Archive for the ‘Characters’ Category

Character Art Collection

Monday, July 21st, 2008

One of my favorite resources for fleshing out a character is the vast wealth of portraiture found online. Art, photos… There are multiple ways to use such items to help you with a character. The two major ones are art to character, or character to art to character.

Art to character: In this case, you simply find a portrait that inspires you and create a character around it. Your character doesn’t have to ‘accurately’ reflect the portrait: for example, you might base a female character in a fantasy world around a painting of fairie queen, even though your character is wholly human. The important part is that some element of the image fires your imagination and helps to fill out any gaps in the character you’re creating. Clothing, hair, facial expression, body posture, gesture: all of these things can inspire character elements.

Character to art to character: In this case, you start with a character you’ve already begun. You then look for an image that suits that character. This can take quite some time (particularly with male characters—it tends to be much more difficult to find male portraiture), but can be very worthwhile. You might end up picking out one or more characters that are close to what you want but off in one or more details. Then, you reverse it: you see what additional inspiration you can take from any image(s) you’ve found, just as in the first option.

I created a DeviantArt account largely so that I could start collecting DA character portraiture in a convenient place. It occurred to me this morning that I should link to that collection so that anyone who comes across this might use it as well. So here you are: the ever-expanding collection of character images. Here’s one of my favorites:


Mystery Guest by ~Niquita on deviantART

Mountain Men

Friday, July 18th, 2008

Today, create a side character (someone who will appear in a story but isn’t meant to be the main character). Base the overall image on a stereotype, but then give the person a quirk that’s completely unlike that stereotype.

When we last moved four years ago, we culled much of our book collection to make moving easier. We took a number of our books to a free book exchange at the local dump, and filled the shelves with roleplaying volumes, science fiction and fantasy, and even cookbooks. This was in New Hampshire, and on one of our trips back to drop off more books we spotted two men—one maybe in his 30s, the other in his 40s or 50s—who seemed to fit the New England redneck stereotype. They were dirty. Their hair was wild. They wore overalls, one of them without a shirt underneath.

And they were exclaiming with joy over the science fiction novels as they gathered them up by the handful.

It was completely unexpected, and I’ll probably never forget it as long as I live. That’s what makes a person real instead of a stereotype, and that’s what makes a character memorable and fascinating, even when he or she is just passing through your story or lending a bit of color to a setting.

Wedding Bells

Thursday, June 19th, 2008

Imagine that one of your fictional characters is getting married. How would it happen? Write the scene.

Alternative #1: Imagine that someone close to one of your fictional characters is getting married.

Alternative #2: Imagine that you are getting married!

Weddings can bring out the best and worst in people. They’re watershed moments that tend to be remembered for decades. They can be small or large, happy or bittersweet, tragic or uplifting. And like many other such moments, they can tell you so much about all involved.

 

As an illegitimate daughter, Cea had only been allowed to attend her father’s wedding as any other unrelated member of the house might: standing anonymously amongst the other unmarried, low-ranking sons and daughters of the house. At the reception she hung back, away from the wedding party, sipping her drink to cover the disconnected feeling that haunted her.

Her father’s new wife was barely two years her senior.

This shouldn’t have surprised her—didn’t—but it certainly felt awkward. She hadn’t even met the young woman, and had no idea what to call her.

It was late when Cea’s father steered his new wife toward Cea. His handsome face was impassive; she knew the wedding hadn’t been his idea, and he likely hadn’t met his new wife before the wedding was arranged several weeks earlier. He obviously wasn’t pleased with the turn of events, but she knew he’d do what the family required of him. The young woman at his side had long brown hair tied back in a thick braid that hung below her waist; she was a vision in silks and velvets. Her face was flushed; some observers might mistake her high color for excitement, but Cea saw the flustered look on her face as she glanced at her new husband. And who could blame her? Dern was a handsome, highly sought-after match; she’d probably hoped to be swept off her feet, not to find that her spouse could hardly even look at her.

Dern lowered his hand to Cea’s shoulder and gifted her with one of his small smiles. “This is my daughter, Cea.”

Cea watched the young woman’s eyes widen. She would have been told of Dern’s daughter, of course, but she’d probably imagined someone rather younger than Cea’s sixteen years.

“Cea, this is Selena.”

Cea curtsied to her father’s wife, lowering her eyes. “Lady, welcome to our home,” she said softly, an almost-undetectable note of sympathy in her voice.

“I see someone I should speak with; why don’t you two get acquainted?” And just like that, he was gone, abandoning his new wife to his daughter.

Cea suppressed a sigh. “Most of the guests you should meet have gone; if you’d like, I could give you a tour of the house.”

Selena pulled herself up as tall as she could, which was several inches short of Cea’s height. “I don’t need the charity of an illegitimate daughter.”

Cea saw one or two heads turn, and again suppressed a sigh. “Of course, Lady. If you change your mind, any servant can tell you where to find me.” She turned and walked away, placing her empty glass on a table and fisting her hands to drive down the frustration that built inside of her. As she left the room she felt a cold chill pass through her hands. She rubbed them together to warm them, stretched her fingers out as she uttered a frustrated oath, and caught her breath as a small, glowing bolt of cold flicked out from her fingers to leave a pock mark in the wall. She stared in shock for a moment, then glanced around quickly to make sure no one had noticed. Seeing no one, she ran all the way to her room, closing and locking the door behind her.

 

Birth of a character

Thursday, May 29th, 2008

Write up a scene depicting your character’s birth or arrival in her parents’ arms or home. You’ll probably find this says a lot about your character’s family and parents, but by extension this can also give you insight into the kind of welcome your character had and how that might have affected her.

For play, here’s a similar scene I wrote recently. I used it just as suggested—as an exercise to get greater insight into a character’s background—so I won’t claim it’s a great work of writing. But then, I’ve often argued that when it comes to prompts and exercises you need to let go and feel free to write crud anyway.

 

The figure at the door consisted of a brown cloak, hood pulled over his face, gloves on his hands. His entire identity was comprised in that moment of a soft voice and an accent the doorman couldn’t quite place. He held a basket in his hands; the baby tucked inside couldn’t be more than a week old at most. It was tiny, pink and wrinkled, fragile-looking inside the gray blanket wrapped around it. At the moment it slept, but the House Khatru* doorman tensed for the inevitable onslaught of noise should it wake and start to cry. “We don’t take in—” he started to say, his voice softened only by the desire to keep the baby asleep as long as possible.

“She belongs to Dern,” the soft voice said, and the gloved hands placed the basket on the ground in front of the door. The figure turned and walked away as the doorman fumed silently. An envelope rested in the folds of the blanket. The stationery was a rich cream color, expensive, and Dern Khatru’s name had been inscribed in an elegant hand on the front. When he picked it up, he found that black wax held the flap closed although no seal had been used on it. Perhaps this wasn’t an attempt to dump a low-born child on the house after all.

He gestured imperiously to a young boy in house livery. “Tell Master Dern that a… an urgent delivery has arrived for him.”

 

Dern followed the nervous page through the halls of his home. It was only an hour or so past sunup and he’d already worked up a good sweat from sparring with his two older brothers. His black hair curled around his face and dripped sweat onto his shoulders. He wondered why the page kept glancing sideways at him as though expecting to be kicked; unlike some of his family he strove to be fair as well as strict. And he was barely considered a full adult himself, which meant he didn’t cut nearly the imposing figure some of his older, battle-scared relatives did.

As Dern entered the sitting room a piercing wail cut the air. He raced forward and drew his sword, fearing some sort of attack. He stopped dead at the sight that greeted him: a man-at-arms stood next to a basket, calling for a wet-nurse and desperately trying to calm a tiny child. Dern sheathed his sword.

“Oh for heavens’ sake, give me the child.” He frowned at the man’s ineptitude and took the little girl into his arms. He’d held and calmed his youngest sister in just such a manner many a time. He couldn’t help smiling at the girl’s healthy cries even as they quieted to faint gurgling noises. Finally a wet-nurse entered and he gave the child to her to feed.

“Whose child is this? And why was I summoned?”

The man-at-arms held an envelope out to him. “Ahh, we’re not certain whose she is, sir.”

Dern took the envelope. “Not certain?” He started to laugh, and then his eyes dropped to the envelope and his heart stopped momentarily in his chest. He recognized that careful handwriting. He looked at the child again, thinking of the little girl’s dark, almost black eyes, and suddenly he knew who those eyes reminded him of—the young woman he’d had such a brief and passionate affair with, who’d stopped seeing him without explanation just eight months ago. Eight months… His mouth dried up as he tore the envelope open. The small sheet of paper inside held only one short sentence, in the same hand as the envelope: “Your daughter’s name is Cea.”

He took his now-sleepy daughter from the wet-nurse’s arms, staring at her for a long moment before carefully tucking her back into the blanket. “Take my daughter to the nursery,” he said, looking away as the nurse’s eyes widened in surprise.

*House Khatru is from Monte Cook’s book Ptolus.

It’s a short piece, but I think it implies a lot about her father, her family-to-be, her upbringing to come, and even her mother.

 

Disappointments

Friday, May 9th, 2008

If you’re a non-fiction writer: What’s the biggest disappointment you’ve ever faced? Free-write for 10 minutes.

If you’re a fiction writer, pick a character and: What’s the biggest disappointment he or she has ever faced? Free-write for 10 minutes, or write the scene itself.

Gender Roles

Monday, April 14th, 2008

This morning I got to thinking about gender roles in some books. So today, I’m going to suggest that you grab a sheet of paper and a pen, set a timer for 10-20 minutes, and write about gender roles in your own writing.

Let this take you wherever it happens to go. You might start out writing about a recent story you penned, and end up describing an unusual character you want to create for your next book. You might start out describing a character you aren’t sure how to write, and end up ranting about someone else’s depiction of gender roles. Go wherever it leads.


got loot?

The Power of Ritual

Monday, April 7th, 2008

Writers of all people tend to be familiar with the power of ritual in one’s life. After all—that’s one of the reasons behind engaging in writer’s prompts. The familiarity of ritual can help to put one in a particular mindset, go after a certain goal, work on a difficult project or personality trait, etc.

Today, write about a lifelong (or career-long, or the equivalent) ritual that a person uses and how that affects his or her life. If you prefer to write non-fiction, journal about the place of a ritual in your own or a relative or friend’s life. If you prefer to write fiction, create, examine, or explore the place of a ritual in the life of one of your characters.

For a beautiful example, read Jervis’s blog entry The Next Rank, about a ritual that saw him through his years in the military.

Photo Album

Tuesday, April 1st, 2008

Imagine that one of your fictional characters has pulled an old family photo album from a shelf. He retires to a couch to look through it. What does he find? Describe at least one of the photographs—something that surprises him or catches his attention—in detail.

This could be a photo album that belonged to a previous generation, or one from his own childhood. If you don’t tend to write about modern or futuristic worlds, you can substitute some sort of sketch book for a photo album (perhaps a family member possessed some artistic talent and liked to draw other family members or unusual occasions).

As an alternative exercise, look through photo sites on the internet and pick a photograph to represent the one he finds; write about it and how it fits into his life and family.

 


wanna be my muse?

Character Questions: The Letter D

Friday, March 28th, 2008

Here are more questions you can ask of a fictional character to help you flesh him or her out a bit more. The number you decide to answer will probably depend on how much detail you go into—the more inspiration you find in a single question, the fewer you need to explore on the whole. If you want a ton of questions to choose from you can visit our page of writers’ resources, which has a link to our pdf of 365 character questions, but I recommend only answering a few questions per character so as not to burn out on an individual character.

  • Debonair: Where does your character fit on the suave-to-bumbling scale?
  • Deadly: How deadly is your character? What could make her kill someone, and how would it happen?
  • Daffodil: What does your character think of bright, sunny, happy flowers?
  • Drawing: Does your character have any artistic skills to speak of? If so, what are they and how good is he at them?

Sometimes the most unlikely or seemingly meaningless question can yield unexpectedly interesting results. You never know which characters are hiding odd habits, abilities, or events from you. Any strong word—particularly a verb or noun—can be used as the basis for a question, so if these options don’t do it for you, look for more options elsewhere.

If you prefer to write non-fiction rather than fiction, ask character-building questions of yourself and journal about the answers.

Imagined histories

Wednesday, March 12th, 2008

A well-loved practice technique of writers everywhere is to imagine identities and histories for the people they see day to day. What does that girl on the subway with the shiny purple pants do for a living? What kind of a family raised the huge man in the ill-fitting business suit, and why does he never wear the same tie twice? What secret life does the woman with her sad eyes and her chai lattes lead? What does the young man with the haunted eyes conceal in his tightly-clutched backpack?

Today, go somewhere public and make up histories for the people you see. But first, read this wonderful example of someone else’s tendency to invent stories for the people he meets.