pushing on with the excitement.
    It's true that all of these things are generally applied to movies and TV, but I think they could also be applicable to a novel. A friend of mine was able to construct a setting, scene, and characters from one good instrumental song she heard, and another writer-friend even wrote a song to characterize her main protagonist. Lots of others like to listen to music while writing because it helps them get in the mood of the scene.
    So what do you think? Do you ever pay close attention to musical pieces in movies or shows? Do you have specific songs that fit characters/settings/scenes in your story perfectly? :)

Writing Games: Shoes

The condition of a person's shoes can tell some
pretty interesting stories!

    You can learn a lot about a person by their shoes. This is something that's been used in many-a-mystery novel; the extremely observant detective, upon studying the footwear of a suspect or a pair left at a crime scene, can piece together little details and deduce not only who the shoes belong to, but what that person has been doing. In some stories, investigators have put together whole stories just based on what they notice about another character's shoes.
    Outside of the investigation context, that would work really well for summarizing and personifying a character; don't you think? A lot of details about a person's life and personality can be portrayed just by focusing on that one article of their outfit, and the description doesn't need to be long and complicated. It just takes asking a few questions, like:
    What kind of shoes are the character wearing? A character well off in the financial sense with a specific taste for fashion might love to wear designer brands; but they might also like special treasures found in thrift stores. Characters who aren't so well off financially might have hand-me-downs; or they could be wearing shoes that belonged to a loved one because that person isn't around anymore. Or, of course, if there isn't some kind of complicated backstory, the character could have just gotten their shoes at a local shoe store.
    What condition are the shoes in? A soldier in the middle of a devastating war would probably have plenty of cracks in the rubber of their boots and permanent stains on the leather from trudging through a dusty/swampy terrain. And an athlete's shoes might have smooth circles near the worn-out soles, from countless hours of training and competing. Even a character with a relatively "normal" life might have bits of candy/popcorn lodged in their shoes if they work in, say, a movie theater.
    Is there anything on the shoes that are unique to the character? Some people like to doodle in the white spaces on their sneakers; a character with special artsy skills would possibly do that. A clumsy person would probably have scuff marks all over the front of their loafers from bumping into things and tripping, making their shoes unmistakable. And a character who has an odd fascination with a certain color might always aim to wear shoes (or just shoelaces) that have that color; which can be really interesting when the color is one like bright yellow.
    So do any of these ideas bring up unique details about a character in your current work? What kind of details; what kind of shoes do they wear?

Greatness

    "Some are born great, some achieve greatness, and some have greatness thrust upon 'em."
    This quote (from Shakespeare's Twelfth Night, Act 2, Scene 5), is possibly one of the Bard's most famous--and most inspiring--lines ever written. The words really stir up emotion, so it's no wonder that people often compare famous fictional characters to it.
    It's definitely quite an interesting label. Rather than focusing on what kind of skills and specialties that make them great, it zooms out and draws attention to how the character became awesome and admirable. For example . . .

Some characters are just born to soar.

    Born. The Doctor from BBC's Doctor Who, Charlotte Holmes from Brittany Cavallaro's Charlotte Holmes series, and Anakin Skywalker from Star Wars can all fit into this category. Because from the very beginning, they've either had someone in their life with a reputation they must live up to, or they have a special ability or just a unique kind of personality that practically demands to be used for a huge, awesome cause. Naturally, it's the character's own choice to become heroic, but their origins usually serve as a big factor in the direction they're going in.

Some have to work a bit to get off the ground.

    Achieved. Natasha Romanoff/Black Widow from the Marvel franchise, Mr. Molesly from Downton Abbey, Luke Skywalker from Star Wars, and Tris Prior from Veronica Roth's Divergent series are all nice examples of people who earned their greatness. Because a bright future full of potential wasn't promised to or expected of them in the beginning; they didn't grow up preparing to save the world, didn't inherit millions, and didn't have a famously heroic relative. Some of them had to rise straight from the dust--or, like Natasha Romanoff, from the ashes of a more sinister past--and work very hard over a long period of time to earn every morsel of honor they receive.



And some really need to be . . .
persuaded to start flying.

    Thrust Upon. One could say that Frodo Baggins from Tolkien's Lord of the Rings trilogy had greatness thrust upon him, and Cinder from Marissa Meyer's fantastic Lunar Chronicles series, and Eustace Scrubb from C.S. Lewis's Voyage of the Dawn Treader, and Katniss Everdeen from Suzanne Collins's The Hunger Games. These are the "poor souls" (poor in their own eyes, at least) who get dragged into a conflict and come out with a cape fluttering behind them. The adventure they never wanted to take part in transforms them, makes them stronger, and changes their heart so that by the time it's over, the character is much more heroic.
    Each of these methods of achieving greatness has admirable qualities about them. Because we can all sympathize with someone surrounded by heroes, wanting to earn a name of their own, or at least not disappoint those who expect greatness from them. The diligent, determined characters who achieve their greatness create an awesome underdog story (who doesn't love those?). And while it's kind of funny when characters are reluctantly pulled into adventure (who didn't chuckle when stuffy, cynical Eustace Scrubb freaked out in the movie version of Voyage of the Dawn Treader?), it's also awesome to cheer them on as they become stronger, greater people.
    So what about your own characters? How does your protagonist achieve greatness? Is s/he born with it, did they achieve it, or was it thrust upon them?

Writing Games: Second Banana

Some people don't mind playing second banana to
someone equally or even more impressive than themselves;
is the protagonist of your current story one of them?

    We all know what it means to be a second banana, right? To be the Number Two person in a business, ranked just a little lower than the Number One. It's not a bad position to hold; in fact, it's rather distinguished, and the work is satisfying when you love it.
    But some people really can't bear playing second fiddle. Most of the time it's pride, but I think there are also situations where, being used to being in charge or flying solo, the person has to really work to let go of some instincts, and learn to submit to the leader.
    And since so many other things in real life appear in fiction, this second banana scenario must also be applicable to characters in a story, right? If a protagonist finds him/herself suddenly uprooted from their place in the spotlight and put on the sidelines, they'd probably have some difficulty adjusting. So what if that happened to the protagonist of the story you're writing now? What if someone just as (or even more) talented, interesting, unique, and virtuous came along and took charge? And what if that someone is the protagonist of another story?
    Therein lies the writing game! :) Taking a main character from a different work (an old manuscript, or a well-known, published story), putting them in a scene with the main character of the work you're currently writing, and making it so that the protagonist of the current story has to act as the sidekick.  What happens then? Would s/he feel content to yield to the other leader, or would they feel uneasy about not having control for once? Would they be okay with doing whatever the other suggests, or would they occasionally defy an order? Would they accept the other as their leader at all?
    They're interesting things to consider because there's definitely something that differentiates a protagonist character from a sidekick. Sherlock Holmes could definitely not fill the shoes of Doctor John Watson, nor vice versa. Their personalities and other aspects make them fit for their own roles. So putting a protagonist character in a situation where they try to play the role of sidekick could showcase their qualities that are better suited for leadership. If the character is antsy about not having control over what they're doing, it would indicate a confidence in their own decisions. And if the character, even when they approve of the leader, finds him/herself ignoring commands they don't trust completely, it shows that their concern is more focused on doing the job correctly and safely rather than pleasing someone else.
    So, what do you think? Would the protagonist of your current work do well as a second banana? Or are they too independent?

John Rogers: Understanding the Antagonist

Some antagonists see the world with a view that differs
 in only one or two areas; but then there are some
who see everything in reverse--and those are the
tough ones to write!

"You don't really understand the antagonist until you understand why he's a protagonist in his own version of the world."

~John Rogers

    Writing antagonists can be tough. Because we want to write characters that are realistic and relatable on at least a few matters, but it's difficult to relate to someone who does horrible things and has a poisoned perspective on life. And when someone's mindset is that foreign to you, writing about them is like describing a place you've never been. The risk of using clichés and cheesy dialogue is probably at least twice as large for antagonists than it is for other characters. So it's pretty helpful how John Rogers phrases the claim of his quote so simply; that the key to understanding an antagonist is to understand why they think they're right.
    There are basically two ways to understand something: intellectually, or personally. Between them, understanding intellectually seems a lot easier. Because it's just gathering data from observations and maybe some backstory and putting it together to form a conclusion, a simple label. President Snow from Suzanne Collins's Hunger Games, for example, sends children to their deaths to remind the Districts of the Capitol's strength, and uses the surviving "tributes" as pawns for his own gain. Diagnosis: he is power-hungry, and his heart is too hardened to show any sympathy. Coming up with that conclusion was easy; it just involved looking at his actions and making connections.
    But how would you come to understand why he's a hero in his own mind? How would you understand his actual thoughts on his behavior, how he justifies his actions so he can live with himself? This would take some digging that goes beyond the surface of his actions; it would call for actually knowing what he's thinking personally, being aware of how he treats matters when he's not putting on a show for others. One way that might shed light on such personal thoughts would be to write a scene where the antagonist is acting outside of the story, out of view of the other characters, just doing what s/he does in regular life. Another way to understand their beliefs is to hear it from their own lips--maybe in an interview-style dialogue. Those bring out the distinctness of their personality, and they're good for learning new things about the character.
    So, have you ever given much thought to understanding the mindset of an antagonist on a personal level? Do you take extra time before starting the story to write something where they explain why they think they're in the right?

Writing Games: Once Upon a Time

A dramatic event, or just a couple years, can make someone
into a completely different person; what was your main character like,
once upon a time?

    There's a very bright, nostalgic connotation to the phrase, "once upon a time." It's a classic statement of beginnings, the opening to a story.
    Today, an editor would probably groan very loudly if they saw the first line of a non-fantasy/non-parody story read "once upon a time." But what if it's not a first line, and it's not the narrator using the phrase? I once read a book where the antagonist talked about who he was before he turned corrupt, and he started by saying, "Once upon a time, I was . . ." The way the character used that particular line to define who he was before the written story started was really dramatic.
    And it sounds like it'd make a really cool writing exercise. Not only is it great for summarizing a drastic change in a character, but it can also point out one of the most important aspects of a character, a trait that affects everything they do. For example:
    "Once upon a time, I believed in true love." This kind of statement, spoken by a character at the starting point of the story, would show a vital point in the character's history (a broken heart, perhaps). In addition, it shows what the character's attitude towards this major topic in life will be like; she may scorn the "happily ever afters" of movies with a romance subplot, and roll her eyes when a friend talks about how wonderful her boyfriend is. And since this statement showcases what she's like at the beginning of the novel, it also shows how this belief of the character is probably going to change, that she'll find herself falling in love throughout the course of the story.
    "Once upon a time, I was just a girl who hunted to provide for my family." This would be something Katniss Everdeen from Suzanne Collins's Hunger Games series would say at the end of the first novel. It shows how this was her normal life at the start--youth, a low stature in society, and that she applied her hunting skills to deer and other animals--but it also sums up how the story has changed all that. Because of the events of the story, Katniss's youth and anonymity in her community no longer exist, and her skills with the bow and arrow have been given other applications. This "once upon a time" statement not only shows what she isn't, but it portrays a vague picture of she eventually becomes.
    "Once upon a time, I wasn't afraid to talk about the things that matter." This is something the main character in one of my own stories would say, at the beginning of the plot. It shows the inner issue he has to overcome (his fear of speaking up about his beliefs), and it also hints that something happened earlier in his life that taught him to keep his mouth shut. In addition to these things, the sentence is also really helpful in summing up the character's mindset. Since certain fears can affect everything a character does (like in this situation), it's pretty important to be consistent in the way the character thinks and behaves. A short statement in the character's own words like this "once upon a time" sentence can be very helpful in getting a good idea of that quickly.
    So what do you think? Does this sound like a fun writing game? What "once upon a time" statements would some of your characters say?

When the Bad Guys Sell their Cause a Little too Well

    I read a novel a little while ago that I was really disappointed in by the end. The premise was fascinating, and the setting and background story were genius, but I felt really let down by the main protagonist, who goes from being a really nice and noble person at the beginning to a coldhearted, corrupted murderer in the end. It wasn't even a tragedy story like Marissa Meyer's Fairest, where the character is expected to turn to the dark side over the course of the story; this was very sudden, and frankly out of character.
    One of the major factors that led up to this character's moral downfall (and another thing about the novel that saddened me as a writer and a person) was the way that the antagonists, the cruel and self-centered villains, presented their cause. There were multiple incidents over the course of the story where the main character was hearing the antagonists' view on a conflict both their sides were in. The antagonists' points were realistic, actually very important things to consider ethically, but when the cruel villains finished talking, everything was just left at that. There was no rebuttal from the main character, or from another one of the good guys; nothing happened in the story that provided a ray of hope, or any kind of proof that showed that the evil deeds of the antagonists were unjustified. By the end of the story (and even well before that), the villains' cause sounded righteous, and the virtuous side from whence the main character came sounded like the wrong one.
    Usually it's a pretty good writing accomplishment when a bad guy can sell their cause really well--it is logical for an antagonist to think they're right, after all; and when their corrupted logic can tempt the character, it's interesting for plot. But in this kind of situation where the bad guys had the final word when they didn't have to, and their claims sounded right when there were plenty of arguments that could have shown that they were wrong, I think the author really crossed a line. Because not only was the main character listening to the villains' argument, and watching their crooked claims go without defiance, but so was the reader.
   And while people don't believe everything they hear, stories still have a special sort of power that can potentially sway a person's views. Characters might not be "real" in the sense that they aren't walking on our streets, and the settings might not actually be established places on earth, but the principles of the story's themes, and the way that a reader can connect with characters is very real. So when a person writes a story with a great (at least, initially great) protagonist/narrator, and makes an un-refuted claim that  willfully evil actions can be justified and accepted, or that genuine goodness doesn't even exist, it's possible that a reader will make some partial connections to the real world and really accept this as truth. And that is a seriously horrible and tragic thing to happen.
    There are a lot of books where the established "heroes" of a society really do turn out to be corrupt, and where the villains do a top-rate job at persuading people to their side, but those stories don't push it too far like this book I read did. They don't absolutely blot out the line between good and evil. They show that the world can be a pretty corrupt place, but they also provide that goodness and truth can still prevail. They show how there is a difference between right and wrong. They let their antagonists make seemingly bulletproof arguments, but then they bring in someone who points out all the cracks and flaws and outright lies in it, who gives an argument of their own (or prompts the narrator to create one) that stands for truth, virtue, and the good things that the world really needs to stick to, not abandon.
    There are ways to apply the skill of persuasion to antagonists without going too far, but it is important to make sure that they don't go too far. Does anyone else agree with me on this?
    Have you read any novels where the antagonists' cause stands unquestioned? Or have you read a book that applies a healthy measure of persuasion, where the antagonists sell their cause really well, but not too well?

 

Writing Games: Matchmaking

    Happy Valentine's (or "Galentine's") Day, everyone! :D Guess what today's post is going to be about?
    Romance! Relationships and couples in fiction are awesome; they usually have perfect chemistry, we can see their whole beautiful story together, and the characters were actually made for each other. Another awesome thing about fictional couples that writers like us can enjoy is that we can actually make our OTPs ("one true pairings;" two characters we think would make the perfect couple) happen in what we write, whether it's in one of our own stories, or if we're writing fanfiction about other novels/shows.
    Now often, the main characters of a story already have a love interest, but that doesn't mean that a writer can't experiment by writing scenes where they're in a relationship with someone else (there's no harm done to the original couple, after all). It's pretty interesting to tinker with character relationships this way, figuring out how well things would work out between the main character and other characters in the story. Or, in an even more interesting experiment, with a character from a completely different story.
    Is there a character in another novel that would be the perfect partner for your protagonist, antagonist, or sidekick? Would Tris Prior (minus Four) be a perfect match for the kick-butt hero ? Would Sherlock and his mindpower be a great partner for the brilliant best friend? What would make them so great for each other? Shared (or opposing!) characteristics? A similar taste in friends? Shared interests, hobbies, or favorite past-times? What makes them work well together?
    Playing matchmaker like this can be really fun, but the creative exercise gives even more than that. Even though the characters probably won't actually be together in the story, the thought put into what made the characters compatible for each other, and what they would actually do together is good for learning about what the character from one's own story is like in a relationship; and that can help with the romance subplot (or main plot) in the story. Plus, if one's trying to come up with a love interest to give a character, this writing game could help come up with the right characteristics for them to have.
    So which fictional character from another story would be a perfect match for one of your characters? What makes them compatible? Or would the character be the kind of person who hangs out with their friends and family on Valentine's Day?

A Character's Family Members

    Ah, family members; you've gotta love 'em. Every person from the favorite uncle to the distant cousin is so unique and awesome in their own way. It's really cool to see families in fiction, not just because of the awesome beauty of those kind of relationships, but because being part of a family ourselves, we can relate to their family matters.
    Parents seem to be the most prominent family figures in a person's life at any stage, including adult life. In Kathy Reichs' Bones novels, the protagonist has a mother she talks with, and who helps her on at least one occasion with her mad computer skills.  Then of course there are the parents with roles in YA fiction, usually giving guidance or insight to their kids. Very close uncles and aunts can also fill in these parental roles really well too, acting as role models (or just really, really fun figures!). These kind of mentor characters can have so much wisdom and just have an admirable role in a story.
    And then there are siblings. They make great minor characters; in Kiera Cass's Selection series, the protagonist's younger sister gives her encouragement that motivates her to stay in the competition. But even when siblings don't play a major role in the story as characters, having them around can set up for existing conditions--like if a character has a baby sister who takes all the attention of their parents, conveniently giving the protagonist lots of time to themselves and the other characters s/he's with in the story.
    Overall, just like in real life, family members also tend to shape aspects of a character's personality. Lots of fictional villains turned to the dark side partially because of a bad home situation, and many good guys draw inspiration from a noble relative. Some characters end up echoing their own parents or older siblings (which could be considered a flaw they eventually overcome), and some are determined to become the polar opposite of them. There are tons of ways that a character's family influences who they turn out to be, and those little details can add so much depth!
    Not to say that every single character should have a family member popping up in the story, but I think the relevant details of a character's relationship with their family is good for character development. Plus, in writing, it's always pretty good to have some nice backstory information in stock just in case it eventually becomes applicable in the story, right?
    What are your thoughts? Do you have any favorite fictional families?

Writing Games: What Would They Take?

If an unforeseen disaster struck, what items would a certain character
take before running for the hills?

    There's a very classic writing prompt that basically goes like this: The house is on fire and you have five minutes to grab some important items before fleeing, so describe what you would take and why. It's good for describing objects and for prioritizing what's really important to a person, and with a little spin on this writing prompt, it could also be great for developing characters in a story-in-progress.
    If there was a sudden emergency at a character's home (it could be something like a fire or a tornado, or a need to go on the run before the hour is up), and they had five minutes to grab some items, what would they take? How long would it take them to get these things, and would they have any difficulty getting to items? If the house is on fire, going up into the attic or down into the basement would be highly dangerous, and if one item is locked in a combination safe, it might be better to leave that item and take four others instead.
    The prompt could be even more interesting if the character doesn't have a house though, like if they live at a campsite or if they're staying in a hotel room temporarily. This could make their ability to reach items easier and quicker, but it could also make leaving the area more difficult, and change their priorities. For example, someone staying at a hotel wouldn't have the space in a suitcase to fit a blanket or more than one spare set of clothes, and someone living on a mountain might need a lot more time for getting away from the area.
    So which character would you pick; the protagonist, antagonist, or a minor character? Which items would they choose? Would they actually pick the most important ones, or forget vital items they'll need? What are the character's priorities, and how prepared are they for the unexpected?

Writing Games: Never and All the Time

    Have you ever gotten bored of trying to describe characters in one sentence? "John is a sullen person," "Jane is happy-go-lucky." Short summarizing statements like this can be good for making a character's personality consistent, but it can get pretty tricky sometimes to keep from using the same term for multiple characters.
    But what if instead of focusing on one character and one adjective, a sentence like this was used to summarize: "John never smiles, but Jane does it all the time."
    There are numerous helpful things about never/all the time sentences like this. For one, it helps come up with a defining characteristic for not one but two characters, and it does it in a more creative way than coming up with just one word to describe them.

Squirrels in the park are never very
dramatic . . .


    Secondly, writing never/all the time sentences is an exercise that helps one remember characters in their story. It jogs the memory of what they're like and how they might have associated with each other.
    Thirdly, a never/all the time statement might uncover a parallel trait that wouldn't usually come up. Using the John and Jane example: if John never smiles, he could just be a pretty serious person, or he could be hiding his emotions behind a continual scowl; similarly, if Jane's always grinning from ear to ear, she's got to be either uniquely peppy or someone who's very accustomed to masking her real feelings, like John. In this context, the never/all the time sentence doesn't show opposing personalities, but opposing reactions, which can make a relationship between these characters more interesting.

. . . but spoiled housecats, on the other
hand, are dramatic all the time!

    Fourthly, writing never/all the time statements for characters is useful because they could point out a weaknesses of each character, which could be focused more on in the written story. John could look at Jane and think that he's never as happy as her, or Jane could look at John and think that she's never as focused and respected as he is; either of these could add conflict to the story or build on a recurring theme.
    Finally, coming up with never/all the time sentences is also just fun to do; it's a writing game!
    Can you think of a "never and all the time statement" for two characters in one of your stories? :)

Three Ways to Talk with Characters

    Talking with characters is a great writing experience. Putting the "we talk to imaginary people" jokes aside, it's both an indicator and a writing tool. Being able to construct a realistic and interesting conversation with a character is a sign of how deep and well written a character is. And as a writing tool, conversations with characters can give an opportunity to develop the character more, and bring up important factors in their backstory that wouldn't come up in the written manuscript. Plus, frankly, having a talk with interesting figures (even if they're fictional) can be really fun.
    A couple forms of talking with characters include:
   Narratives. These would be just like regular scenes that focus on questioning, told from the point of view of either the questioner (oneself, the writer) or the character being questioned. Like this:

    "So," the stranger said to John. "What's your favorite color?"

    John had a really deep feeling that he knew this person somehow, but he couldn't put his finger on it. Nevertheless, he decided to go with it. "Red, I guess."

    It's really great how one can get an in to the character's thoughts through scenes like this; it gives more room for developing the inner details (emotions, immediate thoughts, minute gestures), which formal interview scenes can't really do. Plus, narratives are a good exercise for balancing actions, thoughts, dialogue, and descriptions. However, unfortunately, narrative scenes like this have an upsetting potential for going down rabbit holes (leading away from the planned questions), and finding smooth ways to go from question to question can be pretty tough.
     Interviews. Very different than narratives, formal interviews are usually solely dialogue and the occasional action tag. To avoid the temptation of adding description or excessive action tags, it's helpful to write it as a script like this:

    Writer: What's your favorite color?

    Character: Uh . . . [squints, deep in thought] blue, maybe?

    Interviews are a little quicker than narrative scenes because one doesn't have to mention action in the background, every single gesture the character makes, and setting descriptions are cut out completely. One can just go down a list of questions naturally, and while avoiding (most) rabbit trails. The downside to this sort of chat though is that sometimes it can be difficult to come up with really deep questions (deeper prompts than "What's your favorite color?"), and gauging reactions without descriptive gestures can be tricky.
    Mental conversations. It can actually be done out loud, but being quiet about it is probably best, since it really is awkward to be seen talking to a wall. Having a mental conversation is just like it sounds; basically just thinking out a conversation between oneself and a character. No plans, no outlines, just daydreaming. Such a conversation might go like this:

    "So, what's your favorite color?"
    "My favorite color? Why on earth do you want to know that?"
    "Uh . . . curiosity?"
    "Funny thing to be curious about . . ."

    This is the easiest and quickest way to talk with a character, and it can bring out the character's strongest voice, but it's also sort of the least reliable way to get information unless one is somehow recording the chat. An audio recording would catch everything if the conversation is spoken aloud, and a few quick notes on the important subjects (like a unique term the character tends to use) can be just as effective. However, if diligent notes aren't taken, and there's no record whatsoever, the risk of forgetting what could have been useful is very, very, very high.
    Talking with characters; what's your view on the matter? Do you ever do it? Do you use any methods other than these three?

Borrowing!

    Does anyone else read the fine print in the very first pages of a novel? The ones that show the publishing house and the  book's subgenres and the legal stuff? It's pretty interesting; particularly when there's a short, short, short summary of the book (you know, the kind a writer finds impossible to write for their own story!). There's also another interesting few sentences near the bottom. It's a disclaimer of sorts which states that none of the characters, settings, and events in the story are actually real. That they're completely, totally, utterly fictional.
    That kind of makes one wonder about the characters that are based off real people. Not copy-and-pasted, of course, but inspired by persons in the real world. A lot of published authors are said to have written characters slightly based off friends, family members, and other people they knew. Alice Liddell, Tom Sawyer, Sherlock Holmes, and even Iron Man supposedly had real-life counterparts that at least partially inspired them.
    Hearing the stories about these people is cool, and it's also awesome when one considers how their own acquaintances might have been inspirations for their characters. It's not an uncommon practice for any writer to do that. "Borrowing" little things from the real world and putting them into a story. As long as it's not too much, little things taken from real life can make a character more three-dimensional, and bring hilarious and believable incidents into scenes.
    Physical appearances, for example, can be borrowed from real life. Not just hair or eyes or even a sort of smile, but a certain outfit can be too awesome to not give to a character.
    Habits too, like snapping one's fingers to every song they hear, or straightening books in a room (but nothing else). It can add so much flavor to a character.
    And names! Haven't you ever met a person with an incredibly awesome name that you just want to use for a main character? Not their whole name, of course, but a first name, surname, or middle name.
    One of the best parts about borrowing is that when you've experienced/seen/have the characteristics, you can write about them easier and more accurately. Plus, a lot of people would be excited about seeing some of their own words/actions in an awesome story.
    But there is a dark side to this sort of thing. There's a law that allows someone to sue for libel if a fictional character bears a little too much resemblance to them (often in an unflattering way). And then there's the matter of hurting feelings. The teacher who was supposedly the inspiration for Severus Snape in the Harry Potter series was said to have been really dismayed when he found out. Nobody likes to have their negative characteristics and flaws splattered out in print.
    So yeah, borrowing should be done with consideration of others' feelings, and perhaps permission prior to writing. But with that consideration and permission, borrowing is a really cool writing technique!
    Have you ever written a character inspired by someone you know? When you think about the character, do you think about the real life person? Or when you see the person, do you immediately think of the character?

Writing Games: Occupation

    What if my protagonist worked in a grocery store? Has anyone ever wondered that? Daydreamed about a particular character in their current project having an ordinary modern-day job?
    What sort of job would they have with their abilities (handiness with tools, superpowers, finely toned charisma)? What sort of environment would they prefer; a busy shopping mall or a little shop with a very small staff? Would they work just to make a living, or because they love their career? What time of the day (or night?) would they work during?
    How would they interact with coworkers, their boss, the customers? Or would they work a job that gives them complete solitude? What kind of ovation (or trouble) do they get in their work? What do they accomplish? How do they get to and from work?
    This writing prompt asks all of these questions and places your character (protagonist, antagonist, sidekick, mentor, etc.) in a place they might never be in the story. It can be fun and a nice way to develop the character more.
    Here are a few examples of places to work:
    -Fast Food     -Restaurant     -Grocery Store     -Library
    -Beach     -Amusement Park     -Thrift Store     -Shoe Store
    -Bookstore     -Car Wash     -Doughnut Shop     -Pet Store
    -Café     -Flower Shop     -Barber Shop     -Electronics Store
    Do you enjoy writing prompts like this?

Character Foils

    WARNING: The following post contains at least one spoiler about the play Hamlet written by William Shakespeare
    Character foils. You might've heard about them in English class. Though in case you haven't, or if you have heard of it but haven't considered why they're important . . .
    A character foil is basically a character whose behavior and/or actions starkly contrast with another character's, and they're significant for not only classic literature but also current fiction for multiple reasons.
    Firstly, they help illustrate a folly. Using the classic example of William Shakespeare's Hamlet, the play's namesake and a character named Laertes foil each other. Their opposite behaviors and attitudes are shown as they react to the same event (their father's death) in very different ways. Hamlet takes a lot of time to think about what to do, hesitating, talking to himself, and experimenting. Whereas Laertes doesn't wait, hesitate, or really think at all; he immediately plows into plots to avenge his family. Both forms of action (over-thinking/procrastination and furious impulsiveness) are negative, and it's like William Shakespeare was showing the polar opposites of a spectrum and why they both should be avoided. Two themes in one without a moment of lecturing.
    Foils are also useful for creating conflict. People running in opposite directions on the same track lane are bound to smack into each other. Using the Hamlet example again, the prince of Denmark's mode of action is shown for many scenes before Laertes starts playing a revenge-seeking role. And when Laertes does start acting, it opens up a whole new door of opportunity for the play's villain, and creating serious problems (and ultimately a tragic end) for Hamlet.
    Characters who foil each other don't have to be enemies or rivals though. Elizabeth Bennet and her sister Jane Bennet from Jane Austen's Pride and Prejudice foil each other, and they get along fantastically. As do Sherlock Holmes and Dr. John Watson from Sir Arthur Conan Doyle's various Sherlock Holmes stories--they're complete opposites behavior-wise, but their differences often make them a stronger team. The fact that they foil each other also makes their friendship unique and memorable to this day.
    Other examples of character foils (at least in my opinion)  are America and Celeste from Kiera Cass's Selection series, Steve Rogers and Tony Stark from the Avengers movies, Peeta Mellark and Gale Hawthorne from Suzanne Collins's Hunger Games series, and Alby and Newt from James Dashner's Maze Runner series.
    Can you think of other character foils? Does your novel/short story in progress have one?

Writing Games: What's On the Table?

    Sometimes for a couple moments, it's fun to daydream up a scene where a character is meeting with another--usually someone who's either meeting the character for the first time or has met him/her only a few times--sitting at the  table with the first character's favorite snack set out.
    To be efficient about the creativeness of the scene, one has to think for a couple moments what kind of snack it is. To determine that, some contemplation of the character is involved. Are they carefree and eager to accept the privilege of tasty fast food, or do they discipline themselves strictly to a diet? Do they enjoy the sweet taste of chocolate, or do they prefer the mellower sweetness of melon? Are almonds their fancy, or is buttery popcorn more attractive? Or does this character drink something fun like soda or hot chocolate or tea in their relaxing time?
   And it's not just the type of food that can play a role in this daydream. The condition of the table and the room itself can factor in. Are they even eating at a table, or is this snack being consumed in armchairs or in hammocks or on the floor? Are they in the kitchen, the living room, outdoors? What's the environment like? Clean, fancy, dirty, organized? Are crumbs burning under the oven's range as the two characters chat? Is there a pleasant aroma of freshly cooked/baked food in the air? Is sunlight streaming in through dust-free blinds, or is the place lit by an electric light on the ceiling?
    All of these things can affect which way the conversation goes in the scene, and it shows a little bit more about the focus character's life and personality. All in all, writing a snack/meal scene can be a nice writing exercise.
    So what's your protagonist's (or other character's) kitchen look like, and what's on the table?

Ways to Make Characters Loveable (Part Two)

    The last post on this subject was kind of centered on endearing outer traits that make characters pleasant to be around. This post will be more about the things on the inside.


Some people are afraid of crows--or birds in general.

    -Fear. Everyone's afraid of something. Snakes, spiders, the unknown, death. General or specific fears can both be very sympathetic and it's a weakness that can be worked through in the story. In An Unexpected Journey, the first part of the Peter Jackson movie adaptations of J.R.R. Tolkien's The Hobbit, sheltered Bilbo Baggins is spooked by . . . well, everything outside of the Shire. His anxious reactions to things outside of his comfort zone are funny, but also endearing. And understandable in most instances--because who wouldn't freak out if they got lost in a dark cavern inhabited by the likes of Gollum?
    -Good intentions with few successes. On the masterpiece of a show Downton Abbey, there's a character named Mosley who's the epitome of kindness. He's intelligent, timid, caring, and often does selfless things to help others; but for the majority of the show, opportunities seem to pass him by almost all the time. He has a humble desire to improve his status work-wise, but every time an opportunity comes up, he's typically shut down. Sometimes the tone of these scenes makes it slightly funny, but even while chuckling we would always say "Poor Mosley!" It was impossible not to like the guy!
    -Regret after doing something wrong. Even the noblest people have bad days, act like a jerk for a moment, and feel crummy about it later. And sometimes, even generally jerk-y people feel bad when they go too far. In one of the original Sherlock Holmes stories by Sir Arthur Conan Doyle, Holmes does something that unnecessarily jeopardizes his and Watson's lives. Once the danger has passed, he actually openly apologizes. Anyone who's read some of Sherlock Holmes stories--or have watched the popular Sherlock series--know that this is a considerably huge deal. It's a rare moment of humility and repentance, and it shows that the character isn't unfeeling. It shows heart, and heart is loveable.

 

    -Brokenness. Usually before or right at the climax, a protagonist can have everything stripped away from them. Take away all their defenses. Let them hit rock bottom. Eliminate their support team. Let vital battles be lost. It's common among writers to joke about this--you know, how we imagine up these wonderful characters we love and simultaneously scheme ways to take everything they care about away--but it's really a serious and delicate process. When someone's world falls apart, it's a real, painful, and terrifying thing; not just something to make a story more dramatic. A breakdown moment in a story, I believe, should be written delicately and mindfully for the purpose of illustrating how it happens in real life, and how a person can rise up--or be risen up--out of it.
    -Redemption. The anti-hero goes back onto the noble road! The bad guy comes to the light! Yay! Awesome! A prime example of this kind of thing in a book character is Edmund Pevensie from The Chronicles of Narnia books by C.S. Lewis. A lot of people adore this guy because of his wit in the movies, but I think his redemptive factor also attracts people. At the beginning of the book, he's selfish, rude to his siblings, and he disregards the warnings of a loved one, causing pain and damage to others in doing so. Everyone's done or been at least one of these things on a smaller scale. When Edmund turns back to his family and Aslan, he finds total forgiveness and redemption, and goes on to be a warrior. This is a wonderful story that can, in a real-life context, be replicated. And a life story like that is wonderful to hear!
    -Make the readers see themselves in them. This is probably the most effective way in making a character sympathetic, which is potent in making them loveable. When we share a character's problems, fears, hopes, beliefs, and similar personalities, it's like we can see pieces of ourselves in them, and we really know and understand them. And that's not only cool in how it's like we're in the story ourselves, but when the character finds strength and encouragement, we do too!
    Are any of these factors the reasons your favorite character is your favorite? Which character and characteristic would that be?

Writing Games: Fairy Tale

If you ignore the faint telephone lines by the tree,
this could look like the kind of weather in a fairy tale, right?

Fairy tales are cool.    And not just the ones where the main characters are princes or princesses. The heroes and heroines in some fairy tales have other occupations or even none, rising to fame and victory through skills related to their lifestyle.
    Numerous novels and movies have been modeled after stories like that of Cinderella, Rapunzel, Hansel and Gretel, Little Red Riding Hood, The Little Mermaid, etc. They're unique stories with varied characters, touches of the unusual, and typically a happy ending. These factors add up to memorability that keeps these stories alive after many, many years.
    Have you ever wondered how the character/s in your project would behave in a world and a situation like that? Would they, having been shaped in a different environment, behave differently in certain ways? Would their core be altered at all? Would the female protagonist throw herself into a prince's arms, or make a run for it? Would the male protagonist climb up the golden rope that suspiciously looks like human hair, or would he do something else? Would the villain send out a huntsman to eliminate an enemy, or would s/he use a different tactic?
    The game is to throw your characters into a fairy tale world and see what happens. Have fun! :)

Ways to Make Characters Loveable (Part One)

 Likability is a necessity for main characters--the reader's got to at least tolerate him/her since they're the person they're going to be going through the story with. Fandoms are a mass of people who adore a book/TV/movie series, and a majority of that adoration is for the characters.
    Here are a few things I've noticed that tend to make characters really likeable:
    -Heroic qualities. Depending on the type of person the protagonist is, his/her actions should at least be somewhat noble. Even if the protagonist's an anti-hero, they could have some sort of soft spot for certain people/situations/beliefs that make them do nice things occasionally. I can think of many a story where the protagonist is a thief who likes stealing from unsuspecting people, but sometimes gives what they take to others with severe need. It doesn't justify their thievery, but it does make them less selfish and more likeable.
    -Pets (dogs, cats, birds, lizards, etc.). Some people adore animals. And though a puppy or a charming parrot in a novel isn't bound to make just anyone's heart melt, it could show a softer side of the protagonist, and therefore make him/her more sympathetic to a reader who likes animals. Plus, the animal itself could also be a really cool minor character or sidekick. There's a very interesting character in Jackaby by William Ritter who happens to be a duck!
    -Romance. Who doesn't want to fall in love? And when the couple in the story is right for each other, it's very possible for readers to get excited about them getting together. And when a particularly compatible pair who have been oblivious to each other for most of the story finally notice the other person, it's like you want to punch the air and shout "yes!" right?
    -Humor. Laughing is fun! As long as the humor is appropriate for the genre, it can make the reading adventure even more enjoyable. Funny people in real life are very likeable, and fictional characters who make people laugh on multiple occasions are liked and welcomed into scenes. That doesn't mean a "funny" character is one who's always making wisecracks or slipping on banana peels, but maybe they could just say something hilarious every once in a while. The Lunar Chronicles series by Marissa Meyer has lots of pulses of humor from various characters, giving it lots of humor without (at least in my opinion) forever labeling one particular character as the "funny sidekick."
    -Happiness. Along similar lines of the humor, a character who's happy is a character lots of people would like to be around. Think of the Eleventh Doctor from Doctor Who--not only is he funny, but he's constantly happy and it's contagious. It can make the viewer of the show grin with anticipation as he yanks his fellow characters into his TARDIS for another adventure.
    -Underdog. When a character's an underdog with a disadvantage, it can make their stories even more inspiring and interesting to people. Having to overcome multiple obstacles to achieve a dream is interesting, and it sweetens the moment when the protagonist attains their goal. Rocky is a movie that comes to mind, and a book series that could also be considered an underdog story is the Selection series by Kiera Cass.
    Do characters in your current project have any of these traits? Do any of your favorite characters in novels/movies/TV shows have them? :)