Errant Epiphanies
A home for writing and creativity exercises

Posts Tagged ‘Characters’

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.

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.

 

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.

The Fall Guy

Friday, February 22nd, 2008

It’s been a while since I gave you an image-based prompt, and I came across a piece of artwork recently that I simply must share. I particularly love images of people for the kind of intensity and personality they can convey if the artist or photographer is good. Today, look at the image that follows and do any of the following:

  • Write a monologue or interior monologue from this man’s perspective.
  • Write or outline a story in which he plays a significant part.
  • Write a story that is significantly impacted by him but in which he never directly appears.
  • Free-write for ten minutes or one side of a sheet of paper, speculating as to who or what he might be.
  • Write a dialogue in which he participates.
  • Write or outline a story in which he’s the ‘good guy.’
  • Write or outline a story in which he’s the ‘bad guy.’
  • Free-write for five minutes about who he’d be as a good guy. Then free-write for five minutes about who he’d be as a bad guy. Finally, free-write for five minutes about who he might be if he fit into neither category.
  • Create a creation myth for this figure.
  • Leave a comment here with your own suggestion for an exercise to be added to this list.


The Fall Guy

By moonmomma on deviantart. She has a ton of creative, inspiring pieces, so please check them out!

The Disappearing Gold

Thursday, February 21st, 2008

My grandfather, who moved to the United States from Holland when my mother was just a child, had some interesting habits. One of them, apparently, was to keep several gold bars which he buried somewhere on his property. Now and then he would move them from place to place. He grew up in Europe during troubled times—lived there through (and was involved in) both World Wars—so I don’t think keeping this sort of cache is particularly odd for him. However, it makes for a fascinating story, as does the fact that after his death, the bars were never found despite the use of a metal detector around his property. They could be there still (it wasn’t a particularly small property—we’re talking rural Vermont, and his home included a pond and an apple orchard), or maybe he sold them at some point in order to buy items from the companies that kept trying to convince him he’d ‘already won’ this or that sweepstakes. (He was a brilliant man, but that was one of his quirks as he aged—he was very prone to believing those claims.) Regardless of what happened to those bars, it makes a great set-up for any number of stories.

Your story could start with the new family that buys the property and eventually finds Opa’s cache of gold bars. It could center around what he did with those gold bars and why they aren’t on the property any more. It could center around the last years of a fascinating man’s life—the kind of man who would bury gold bars on his property yet fall prey to sweepstakes scams as he passed into his nineties.

By the way, here’s another cool detail about my grandfather: he’s the Dr. Jacobus Rinse mentioned in this article. He was indeed diagnosed with heart troubles in his 50s such that he was given little time to live, and, in a move that was far ahead of his time, he went on to perform research on such things as cholesterol and trans-fats that led him to develop a breakfast formula that helped people worldwide. After that diagnosis he lived to be 94, and even then he died not of natural causes, but when he attempted to save the life of a younger friend who started to drown while swimming in the pond on his property. Right until the end he was walking his own dog and chopping firewood.

So today, write about a grandparent, or someone old enough to be a grandparent. We so often think of the elderly as not terribly interesting, when the exact opposite is true: these are people who’ve lived terribly rich lives and have abundant stories to tell. Try to write a short story that hints at these stories through details (such as the moving gold cache and entering every sweepstakes) without spelling out the person’s history. You might even tell the story through the eyes of that family who subsequently moved into the old man’s house, creating an image of a man without his direct presence.

You can use my grandfather’s details as the basis for your story, use a relative of your own, or make up a fictional character.

Edited to add: I happened to find a brief tale of gold that made me think of this.

Author Ownership?

Wednesday, November 7th, 2007

Since J.K. Rowling made her controversial announcement that Dumbledore is gay, many people have been arguing over what ‘right’ an author has to determine the facts of his or her world beyond what’s written in their books. I was over at It’s my blog and I’ll say what I want to (may have mildly NSFW language here and there) this morning and came across Can an author ever truly own her characters? In it Karen Scott responds to another blogger’s questions over whether an author truly does have the ‘right’ to do whatever he or she wants to their worlds and characters:

My answer is that although the author creates the characters, I don’t think she solely owns them. Of course she can do with them what she wants, she has the pen after all, but I think she does owe some consideration to the fans.

Now I’m not saying she should write to please her readers because that would just be crazy talk, but I do think she has a duty of care to the people who buy her books, to ensure that she doesn’t irreparably damage her characters, or totally change who they are.

I have a take on this that comes at the issue from a slightly different direction. Here’s the comment I left on that blog post:

Rather than feeling the writer has an obligation to the fans or readers, I tend to feel the writer has an obligation to the work. E.g., you don’t kill off a character ‘just because you can,’ because that isn’t being true to the work. You don’t have the characters act out of character because that isn’t being true to the work.

I don’t think the writer ‘owns’ the characters, but I’m thinking in a slightly different way than perhaps that implies. Each reader brings his or her own impressions to a work—his own interpretations, visualizations, nuances, etc. To my mind, by the time they’re done reading the book, what they’ve experienced isn’t exactly what the author thought they were putting on paper—it’s more of a jointly-created entity that the author could never entirely predict or shape. And that’s where things get tricky.

I wouldn’t mind Rowling clarifying that Dumbledore was gay if the issue came up, for example, as a possible interpretation of material she’d written, but I just don’t see any point in ‘announcing’ it—it isn’t part of the work in that way.

Rather, when most authors want to explore some part of their world that they haven’t yet, they traditionally do it by either writing a new book or publishing a short story somewhere, possibly on their website if they just want to get the story out there. They don’t generally do it by saying, “oh, by the way, that character’s gay.” Just as we need the proper build-up in a story in order to believe and buy into an unexpected character revelation, we need it to be couched in story in the first place in order to buy into it! Simply announcing such a detail is rather like handing us a two-page synopsis instead of a novel and telling us that’s the story, enjoy.

Today, journal about your own take on the complex issue of ‘ownership’ of a work between author and reader.

 

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