I. Introducing Character

a. What readers want

b. What writers want

c. What publishers want

d. (Introducing Character)

II. Examples of Memorable Books with Memorable Characters

III. Where to start—plot or character?

a. Plot driven – Plot drives character with circumstances that are beyond character’s control. For instance, nature, crime, etc.

b. Character driven – phobias, personal pursuits, feelings, etc.

c. The importance of both – One is no good without the other.

d.

IV. Character Traits

a. Externals: physical appearance, gender, expressions

b. Internals: personality, emotions, thoughts, views

V. Creating Characters

a. Protagonist

b. Antagonist

c. The importance of both. You have to have more than one character. If you don’t, there’ s no interaction, no communication. Each character must be crucial to the story, whether in a small way or big way.

d. Don’t overuse adverbs or adjectives to describe characters. These make a writer lazy. A choosy few go a long way. Use punchy, active verbs. Show. Don’t tell.

VI. Create Conflict Between two characters in a Scene

a. Inner conflict: Jealousy, phobia, hurt, anger

b. Physical competition

c. Sibling Rivalry

d. Crime

e. Career

f. Man-made crisis (bomb, kidnapping, robbery, etc.)

g. God-made crisis (hurricane, earthquake, tornado, etc.)

h. WHAT READERS WANT

1. Readers want heroes, not whiny victims who refuse to change, unless the victim is another character other than the protagonist, which would cause conflict.

2. Readers want main character to ultimately find the courage to face conflict.

3. Readers want believable characters, not puppets that the author continuously prods the character along in long narratives.

4. Readers want character actions and reactions that define, shape and propel the plot.

5. Readers want unique characters, not characters with labels, i.e.: all cheerleaders are beautiful, all kids with glasses are smart nerds, all football players are all brawn, but no brain, all rich people are snobs, and all poor people are illiterate.

6. Readers want characters with dreams and the desire to pursue those dreams.

7. Readers want characters they understand and empathize with, even the worst villain.

8. Readers want characters with inner and outer conflict.

9. Readers want characters with histories

10. Readers want emotional characters that stir their emotions

Fictional characters are like us. They speak, hear, see, feel, and experience. They have a past, are living in the present, and planning for a future. They have families, friends, and enemies. They have inhibitions, talents, physical, and mental abilities. And so on.

However, there are major differences between fictional characters and real people.

(1) Characters say only what is absolutely necessary to the story and relationship of the person they are talking to. No small talk.

(2) Their actions always reach toward the specific goal the book or story is about. Anything else that is not crucial to the character, story, or relationship to another important character should not be included, as it is in real life. For instance, running to the store for milk, cooking dinner, going to the bathroom, talking about events or people who have nothing to do with the theme or plot, anything of that nature. “How was your day?” “Fine.” “And yours?” “Okay.” The exception is if that blah conversation sets a tone for a mundane, dying relationship, and that mundane, dying relationship is important to the character and the story.

(3) Most people in real life will do anything in their power to avoid conflict, any kind of conflict, whether it’s in relationships, business, religion, family, whatever. Fictional characters thrive on conflict, and authors go out of their way to place characters in vast arrays of conflicts, both emotional and physical, from phobias, and out-of-control emotions, to murder, kidnapping, and abduction by aliens.

(4) Hopefully, most of us in real life do learn from crises, mistakes, and events, yet the truth is many of us don’t. However, your main character should experience a change, or at least a revelation that leads to a resolution of the story. If not, why write the story? What is the purpose?

Plot Driven Stories: Airframe by Michael Crichton, No Safe Place by Richard Patterson North, The Firm by John Grisham, Seize the Night by Dean Koontz, and The Hunt Club by Brett Lott; When the Wind Blows by James Patterson.

(1) Chase Plots: A group or person is chasing is pursuing a group or person. For instance, Seize the Night and When the Wind Blows. Ask yourself these questions:

a. Who is looking for whom?

b. Why are they looking?

c. What will be your POV

d. Who will readers sympathize with?

e. Will the pursued get caught? When? How?

f. What happens after they get caught?

(2) Quests: A persons or a group is searching for something. Raiders of the Lost Ark is a good example or Moby Dick. If it’s a place, ask yourself these questions:

a. Why do they want to go there?

b. What obstacles will be in their way?

c. Will they get there?

d. What will they find when they do? What will it mean to them by the time they get there? How will they cope with success?

e. Will they stay or go back?

(3) Competition plots: (sports, rivals in love, in business, or in any group)

a. What is the prize?

b. Who are the rivals? Why do they want it? (Most likely for different reasons)

c. How far will each go to win?

d. Who will win and at what cost?

e. How will the other rival end up?

4. Romance plot: Some conflicts are parental disapproval, another relationship, marriage, social class, disagreements, indifference, too alike, too different, war, sickness, cultural laws, etc.

Character Driven Stories: Vinegar Hill by A. Manette Ansay, Nora, Nora by Anne Rivers Siddon, Dancing on the Edge by Han Nolan; Mother of Pearl by Melinda Haynes. Driven by emotions

1. Sacrifice plots: Character willing to give up something of great value for another life. Norma Rae, Martin Luther King, Rosa Parks, etc. Questions to ask:

a. Who will make the sacrifice?

b. Why?

c. What is gained?

d. How will the sacrificer be remembered?

e. Was it worth it or a waste?

2. Feel-good plots: Characters strive for power and recognition

a. What drives them and why?

b. What do they seek to accomplish?

c. What lengths are they willing to go to?

d. Who will it affect?

e. Is it worth it?

f. Do they accomplish it? What is the consequence of their accomplishment?

3. Overcoming fears and phobia:

a. What is their fear?

b. What is the cause?

c. What are the obstacles?

d. Who are involved?

e. Will they overcome or simply make progress?

Make your own list and questions. Remember, stories include both, plot and character, and both must be well developed, researched, and detailed for readers. You, however, must know your driving factor so well that it becomes just as real to the reader. Your characters and plot must be so closely knit that they become one, like a relationship.

Character Traits: You can build your characters from inside out or outside in, but both must be meticulously created so that readers envision the characters as if they’re on stage.

Protagonist – Main Character, the one your reader will root on and relate to, as his POV is the most common and probably the most visited. He will face conflict, unsettled emotions, and grow through every page until he succeeds in his goal or learns to accept loss. Sometimes your protagonist can be very unlikable. Ask yourself these questions:

a. Does this person interest me? Why?

b. What does this person want?

c. What will get in his way?

d. What can go wrong in?

e. Who ends up winner and loser?

All characters could become protagonist, because everyone has their side of the story. You must decide which one it will be.

Antagonist – The character that causes conflict, external and internal, keeping the protagonist from reaching his goal, causing him to fail time and time again. Readers want to know this character almost as much as they want to know the protagonist. Writers often misrepresent this character thinking he must be completely evil with no speck of good. Not every story has a villain per se. It might simply be a person whose ideals, morals, views, and standards are completely the opposite from the protagonist’s. However, you may well create a serial killer, traitor, someone evil, but remember you must develop antagonists thoroughly, as thoroughly as your protagonist. Your readers need to feel his emotions as much as your protagonist before the story can be real to them. Every good person has some bad and every bad person had some good. Allow your reader to see that as well.

Both characters play important roles in plot development, and both must be honestly and carefully described physically, mentally, and emotionally. Don’t give us flawless protagonists and defective antagonists. That will not come across as real and honest.

We are going to discuss conflict between characters, which adds to the intensity of the plot.

There can be conflict between more than the protagonist and antagonist, i.e.: parents, employer, neighbor, police, etc., which adds to the tension. You as creator have to decide how much, why, when, and what.

Decide what your conflict is going to be. How are your characters going to face this conflict and each other? What will make this scene memorable?

Don’t develop a scene that means absolutely nothing to the plot or character development just for the sake of tension and conflict. Always head toward the climax and ending.