Why Are You Here?

Wired has a great interview with Joss Whedon. It's very long, but a great read if you're a fan of his, or interested in his thoughts on writing, characters, and plot. Here's the part that I want to talk about though, it's about characters and their motivations:

"...everybody is here for a reason and they deserve, while they’re on film, or on the page, for people to know what it is, even if we don’t like it."

Reading this made me feel good because it's something I've always tried to do with both my characters and my plot. I think it's important that in any scene you write, you should be able to turn to each character there and ask "Why are you here?" and they should have an answer. Whether the reason is personal, "I'm here because I love him." or not, "This is my English class, I have to be here." they should be there for some reason that has to do with THEM, and not your plot. If I ask and my character answers, "I'm here because you need me to overhear this argument so that later I can use that info to solve the mystery." then, in my opinion, I've failed to make him three-dimensional, he's merely a plot device in the shape of a person.

Every character, whether they're the main character or one who pops in for one scene, should have a full life, regardless of how much we see of it. When people appear only to prove a point, or drop a clue, or to tell us something about the main character, the whole world of your story feels a little less real.

Achieving this can be tricky. You don't want a minor character to walk into a scene and say, "I'm here because this is my English class, where I'm supposed to be, and I just noticed that your hair looks different." Subtlety is key. This is one of those things where the reason doesn't always have to be spelled out on the page, but YOU need to know it. When you know why a character is there, it shows in your writing, and scenes feel more real.

When it comes to plot points, I always check that all the characters involved are there for a reason, and not because I NEED them to be there in order for the story to move forward. Without that reason -- personal or practical, things can feel "too convenient" or false. You want those moments to feel inevitable, where your readers can almost see it coming, as they weave all the pieces together, and they think, oh no!, at the same time that they think, of course they would all end up in this place just as the bomb goes off, it couldn't be any other way.

Because that's the moment that really connects with the reader. That's where the emotional connection to the story comes in. When they can look back at everything each character has done, and know that this is exactly the way it has to be, because they understand why each character has done what they've done so far, and why they're there at that moment. Without that it's just another thing moving the plot along.

Connections

The world isn't small, by any means. But it is fantastically diverse and often you meet people you certainly wouldn't expect to in your given location.

NYC is like a mini world all it's own so anyone I meet here shouldn't come as a surprise, but still, it does.

I took a trip last Saturday to what was once Brooklyn Harley Davidson (before they lost the license, started selling Victory motorcycles and scooters, and then ultimately went out of business--very sad) to hang out with the owner and some other friends that still linger in the near-empty show room. As I pull into the lot, two other Harley bikes pull in alongside me, both decked out in animal skins and feathers and fringes. One of them, blasting Native American music. AWESOME.

I notice the helmet of the rider playing the music says "Cherokee" written in Cherokee. He's Cherokee, I'm Cherokee, so, naturally, we start talking. Turns out we're both from North Carolina, although he was born and raised on the reservation and I've never set foot on it. When I was young, my mom had wanted to move us to the rez, but because of the blood quantum there was a chance my sister and I wouldn't be totally accepted and at the time it wasn't a risk she'd wanted to take.

So in short, these guys turn out to be two of the nicest, most interesting people I have ever met. Little Hawk and Greywolf, of the North Eastern Band of Cherokee Indians, an organization I didn't know existed.

I never expected to run into Cherokee Indians in NYC, who speak fluent Cherokee, and fly the rebel flag. And to form such a connection with them, like we're family, was an awe inspiring moment for me. It reminded me that people are three dimensional, and character inspiration can come from anywhere. Real life connections and real life characters are what enrich the writing process and help us, as writers, to create memorable characters with complex relationships.

Greywolf (left) and LittleHawk (right)

photo courtesy of www.nebci,org

Visual Inspiration

When I get stumped in a project, or just need to get back in touch with my characters, I turn to music, something that fits the characters or the mood of the scene I'm writing, and www.weheartit.com.

If you haven't wasted spent some time browsing the collection of images there, you totally should! I've found so many that are PERFECT representation for my wip. Like this one, for example:

That is so completely Jack and Charlie! It could only be more perfect if her dress was green. Really, this post was an excuse for me to share that picture with you. The downside is that I have no idea who the owner is. Is it yours? 

What's your favorite procrastination inspiration exercise?

"Boys in books are just better."

I saw this on one of those blinky avatar things this morning and it made me chuckle, but then I realized, it's actually true. In most cases. Not mine because my husband totally rocks. Seriously. But I remember my dating/high school years very clearly. Boy were better in books. No offense, guys.

As some of you know, I am a big vampire fan. Always have been long before the Cullen's took the stage. Blame Brad Pitt, because he was one sexy ass vampire, even to an eleven year old girl.

Yum. I totally envied Kirsten Dunst in this movie.

What makes boys in books so awesome? Depends on what you like. I like danger but not a bad boy. I like them intelligent, chivalrous, and sentimental. Which is why I love vampires. You can have a totally desirable boy, with old world charm who also wants to eat you.

So lets list some of our (my) favorite fictional boys:

Louie - Interview With the Vampire. Obvious reasons.

Eric Northman - Southern Vampire Mysteries. Eric is a bad boy on the outside, but there is so much more to him the farther you read into the series. And, hello? He's a Viking!

Bill Compton- Southern Vampire Mysteries. Bill is a true Southern Gentleman. With fangs.

Sam Winchester-Supernatural. Sam is sweet, smart and strong. And, especially in the latest episodes, he's frigging gorgeous. (Yes, a fictional character can make an actor more attractive. Look at Hugh Laurie as House.) But Sam is also dangerous. If you've seen the show, you know what I mean. If you haven't, you should.

Balthazar- Evernight series. All the reasons I listed above.

Dimitri Belikov-Vampire Academy. His devotion to his duty, and to Rose make him a favorite. And being a big sexy Russian, who is also half vampire helps.

Hmm... 5 vampires and a boy who is addicted to drinking demon blood. Eeek! Thinking of a human...

Dean! - Gilmore Girls. Love Dean, and Dean is a normal boy. We like to see the boy chasing after the girl.

Will - The Luxe.

No real danger will Dean or Will, but they both have the sweet, love-struck boy thing going for them.

I'm going to stop now, because clearly I have a bigger thing for vampires than I thought. In short, I like danger and I like power. But I want it wrapped up in a good-looking package, and tied with a gentlemanly bow. When you finally meet the love interest in my work-in-progress, FATED, you will totally see that. I realize real boys can't compete with a thousand year-old vampire, or a boy who can exercise demons with his mind, but have no fear guys. Just be confident in your self, but humble enough to kiss her butt from time to time.

So who are some of your favorite fictional boys and why?

Homo Fictus

Characters are the soul of your novel. You can't have a good novel without darn good people to play the parts. I'm no expert on characterization, really no expert on anything, but I read a lot. Any anyone who reads can tell you that fictional characters are a whole lot more interesting than real people.

Nobody wants to read about a plain Jane. Jane needs to be so pretty, the sunset looks like a macaroni sculpture. Or so ugly, a hairless dog is cute. Jane needs to be more cunning, more resourceful, or less if that's how you want her. She needs to love more, hate more fight more.

In The Art of Dramatic Writing by Lajos Egri (1946), Egri describes characters as being three-dimensional. The first dimension being physiological--height, weight, age, race, physical appearance--all these factors will shape the characters life experiences and it is important that you know them all. The second sociological -- what is her social class, what neighborhood does she come from, who were her parents, what's her view on religion, money, sex etc. And third, psychological--temperament, fears, phobias, talents, habits, fantasies and the like.

As writers we often run in to the dreaded "writers block" and many times, it could just be that you don't know your characters well enough. If you don't know them, you can't make them do what you want them to do. Or better yet, you don't know what they want to do in the potentially horrible situation you've stuck them in. And if you haven't stuck them in a potentially horrible situation, you don't have a story.

Your character might be a shy girl, a wallflower with a nose like Tom Cruise, but when she's faced with a dilemma she should woman-up! But whatever she does, it needs to be in character. And at the same time, your characters need to change and grow throughout the course of your novel. Hey, if it was easy everyone would do it.

Think about a memorable character in a book you've read. I'll go with Rose Hathaway from Richelle Mead's Vampire Academy. Rose was more or less abandoned by her mother, a Guardian, and raised by the academy. She has anger issues toward her mom, but she has a strong sense of her duty as a Guardian because of it. She is willing to put Lissa before her because it's what she was taught. It's so ingrained in her, that she can't not do it. Lissa comes first. Period. Rose never even stops to consider why.

Rose falls in love with Dimitri but she knows he is her mentor, and he will also be Lissa's Guardian. If they love each other, Dimitri and Rose both know they'd protect one another over Lissa, and Rose, because of who she is, can't let that happen.

Sure she feels like it isn't fair, and as the series progresses, you'll see Rose pulling away from that mind set little by little, but that is her character changing and growing and still being Rose Hathaway.

So, how do you get to know your Homo Fictus?

There are a number of different approaches. You need to find which one works best for you. Some people, myself included, write out a biography for each main character. It is information that won't be in your book, but stuff you have to know for yourself in order to create a fully fleshed-out pretend person. How to Write a Damn Good Novel by James N. Frey gives some really great examples on this.

Some people, like my lovely friend A.J. Spindle, create an index card for each character, even the ones she hasn't written yet.

You can interview your characters. "Writing is a socially acceptable form of schizophrenia." ~E.L. Doctorow. Sit down with pen and paper and pluck one of your characters from your head, and ask him or her a few questions.

Author: Jane, I still don't understand why you hang out with Megan. She's rude to you. She trash talks you behind your back. She stole the guy you liked before he even knew it!

Jane: *sighing* I dunno. I guess I feel like I owe her. We were friends when we were both in the group home and Megan stood up for me a lot when we were little. She's really not a bad person.

I know that's crap and you can do a lot better, but you get the idea. You get a sense of who Jane is as well as Megan just from that one little answer. I didn't even know Jane or Megan ten seconds ago, but now I know the Megan has some serious inner conflicts and Jane, a pushover she may be, is understanding and forgiving. So let's say Megan finally pushes Jane to the edge and a stiff wedge is shoved between them. Something terrible happens to Megan, and she needs Jane. Do you think Jane will walk away? Or will she be there for her former friend?

Character building can be fun, but it can also be tiring. It is work, after all.

What has worked for you when created well-rounded three-dimensional characters?

What didn't work?

What have you read about but haven't tried?