Posts Tagged creating dimensional characters

Lies & Secrets—The Lifeblood of Great Fiction

Image courtesy of Nebraska Oddfish via Flickr Creative Commons

Image courtesy of Nebraska Oddfish via Flickr Creative Commons

It’s tempting for us to create “perfect” protagonists and “pure evil” antagonists, but that’s the stuff of cartoons, not great fiction. Every strength has an array of corresponding weaknesses, and when we understand these soft spots, generating conflict becomes easier. Understanding character arc becomes simpler. Plotting will fall into place with far less effort.

All stories are character-driven. Plot merely serves to change characters from a lowly protagonist into a hero….kicking and screaming along the way. Plot provides the crucible.

One element that is critical to understand is this:

Everyone Has Secrets

To quote Dr. Gregory House, “Everybody lies.”

All good stories hinge on secrets.

I have bodies under my porch.

Okay, not all secrets in our fiction need to be THIS huge.

Secret #1—“Real” Self Versus “Authentic” Self

We all have a face we show to the world, what we want others to see. If this weren’t true then my author picture would have me wearing a Call of Duty t-shirt, yoga pants and a scrunchee, not a beautifully lighted photograph taken by a pro.

We all have faces we show to certain people, roles we play. We are one person in the workplace, another with family, another with friends and another with strangers. This isn’t us being deceptive in a bad way, it’s self-protection and it’s us upholding societal norms. This is why when Grandma starts discussing her bathroom routine, we cringe and yell, “Grandma! TMI! STOP!”

No one wants to be trapped in a long line at a grocery store with the total stranger telling us about her nasty divorce. Yet, if we had a sibling who was suffering, we’d be wounded if she didn’t tell us her marriage was falling apart.

Yet, people keep secrets. Some more than others.

In fact, if we look at The Joy Luck Club the entire book hinges on the fact that the mothers are trying to break the curses of the past by merely changing geography. Yet, as their daughters grow into women, they see the faces of the same demons wreaking havoc in their daughters’ lives…even though they are thousands of miles away from the past (China).

The mothers have to reveal their sins, but this will cost them the “perfect version of themselves” they’ve sold the world and their daughters (and frankly, themselves).

The daughters look at their mothers as being different from them. Their mothers are perfect, put-together, and guiltless. It’s this misperception that keeps a wall between them. This wall can only come down if the external facades (the secrets) are exposed.

Secret #2—False Face

Characters who seem strong, can, in fact, be scared half to death. Characters who seem to be so caring, can in fact be acting out of guilt or control, not genuine concern for others. We all have those fatal weaknesses, and most of us don’t volunteer these blemishes to the world.

In fact, we might not even be aware of them. It’s why shrinks are plentiful and paid well.

The woman whose house looks perfect can be hiding a month’s worth of laundry behind the Martha Stewart shower curtains. Go to her house and watch her squirm if you want to hang your coat in her front closet. She wants others to believe she has her act together, but if anyone opens that coat closet door, the pile of junk will fall out…and her skeletons will be on public display.

Anyone walking toward her closets or asking to take a shower makes her uncomfortable because this threatens her false face.

Watch any episode of House and most of the team’s investigations are hindered because patients don’t want to reveal they are not ill and really want attention, or use drugs, are bulimic, had an affair, are growing marijuana in their attics, etc.

Secret #3—False Guilt

Characters can be driven to right a wrong they aren’t even responsible for. In Winter’s Bone Ree Dolly is driven to find her father before the bail bondsman takes the family land and renders all of them homeless.

Ree is old enough to join the Army and walk away from the nightmare, but she doesn’t. She feels a need to take care of the family and right a wrong she didn’t commit. She has to dig in and dismantle the family secrets (the crime ring entrenched in her bloodline) to uncover the real secret—What happened to her father?

She has to keep the family secret (otherwise she could just go to the cops) to uncover the greater, and more important secret. She keeps the secret partly out of self-preservation, but also out of guilt and shame.

Be a GOOD Secret-Keeper

This is one of the reasons I HATE superfluous flashbacks. Yes, we can use flashbacks. They are a literary device, but like the prologue, they get botched more often than not.

Oh, but people want to know WHY my character is this way or does thus-and-such.

Here’s the thing, The Spawn wants cookie sprinkles for breakfast. Just because he WANTS something, doesn’t mean it’s the best thing for him. Don’t tell us WHY. Reveal pieces slowly, but once secrets are out? Tension dissipates. Tension is key to maintaining story momentum. We WANT to know WHY, but it might not be good for us.

The Force was more interesting before it was EXPLAINED.

Secret #4–The Lies We Tell Ourselves

Character arc is very often birthed from the biggest lies of all—the lies we tell ourselves. Your protagonist in the beginning should be raw an unformed. She has not yet been through the crucible (plot) that will fire out her impurities. Many of these “impurities” are the lies she tells herself.

I don’t need anyone’e help.

I am fine on my own.

I don’t have a problem.

These self-delusions are the biggest reason that your protagonist would fail if pitted against the antagonist in the beginning.

One of my all-time favorite movies is Army of Darkness. Even a silly low-budget movie takes advantage of the self-delusion. Ash is transported into another world where a great evil has awoken and seeks the Necronomicon (which is his only way back home).

Ash is a selfish ass who cares only about himself. He tells himself that others don’t matter, that he doesn’t really care about them and that he’s fine on his own. And he believes his own BS.

The challenges he faces (and often creates because of his poor character) change him and reveal that he was really lying to himself. He does kinda dig being the hero and he really does care about those around him. The lone-wolf maverick rises to be a leader who unites a frightened and divided people against the forces of darkness.

Good? Bad?

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Everybody LIES

They can be small lies, “No, I wasn’t crying. Allergies.” They can be BIG lies, “I have no idea what happened to your father. I was playing poker with Jeb.” Fiction is one of the few places that LIES ARE GOOD. LIES ARE GOLD.

Fiction is like dating. If we tell our date our entire life story on Date #1? Mystery lost and good luck with Date #2.

When it comes to your characters, make them lie. Make them hide who they are. They need to slowly reveal the true self, and they will do everything to defend who they believe they are. Remember the inciting incident creates a personal extinction. The protagonist will want to return to the old way, even though it isn’t good for them.

Resist the urge to explain.

Feel free to write everything out in detail for your own use…but then HIDE that baby from the reader. BE A SECRET-KEEPER. Secrets rock. Secrets make FABULOUS fiction.

What are your thoughts? Questions? What are some great works of fiction that show a myriad of lies from small to catastrophic? Could you possibly be ruining your story tension by explaining too much?

Before we go, I want to give you a heads up especially if you are thinking on attending a conference.

I’m holding my ever-popular Your Story in a Sentence class. Can you tell what your book is about in ONE sentence? If you can’t? There might be a huge plot problem. This also helps if you are ever going to query or pitch an agent. The first ten signups get their log-line shredded by MOI for FREE.

Also speaking of FREE, I’d like to mention again the new class I am offering!

How and WHY are we using FREE!?

Making Money with FREE! As a bonus for this class, my friend Jack Patterson who’s so far sold over 150,000 books to come and teach us how to ROCK the newsletter. This is in excess of two hours of training and the recording (as always) comes with purchase.

I LOVE hearing from you!

To prove it and show my love, for the month of MARCH, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel.

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook

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32 Comments

Using Dialogue to Create Dimensional Characters

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So last time we talked about the basics in regards to dialogue and once we grasp the fundamentals—like proper punctuation—we then can focus more on elements of style. How we deliver the dialogue.

We can tell a lot about people by the way they speak. What people say or don’t say speaks volumes. As the writer, it is our job to understand our characters and to know who they are and how they think. We have to master the art of empathy. If we don’t, our dialogue will all sound like US talking. Writing, in many ways is a lot like method acting. We have to crawl inside the head and the psyche of our cast.

Not as easy as it might seem.

Dialogue done well is the stuff of legends though. Think of favorite movies. Why do we love them SO much? Very often…dialogue.

My name is Inigo Montoya. You killed my father. Prepare to die.

Social Roles—The Broad Strokes

I live in my apron only usually no makeup and hair in a scrunch-ee

Whether we like it or not, most of us will fall into some kind of social category with the way we speak. The way we speak will tell others a lot about who we are, our job, our background, level of education and even where we exist socially.

Don’t believe me?

How many of you were once young and wild and free and swore you would never be like your parents? Then one day you heard, “Because I said so, that’s why” fly out of your mouth?

“Why can’t you just do it the first time?”

“I didn’t ask you if you wanted to do it.”

I am bee-bopping along and suddenly hear my mother….

“Well, Spawn, when the mind is stupid, the body suffers.”

Shoot. Me. Now.

No matter how much we try, we are helpless in the face of mimesis. But, that isn’t such a bad thing. This actually makes it easier to do what we do. Since we’ve been around moms, we know how they talk. We can emulate the lingo. We know how teenagers, grandparents, grouchy neighbors, picky librarians, and con-artist family members all talk.

Through these “roles” we gain the broad strokes of what a character should “sound” like. This will help our characters ring true in the mental ear of the reader. There is nothing wrong with having characters who fit into a tidy box. They can still be interesting and unique even in that role.

Yes, I am a mother and I say all the stuff I swore I would never say.

No is just a part of life. 

I also play XBox with Spawn and say things like, “Burst-fire! Conserve your ammo!” “You can’t kill a zombie like that!” 

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Thus, even though a lot of what I say would be very prototypical “Mom Talk” there are elements of how I speak that make me unique within that subset. Not all moms shoot for sport, practice Jiu Jistu and randomly quote Monty Python. Spawn’s mom, however, DOES.

But this is is when we get into the…

Character—The Fine Strokes

Moms say things many other moms say, but each mom is unique. That is the case with most characters. If we don’t take time to really think about who each character IS, we can run the risk of a character sounding like a stock character.

Recently I read a YA and only finished it because I paid full-price. But the biggest reason I had a tough time getting into the story was that all the characters were blasé.

Each character talked like a stereotype. The broad strokes were there, but there was no nuance. Thus, I was left with a cast of characters who were utterly forgettable.

How do we get fine strokes?

Can we buy some on eBay?

This is a tough one to answer. The fine strokes can take years to master. We have to learn to be excellent listeners. We have to learn how to look beyond what people are saying. We have to become masters of empathy and we must study people. Beyond this, though, what is it that transforms a plot-puppet into a 3-D person?

I believe it is in our idiosyncrasies and our contradictions.

Idiosyncrasies 

An Idiosyncrasy is a peculiarity that is specific to one person. For instance, last time I mentioned the no-no about having every character speak in full sentences. Most of us don’t speak in full sentences so it rings untrue when everyone is using full sentences. BUT, some people DO speak in full sentences. That would be an idiosyncrasy and it’s one that is used regularly to convey highly intellectual characters—Ie. Dr. Sheldon Cooper.

A character who is foreign might not use contractions. A character who has OCD might always repeat verbs. A character who is advanced in years might never answer directly, but always answer in colorful parables.

I wrote a really funny character who constantly used malapropisms.

You just don’t cheat on your wife. When you get hitched, you promise to be faithful. You know. Monotonous.

We all have sayings and filler words that are unique to each of us. But adding these subtle details, now we have characters who are far more dimensional.

So we might have a mother who is saying all kinds of mom-like things…only she is unique because she is bad about smashing words together and speaks in hyperbole.

Eat your vegetables and don’t correct me. It’s very condensending.

Condescending.

I know what I said, Mr. Smarty Pants. Hurry up before I trade you to the Jones family for a puppy. At least the puppy would have some respect.

Add Some Layers

Remember that most humans are actually a unique blending of experience and roles. Yes, we might have a mom who is talking like a mom, but what else is she? A mom who is a Japanese violinist would probably talk differently than a mom who is a cop and grew up in Brooklyn.

Culture

Culture impacts a lot more than we might realize. I was born in Texas, but reared by a Yankee mom who is very direct and no-nonsense. I have run into all kinds of trouble with Southern women who feel I am rude. Conversely, I get short with Southern women because I am aging and don’t have time for all the niceties.

My roommate in college was from Georgia and we went round and round and round. She’d say:

Roommate: Kristen, do you think the trash needs to go out?

Me: Nah, looks good to me *keeps going*

Because her culture dictated it was more polite to hint and suggest? I missed most of what she wanted because I was always direct. If I wanted someone to take out the trash, I simply asked.

But here is an extra lesson in dialogue. Just from this example, can you see how conflict can arise simply from expectations? She believed she was asking me to take out the trash and believed that I was ignoring her. Conversely, I couldn’t figure out why she wanted an opinion on the state of our garbage so often. Why didn’t she just ask me to take it out? I would have happily obliged.

Self-Image

How does your character feel about him/herself? A low self-image might make a person a people pleaser. Maybe she is always agreeing with everyone and terrified to have her own opinion. Maybe the character talks too much, tries too hard, never asks about others.

If a character is selfish, he might brag all the time, or have to outdo everyone else in the conversation.

That’s great you caught a fish, but you were on a lake. Now go deep sea fishing. That’s real fishing. I once struggled with a fifteen foot shark for three hours….

Maybe the character is always interrupting others. Maybe the character uses profanity or quotes bible verses all the time. Or both.

Contrast

Sometimes we can use dialogue to make contrasts. Contrasts are very interesting and say a lot about our character. A great example would be Elmore Leonard’s character Boyd Crowder (refer to television series Justified). Now, Boyd fits into a broad-stroke category of a hillbilly. He has a deep southern accent, works with his hands, drives a ratty truck, wears boots, and drinks like a fish.

But what makes Boyd a fascinating character study, especially for dialogue, is he is unexpected. He is a fascinating contrast. Though he is a redneck (and plays this up for his own ends) he uses a twenty-dollar word when a ten cent one would do. He speaks very colorfully. If you ask him the time, he will tell you how to build a watch.

Not only is his speech idiosyncratic, but it is a very unique contrast. One usually doesn’t expect a hillbilly to use words most of us would have to look up in a thesaurus.

Show Don’t Tell

Dialogue is HUGE, HUGE, HUGE for Show Don’t Tell.

Instead of telling us a character is a certain way, SHOW us by how she talks and what she says.

A gossip.

“Now, for the record, I’ve never seen her drink, but she always looks so tired. My brother-in-law always looked that way because he was throwing them back in secret.”

A self-involved jerk.

“Sure, Babe. After I meet with my client, how about I meet you for that cute little college thing you’re doing. What was it again? Art history?”

Y’all get the gist. Now go have fun with it!

All of this is to say that dialogue is one of the most powerful tools for showing who a character is, who they are hiding and maybe even who they could be with a little help from us (Writer-God). Next time, we will dig a bit deeper into dialogue. Who knew there was so much to this? What are your thoughts? What other suggestions do you have for authentic-sounding dialogue?

I LOVE hearing from you!

To prove it and show my love, for the month of SEPTEMBER, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel.

August’s WINNER is lonestarjake88. Please send your 20 pages (2500 words) to kristen at wana intl dot com in a WORD document. Double-spaced and one-inch margins and CONGRATULATIONS!

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook

lonestarjake88

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52 Comments

How to Create Dimensional Characters—Beyond the Wound & Into the Blind Spot

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Today, we’re going to explore an extension of the WOUND. The BLIND SPOT. There are no perfect personalities. All great character traits possess a blind spot. The loyal person is a wonderful friend, but can be naive and taken advantage of.

The take-charge Alpha leader can make a team successful, but also inadvertently tromp over feelings or even fail to realize that others have great ideas, too. Maybe even BETTER ideas.

A super caring, nurturing personality can be an enabler or maybe even ignore close relationships to take care of strangers. Someone who is great with money can end up a miser. A person with a fantastic work ethic can become a workaholic.

Y’all get the gist.

Often the antagonist (Big Boss Troublemaker) is a mirror of the protagonist, especially in the beginning of the story.

To use an example from a movie we have likely all seen. In Top Gun, what makes Maverick the best pilot is his complete lack of fear. He has the cajones to do what other pilots wouldn’t ever consider.

He’s driven by his wound, the lie about his father. This has made him one of the best pilots (trying to overcome his tainted history and impress a ghost) but he’s missed the lesson on how to be part of a team.

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Yes, maybe breaking all the rules makes you “the best”, but it can get others killed. It isn’t all about HIM.

This is why when I refer to “the antagonist” I prefer my made-up term Big Boss Troublemaker. The antagonist isn’t always “bad.” The antagonist is simply the person responsible for creating the core story problem.

Iceman isn’t a bad guy. He isn’t evil with a plan to take over the world or infiltrate the Top Gun school as a sleeper terrorist.

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He’s simply a by-the-book fighter pilot who believes Maverick shouldn’t be there. He loathes Maverick because he thinks he’s a danger to himself and others (and, frankly, he has a very valid point).

The plot provides the crucible. Maverick butts heads with Iceman over and over in a um, man-part-measuring contest. But what happens when Maverick loses Goose? Crisis.

A hard event (PLOT) has now forced Maverick to face the truth about himself. For the first time, he SEES the blind spot Iceman and others have been pointing out (which has been the core source of conflict). This loss forces him to go searching for answers deeper than buzzing the tower.

He finally recognizes others might actually have a point.

The beauty of this movie and why it’s remained so timeless (aside from hot guys in Navy dress) is it’s a movie exploring people. Real, broken, hurting people blind to who they really are. By story’s end? Everybody arcs.

Maverick learns there are other people in the sky besides HIM and that he is part of a TEAM. Iceman lightens up and recognizes that Maverick, too, has a point. Sometimes one just has to toss out the rulebook.

Thus, when creating characters in any story, to deepen them, we need to KNOW them. What DRIVES THEM? How would they react according to their past, their wounds and their blind spot?

As a writing exercise, take a scenario. Maybe an attempted mugging. How would different characters react?

For instance, when I was in college, I taught Jui-Jitsu during the day and sold papers in the evening. One dark winter night a drunk tried to mug me in a dark apartment complex and take my hard case briefcase.

Because of MY background, growing up powerless and determined to be in CONTROL, I’d taken years of martial arts. Also, when I was eight, I witnessed my 6’8″ male family member raise his hand to hit my mom while she was cooking….and she beat his a$$ out the front door wielding a mad hot cast iron skillet.

This left a mark (though likely more on said family member).

Thus, 12 years later when a MUCH larger drunk came up behind and tried to mug ME, he got beaten heartily with a briefcase and then chased until I lost him.

But why did I fight, not just hand over the briefcase?

I’d always been POOR. I was very poor in college and had worked long hours to buy a really nice briefcase in hopes of landing a better job than selling and delivering papers. There was no money in the case. I could have handed it over but because of MY wounds, the briefcase was more than a briefcase.

Clearly my BLIND SPOT is I have an alligator mouth and a pekinese @$$. I could have lost and ended up hurt or dead.

But what about a person with a different background? A different wound? A different blind spot?

What if the person mugged was a trust fund baby who could easily buy another briefcase? Or a person who’d been beaten badly in formative years and would do anything to avoid experiencing that pain? What if the person was elderly? There are a lot of variables that make a VERY rich palette to create characters with LIFE.

Think of your own life and personality? What is your greatest strength? How does it create your greatest weakness? What is YOUR blind spot. Play a little armchair psychiatrist and what you find might be really interesting😉 . Feel free to share about you or even your favorite characters you’ve read or even written.

Remember! Due to popular demand I am running my Your Story in a Sentence class in a little over a week and participants have their log lines shredded and rebuilt and made agent-ready. Log-lines are crucial because if we don’t know what our book is about? How are we going to finish it? Revise it? Pitch it? Sell it?

I love hearing from you!

To prove it and show my love, for the month of AUGUST, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

July’s Winner is Aurora Jean Alexander. Please send your 5000 word WORD document to kristen at wana intl dot com. CONGRATULATIONS!

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook

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38 Comments

Flawed Characters vs. Too Dumb to Live—What’s the Difference?

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Just a quick reminder that I am running my log-line class again. Often synopses are a nightmare for writers simply because they cannot state simply what their story is about. If we don’t know what our story is about, then revisions are hell because it is virtually impossible to discern what should stay and what should be CUT. Everyone who signs up gets their plot shaved down to ONE sentence, so hope to see you guys there! Sign up HERE.  The recording is included and if you can’t make the day of class, I will still repair your log-line😉 .

Moving on…

Which is more important? Plot or character? Though an interesting discussion—sort of like, Could Ronda Rousey take a Klingon with only her bare hands?—it isn’t really a useful discussion for anything other than fun. To write great fiction, we need both. Plot and characters work together. One arc drives the other much like one cog serves to turn another, thus generating momentum in the overall engine we call “STORY”.

If we goof up plot? Readers/Audiences get confused or call FOUL. Watch the movie Ouija for what I am talking about *shakes head*.

Goof up characters? No one cares about the plot.

New writers are particularly vulnerable to messing up characters. We drift too far to one end of the spectrum or the other—Super-Duper-Perfect versus Too Dumb to Live—and this can make a story fizzle because there is no way to create true dramatic tension. This leaves us (the frustrated author) to manufacture conflict and what we end up with is drama’s inbred cousin melodrama. 

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If characters are too perfect, too goody-goody and too well-adjusted? If they always make noble, good and professional decisions? Snooze fest.

Again. Bad decisions make great fiction.

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Of course, the other side of that is what I call The Gilligan Effect. Yes, I am dating myself here and don’t want to upset ant DIE-HARD Gilligan’s Island fans, but I remember being a kid and this show nearly giving me an aneurism (being the highly logical child I was).

After the third time Gilligan botched up the escape off the island? Kristen would have gone Lord of the Flies and Piggy Gilligan would have mysteriously gone “missing.”

 

I also recall how the stranded party could make everything out of coconuts except a freaking BOAT, and the only reason I kept watching was because it was better than being locked outside to play in heat that returned asphalt back to a plasma state (Yay, Texas summers!).

Today we are going to talk about how we can make characters flawed without crossing over into TDTL (Too Dumb To Live) Territory. That and I SO had to blog about something that let me share THIS! *giggles*

Let’s hide behind the CHAINSAWS!!!! *clutches sides*

Okay, I’m back *giggles*.

Great stories are filled with characters making bad decisions, and when this is done well, we often don’t really notice it beyond the winding tension in our stomach, the clenching that can only be remedied by pressing forward and seeing if it works out okay. When characters are properly flawed, the audience remains captured in the fictive dream.

When we (the writer) goof up? The fictive dream is shattered. The audience is no longer part of the world because they’re too busy fuming that anyone could be that stupid. They also now cease to care about the character because, like Gilligan? They kind of want said TDTL character to die.

If this is our protagonist? Extra bad. Our protagonist should make mistakes, just not ones so egregious the reader stops rooting for him/her.

Bad Decisions Birthed from The Flaw

When we create a protagonist, we should remember that all strengths have a complimentary weakness. If a character has never been tested by fire, the protagonist is blind to the weakness.

For instance, great leaders can be control freaks. Loyal people can be overly naive. Compassionate people can be unrealistic. Y’all get the idea.

This dual nature of human strength paired with fallibility is why plot is just as critical.

The plot is the crucible that tests the mettle and reveals and fires out the flaw. The strength ultimately will have to be stronger than the weakness because this is how the protagonist will grow to become a hero by story’s end.

A great example of this is one of my favorite movies, The Edge. Anthony Hopkins plays billionaire Charles Morse. Charles is extremely successful and very much in his own head. Though he’s a genius, he lives the sheltered existence of the uber-wealthy.

What happens when all that “head-knowledge” is what he needs to survive a plane crash in the unforgiving wilderness?

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When the plane crashes and he and the other two survivors make it to shore, Morse does the right thing. He knows they need to get dry before they all die from hypothermia. He also realizes Stephen, the photographer, is in full panic. What is the intelligent thing to do? Put the photographer to work doing something fruitful to take his mind off his fear.

The problem, however, is Morse assumes the photographer has the same knowledge-base and doesn’t take time to show Stephen how to use a knife properly and the man is badly injured. Now we’ve already had a problem (plane crash) and now we have a complication (bad injury) and then it gets worse.

Morse, again, being an in-his-own-head-guy and unaccustomed to having to communicate WHY he wants certain things done, tells Robert Green to bury the bloody fabric. Green is jealous of Morse and rebellious and instead of following instructions and burying the material? He hangs the blood-soaked rags from a tree where an incoming storm whips up the scent of an newly opened All You Can Eat Buffet.

Soon, the men are being hunted by an apex predator with the munchies for humans.

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But all of this was birthed from a myriad of flaws. Morse failing to communicate and assuming his comrades are operating with the same head knowledge (because he’s never HAD to use this type of information in a real-world way) and also the two photographers who are City People and don’t have the sense to know 1) NOT to drag a knife towards the body and 2) that the smallest scent of blood will draw predators.

These men are used to the “civilized world” and at the beginning, have failed to properly appreciate that their position at the top of the food chain is NOT static.

Bad Decisions Depend on Circumstances

Sometimes characters will make bad decisions simply because this is a completely new world or a set of circumstances they’ve never faced, thus have no way to fully appreciate. The “bad” decision was not a “bad decision” before the adventure.

 

A good example? Merry and Pippin in The Lord of the Rings. In the Shire, people talk and are sociable. These naive characters haven’t yet felt the consequences of this new and dangerous world. To them? Chatting away and freely sharing information at The Prancing Pony is NOT a bad decision in their minds. Neither is frying bacon on top of a mountain.

They’ve always lived a life that if they were in a pub? They drank and made friends. If they wanted bacon? They just made bacon. They’ve never had to think beyond their mood or stomachs and don’t have the experience base to realize that fire is a “Come and Kill Me” beacon to the enemy.

Bad Decisions Can Be Birthed From The Wound

We talked about The Wound last time. In Thelma & Louise what is the wound? A lifetime of male oppression. In Thelma’s case, her husband controls every aspect of her life. Thus, when she finally does get on her own, she has poor judgement and is naive and that’s how she nearly ends up raped in a honky-tonk parking lot.

Louise was raped and no one was there for her. She’s been a victim and doesn’t trust men or the law. Thus, her baggage is what leads her to shoot Thelma’s attacker, but then also dovetails into the really, really bad decision to run.

But if we look at all these examples from an analytical distance, these characters are just DUMB. But why aren’t they TDTL? Context. Because of plot we (the audience) are not staring down at them like specimens through a microscope. We are immersed in their worlds and thus empathize with the bad decisions.

The bad decisions are forgivable because unless we live in the Alaskan wilderness? We can empathize with maybe doing something seriously stupid if we were stranded, too. We (the audience) have “been” to the Shire and know what world created the childlike Merry and Pippin. We appreciate they are grossly out of their depth and give them a pass.

In Thelma & Louise we can understand how damaged people make poor decisions because, unless we’ve been living under a rock, we’ve made similar choices, and suffered consequences created from fear not reason.

What this means is that, while ALL of these characters made really wrong decisions, they are necessary and pardonable decisions that serve to drive the character arc and thus the plot’s momentum.

That is the final note on characters making bad decisions. Do we have a character making a mistake, withholding vital information, acting irrationally because it is coming from a deeper place of flaws, circumstance or wounds?

Or, do we have a character playing marionette? Characters are making a mistakes because we NEED them to. The tension has fizzled, so let’s just let them do something epically stupid (and random)?

Audiences can tell the difference between mistakes that are organic and flow from deeper emotional waters versus something contrived. And we can ALL be guilty of forcing characters to make bad choices simply because we sense tension is missing. Even I have to go back and ask the tough question…WHY is this character doing this?

What are your thoughts regarding characters making poor decisions? What are some of your favorite examples? Ever quit a book, movie, or show because you wanted everyone to DIE? Did you hate Gilligan, too? Do you think Ronda Rousey could take on a Klingon with her bare hands?

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I love hearing from you!

To prove it and show my love, for the month of AUGUST, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

Note: I will announce July’s Winner next post😀 .

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook

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Generating Page-Turning Momentum—Characters & The Wound

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Hmmm, what’s the story behind THIS?

Can we answer the question, “What is your book about?” in one sentence. Is our answer clear and concise? Does it paint a vivid picture of something others would want to part with time and money to read? Plot is important, but a major component of a knockout log-line is casting the right characters.

Due to popular demand I am running my Your Story in a Sentence class in about two weeks and participants have their log lines shredded and rebuilt and made agent-ready. Log-lines are crucial because if we don’t know what our book is about? How are we going to finish it? Revise it? Pitch it? Sell it?

Once we have an idea of what our story is about and have set the stage for the dramatic events that will unfold, we must remember that fiction is about PROBLEMS. Plain and simple. Furthermore, it is about PEOPLE who have problems. But not simply ANY problems. Very specific problems, which we will talk about in a sec😉 .

I will say that plot is very important. Our characters are only as strong as the crucible. Ultimately, all stories are about people. We might not recall every detail of a plot, but we DO remember characters. Ah, but here’s the sticky wicket. WHY do we remember characters? Because of plot. Stories are more than about people. Great stories are people overcoming great odds.

We don’t remember Luke Skywalker because he hung out on Tatooine waxing rhapsodic about his plight as a moisture farmer. We remember him and his allies because they went up against seemingly unbeatable odds and WON.

Yet, even if we come up with the coolest plot in the world, there are elements of character that should also be in the mix, lest our novel can become the literary equivalent of a CGI Star Wars Prequel NIGHTMARE. Characters should develop organically or the reader will call FOUL.

Additionally, if our characters are as deep as an Amarillo puddle, it will be virtually impossible for readers to emotionally connect.

Among many other reasons, I think this is why the Star Wars Prequels were like a bad acid trip at Chuck E. Cheese. Anakin was utterly unlikable and unredeemable simply because the writers were more focused on how many characters they could make into McDonald’s Happy Meal toys instead of sticking to the fundamentals of GOOD storytelling.

But Obi-Wan doesn’t take me seriously. Whaaaaahhhhhh! *SLAP*

 

If we’re missing emotional connection between the audience and our characters, our story loses critical wattage. What are some ways we can help form that connection? Today…

The Wound

Real humans have wounds that drive our wants, needs, perceptions, and reactions and so should all our characters (even the Big Boss Troublemaker-Antagonist). Recently, I was helping a student of my Antag-Gold class plot her novel. She had a good protagonist who was a control freak. My question: WHY?

Yes, genetics will have a role in forging our personality, but genes do not a good story make. Having a character be a certain way simply because we need them to be or act that way will work, but so will a heart with damaged valves.

Wounds drive how we perceive our world, what we believe we want, and how we will (or won’t) interact with others. This is critical for generating story tension and character arc.

For instance, my father abandoned us, my mother was chronically ill, and my little brother was legally blind. I was left to grow up too fast and take care of far too much way too early. THIS is why I struggle with being a control freak. From MY wound, %#!* didn’t get done unless I did it.

Additionally, because I grew up in the wake of constant broken promises, I’ve had to work hard to trust. It’s been a challenge to delegate and allow others to fail or succeed without my constant meddling. Also in my growing up years, achievement=love/attention. That wound drove me to seek dreams that weren’t mine to please others.

I had to “arc” to walk away from people-pleasing if I wanted fulfillment.

Wounds are the NOTCH That Engages the GEAR

Think of plot like gears on a bicycle. So long as the gears are engaged and moving forward we have story momentum. Character is like the chain winding around those gears.

Some of you might be old enough to remember riding a ten-speed with the old shifters. You had to practice shifting gears to get the chain to engage a larger or smaller gear and if you didn’t get it right? The pedals spun and the bike just made weird noises. That’s because the chain has to be able to meet with the teeth of the gear via a space or a hole…or it won’t work.

Character functions similarly. We can have the gears (plot) and the chain (character) but if there is no notch (wound) that allows them to ever mesh and create tension? The story has no momentum and just makes weird sounds while we fruitlessly spin literary pedals. Wounds are the sweet spot, that hole, that allows plot and character to merge into dramatic momentum.

Some writers start with characters and others start with plot. It doesn’t matter so long as you let either be forged with “the wound” in mind. If you have a mental snippet of a rebellious renegade bad@$$ heroine and want to put her in a story, then think of a plot situation that will make her utterly miserable. She can’t grow if she’s comfortable.

Maybe instead of chasing bad guys, she is forced to become the caretaker for her three young nephews after her sister dies. This PLOT is going to force her to be vulnerable, maybe have a softer side, and lighten up. Now, character (chain) and plot (gears) are linked.

Same if we go the opposite direction.

Maybe you have a great idea for a story. You want to take down a mob boss. Who can you cast that will be the most uncomfortable and thus grow the most? A former hit man who’s given up killing because he promised his wife before she died? An agoraphobic ex-cop who can’t leave her house? A sweet, naive soccer mom who believes that Bedazzling makes everything way more AWESOME?

Genre will dictate some of the casting, but note if we cast someone who would reach our story goal with relative ease, we risk having a one-dimensional talking head. We also diminish tension because remember, readers LOVE seemingly unbeatable odds. So, if we cast a highly decorated detective to take down our mob boss, make sure there is something about him (a wound) that puts the odds against him.

Wounds Don’t Have to Be Big to Be BIG

Image via Flickr Creative Commons, courtesy of Thomas Ricker.

Image via Flickr Creative Commons, courtesy of Thomas Ricker.

Often, new writers will default to wounds like rape or death or some big tragedy to create the wound. To be clear, I am not saying these aren’t viable wounds, but never underestimate the “smaller” and more relatable emotional injuries. The more a reader can empathize with one or more characters, the deeper that connection becomes.

Not everyone has lost their family to a sudden alien invasion—😉 — but they can empathize with maybe never living up to expectations, being bullied, or not fitting in. LOTR rests on a small band of Hobbits who believe they are too little to make a BIG difference.

Perhaps the character is the invisible middle child trying to forge an identity, the eldest trying to hold the world together, or the baby who “got away with murder” and “was handed everything.” Never underestimate family dynamics as sources for realistic and powerful psychic wounds.

For instance, my father was all play no work. Unfortunately, we suffered the consequences. Ironically, my grandfather was all work no play. Doubly ironic, my childlike father created a workaholic daughter (me); like thread, one loop feeding into the next weaving the “pattern” until someone changes “the pattern.”

Arc.

I’ve had to learn to lighten the hell up and balance The Force. But my workaholic, overachieving nature served up far more thorns than fruits.

Wounds Will Distort Happiness

Wounds generate illusions. Because I grew up poor and lived hand-to-mouth all through college, I “believed” that money and financial security would make me happy. At 27, I made more money than any person in their 20s should make…and I was miserable. I was eaten alive with emptiness. I’d achieved all that should have filled that hole—the college degree, the premium job and premium pay. And yet?

I was the person stranded in a desert gulping sand I believed was water from an oasis.

Am I "there" yet?

Am I “there” yet?

Character arc comes when a protagonist is placed in a problem strong enough to challenge the illusion and break it. The protagonist believes X=happiness/fulfillment. It is only through the story problem that the protagonist rises to become a hero, a person capable of realizing they were wrong and that they’d been coveting a shill at the expense of the gold.

Thus, when creating characters, keep the wound at the forefront of your mind.

How does it affect what he/she believes about their own identity? What do they believe will make them happy? What is it that you (Author God) know that’s really what will make them happy? What needs to change for that character to lose the blinders? What is the perfect problem (plot) to force the protagonist to see the hard truth of the unhealed wound?

What are your thoughts? Writing can be healing and therapeutic. Have you ever siphoned from your own hurt-reservoir to deepen your characters? Can you think of how even small hurts can become super-sized? What are some ways you’ve witnessed wounds driving people in wrong directions toward false happiness? Have you been there, done that and earned the t-shirt?

I LOVE hearing from you!

To prove it and show my love, for the month of JULY, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook

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75 Comments

The Difference Between “Flawed” Characters and “Too Dumb to Live”

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Which is more important? Plot or character? Though an interesting discussion—sort of like, Could Ronda Rousey take a Klingon with only her bare hands?—it isn’t really a useful discussion for anything other than fun. To write great fiction, we need both. Plot and characters work together. One arc drives the other much like one cog serves to turn another, thus generating momentum in the overall engine we call “STORY”.

If we goof up plot? Readers/Audiences get confused or call FOUL. Watch the movie Ouija for what I am talking about *shakes head*.

Goof up characters? No one cares about the plot.

New writers are particularly vulnerable to messing up characters. We drift too far to one end of the spectrum or the other—Super-Duper-Perfect versus Too Dumb to Live—and this can make a story fizzle because there is no way to create true dramatic tension. This leaves us (the frustrated author) to manufacture conflict and what we end up with is drama’s inbred cousin melodrama. 

If characters are too perfect, too goody-goody and too well-adjusted? If they always make noble, good and professional decisions? Snooze fest.

Again. Bad decisions make great fiction.

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Of course, the other side of that is what I call The Gilligan Effect. Yes, I am dating myself here and don’t want to upset ant DIE-HARD Gilligan’s Island fans, but I remember being a kid and this show nearly giving me an aneurism (being the highly logical child I was).

After the third time Gilligan botched up the escape off the island? Kristen would have gone Lord of the Flies and Piggy Gilligan would have mysteriously gone “missing.”

 

I also recall how the stranded party could make everything out of coconuts except a freaking BOAT, and the only reason I kept watching was because it was better than being locked outside to play in heat that returned asphalt back to a plasma state (Yay, Texas summers!).

Today we are going to talk about how we can make characters flawed without crossing over into TDTL (Too Dumb To Live) Territory. That and I SO had to blog about something that let me share THIS! *giggles*

Let’s hide behind the CHAINSAWS!!!! *clutches sides*

Okay, I’m back *giggles*.

Great stories are filled with characters making bad decisions, and when this is done well, we often don’t really notice it beyond the winding tension in our stomach, the clenching that can only be remedied by pressing forward and seeing if it works out okay. When characters are properly flawed, the audience remains captured in the fictive dream.

When we (the writer) goof up? The fictive dream is shattered. The audience is no longer part of the world because they’re too busy fuming that anyone could be that stupid. They also now cease to care about the character because, like Gilligan? They kind of want said TDTL character to die.

If this is our protagonist? Extra bad. Our protagonist should make mistakes, just not ones so egregious the reader stops rooting for him/her.

Bad Decisions Birthed from The Flaw

When we create a protagonist, we should remember that all strengths have a complimentary weakness. If a character has never been tested by fire, the protagonist is blind to the weakness.

For instance, great leaders can be control freaks. Loyal people can be overly naive. Compassionate people can be unrealistic. Y’all get the idea.

This dual nature of human strength paired with fallibility is why plot is just as critical.

The plot is the crucible that tests the mettle and reveals and fires out the flaw. The strength ultimately will have to be stronger than the weakness because this is how the protagonist will grow to become a hero by story’s end.

A great example of this is one of my favorite movies, The Edge. Anthony Hopkins plays billionaire Charles Morse. Charles is extremely successful and very much in his own head. Though he’s a genius, he lives the sheltered existence of the uber-wealthy.

What happens when all that “head-knowledge” is what he needs to survive a plane crash in the unforgiving wilderness?

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When the plane crashes and he and the other two survivors make it to shore, Morse does the right thing. He knows they need to get dry before they all die from hypothermia. He also realizes Stephen, the photographer, is in full panic. What is the intelligent thing to do? Put the photographer to work doing something fruitful to take his mind off his fear.

The problem, however, is Morse assumes the photographer has the same knowledge-base and doesn’t take time to show Stephen how to use a knife properly and the man is badly injured. Now we’ve already had a problem (plane crash) and now we have a complication (bad injury) and then it gets worse.

Morse, again, being an in-his-own-head-guy and unaccustomed to having to communicate WHY he wants certain things done, tells Robert Green to bury the bloody fabric. Green is jealous of Morse and rebellious and instead of following instructions and burying the material? He hangs the blood-soaked rags from a tree where an incoming storm whips up the scent of an newly opened All You Can Eat Buffet.

Soon, the men are being hunted by an apex predator with the munchies for humans.

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But all of this was birthed from a myriad of flaws. Morse failing to communicate and assuming his comrades are operating with the same head knowledge (because he’s never HAD to use this type of information in a real-world way) and also the two photographers who are City People and don’t have the sense to know 1) NOT to drag a knife towards the body and 2) that the smallest scent of blood will draw predators.

These men are used to the “civilized world” and at the beginning, have failed to properly appreciate that their position at the top of the food chain is NOT static.

Bad Decisions Depend on Circumstances

Sometimes characters will make bad decisions simply because this is a completely new world or a set of circumstances they’ve never faced, thus have no way to fully appreciate. The “bad” decision was not a “bad decision” before the adventure.

 

A good example? Merry and Pippin in The Lord of the Rings. In the Shire, people talk and are sociable. These naive characters haven’t yet felt the consequences of this new and dangerous world. To them? Chatting away and freely sharing information at The Prancing Pony is NOT a bad decision in their minds. Neither is frying bacon on top of a mountain.

They’ve always lived a life that if they were in a pub? They drank and made friends. If they wanted bacon? They just made bacon. They’ve never had to think beyond their mood or stomachs and don’t have the experience base to realize that fire is a “Come and Kill Me” beacon to the enemy.

Bad Decisions Can Be Birthed From The Wound

We have talked about The Wound before. In Thelma & Louise what is the wound? A lifetime of male oppression. In Thelma’s case, her husband controls every aspect of her life. Thus, when she finally does get on her own, she has poor judgement and is naive and that’s how she nearly ends up raped in a honky-tonk parking lot.

Louise was raped and no one was there for her. She’s been a victim and doesn’t trust men or the law. Thus, her baggage is what leads her to shoot Thelma’s attacker, but then also dovetails into the really, really bad decision to run.

But if we look at all these examples from an analytical distance, these characters are just DUMB. But why aren’t they TDTL? Context. Because of plot we (the audience) are not staring down at them like specimens through a microscope. We are immersed in their worlds and thus empathize with the bad decisions.

The bad decisions are forgivable because unless we live in the Alaskan wilderness? We can empathize with maybe doing something seriously stupid if we were stranded, too. We (the audience) have “been” to the Shire and know what world created the childlike Merry and Pippin. We appreciate they are grossly out of their depth and give them a pass.

In Thelma & Louise we can understand how damaged people make poor decisions because, unless we’ve been living under a rock, we’ve made similar choices, and suffered consequences created from fear not reason.

What this means is that, while ALL of these characters made really wrong decisions, they are necessary and pardonable decisions that serve to drive the character arc and thus the plot’s momentum.

That is the final note on characters making bad decisions. Do we have a character making a mistake, withholding vital information, acting irrationally because it is coming from a deeper place of flaws, circumstance or wounds?

Or, do we have a character playing marionette? Characters are making a mistakes because we NEED them to. The tension has fizzled, so let’s just let them do something epically stupid (and random)?

Audiences can tell the difference between mistakes that are organic and flow from deeper emotional waters versus something contrived. And we can ALL be guilty of forcing characters to make bad choices simply because we sense tension is missing. Even I have to go back and ask the tough question…WHY is this character doing this?

For more help on how to use characters to ratchet anxiety to the nerve-shreding level, I am finally back teaching and offering my Understanding the Antagonist Class on April 18th and YES, it is recorded in case you miss or need to listen again because this class is jammed with information.

I LOVE teaching this simply because our antagonists are pivotal for writing a story readers can’t put down. Yet, too often we fail to harness characters for max effect. I look forward to seeing you there! I also offer the Gold level for one-on-one. Maybe you’ve hit a dead end. Your story is so confusing you need a GPS and a team of sherpas to find the original idea. Instead of wasting time with misguided revisions, I can help you triage your WIP and WHIP it into fighting form😀 .

What are your thoughts regarding characters making poor decisions? What are some of your favorite examples? Ever quit a book, movie, or show because you wanted everyone to DIE? Did you hate Gilligan, too? Do you think Ronda Rousey could take on a Klingon with her bare hands?

I love hearing from you!

To prove it and show my love, for the month of MARCH, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook

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68 Comments

Creating Dimensional Characters—The Blind Spot

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Last time, we talked about how to deepen characters and how EVERYBODY LIES (thank you Dr. House). Lies are critical for great fiction. To become excellent writers, we need to become great secret-keepers. Denial is more than a river in Africa😉 .

I’d started a series on this a few months ago and Shingles got in the way of the next posts I had planned. But, the first of the intended series was about THE WOUND.  Check it out if you have a bit of time.

Most of us don’t go around lying because we are pathological liars. We lie because of our wounds. And, if you read the post, wounds don’t have to be big to be BIG.

Newer writers sometimes think we have to have a rape or death for it to be “enough” but never underestimate “smaller” wounds. They are far more common, very damaging, and readers have a lot likelier time empathizing and thus connecting.

Though I had my fair share of big wounds in life, strangely enough, the small ones did just as much damage and maybe even more. It was the jokes about me being ugly or fat from family members or schoolmates. It was being teased that my clothes were from Kmart (had a single mom).

It was playing sports, competing in martial arts, or being first chair in clarinet and playing a key solo…yet every kid had a parent/family member in the audience but me.

These wounds drove me to being more of a perfectionist, a people-pleaser, and insecure about my body and looks. One can only be called “Thunder Thighs” so many times. To this day, I refuse to wear shorts even though, when people made these comments, I was 11% body fat. I just happen to be built for strength and “willowy” is an adjective that will never describe me.

Me at 5'3", 165 pounds and a Size 10.

Me at 5’3″, 165 pounds and a Size 10.

Yet, though the wounds did their fair share of damage, they also created a person who learned to be self-sufficient VERY early….which is a mixed bag. Also, I learned to ignore other people’s opinions. This helped A LOT when I was blogging about how social media would change the world and had others calling me a lunatic.

But, I can also say there are times I maybe should have been better at listening to counsel and opinions. Learning to discern when to listen and when to ignore is still a struggle for me…because of the WOUNDS.

Beyond “The Wound”

Today, we’re going to explore an extension of the WOUND. The BLIND SPOT. There are no perfect personalities. All great character traits possess a blind spot. The loyal person is a wonderful friend, but can be naive and taken advantage of.

The take-charge Alpha leader can make a team successful, but also inadvertently tromp over feelings or even fail to realize that others have great ideas, too. Maybe even BETTER ideas.

Often the antagonist (Big Boss Troublemaker) is a mirror of the protagonist, especially in the beginning of the story. In the first book of the series I am currently writing, Romi (my protagonist) is LOYAL. She believes everyone has some good and the world will reward you if you simply are good and work hard.

How she ends up in trouble and the number one suspect in an Enron-like scam is that she trusted the wrong people and they let her take the fall for the scheme.

Romi is VERY Elle Woods in "Legally Blonde."

Romi is VERY Elle Woods in “Legally Blonde.”

To arc and be able to beat the antagonist and solve the core story problem—Find money and clear her name—she’s going to have to grow up. Her bright-eyed naiveté is an asset. Others (ALLIES) gravitate to her because she is such a Pollyanna. They are there to buttress her weaknesses and even mentor her growth.

Yet, by story’s end, she cannot be the same. She’s going to have to be more realistic and see truth about people in order to come out alive.

Conversely, the antagonist is betting that the original blind spot used to make Romi the sucker will remain. The antagonist is banking that she will refuse the call and thus not grow. The antagonist’s blind spot is pride and opportunism. Being able to manipulate.

Yet as Romi grows, she learns to see who people truly ARE, not what she simply wants to see and that is a large reason the antagonist fails.

Application

To use an example from a movie we have likely all seen. In Top Gun, what makes Maverick the best pilot is his complete lack of fear. He has the cajones to do what other pilots wouldn’t ever consider.

He’s driven by his wound, the lie about his father. This has made him one of the best pilots (trying to overcome his tainted history and impress a ghost) but he’s missed the lesson on how to be part of a team.

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Yes, maybe breaking all the rules makes you “the best”, but it can get others killed. It isn’t all about HIM.

This is why when I refer to “the antagonist” I prefer my made-up term Big Boss Troublemaker. The antagonist isn’t always “bad.” The antagonist is simply the person responsible for creating the core story problem.

Iceman isn’t a bad guy. He isn’t evil with a plan to take over the world or infiltrate the Top Gun school as a sleeper terrorist.

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He’s simply a by-the-book fighter pilot who believes Maverick shouldn’t be there. He loathes Maverick because he thinks he’s a danger to himself and others (and, frankly, he has a very valid point).

The plot provides the crucible. Maverick butts heads with Iceman over and over in a um, man-part-measuring contest. But what happens when Maverick loses Goose? Crisis.

A hard event (PLOT) has now forced Maverick to face the truth about himself. For the first time, he SEES the blind spot Iceman and others have been pointing out (which has been the core source of conflict). This loss forces him to go searching for answers deeper than buzzing the tower.

He finally recognizes others might actually have a point.

The beauty of this movie and why it’s remained so timeless (aside from hot guys in Navy dress) is it’s a movie exploring people. Real, broken, hurting people blind to who they really are. By story’s end? Everybody arcs.

Maverick learns there are other people in the sky besides HIM and that he is part of a TEAM. Iceman lightens up and recognizes that Maverick, too, has a point. Sometimes one just has to toss out the rulebook.

Thus, when creating characters in any story, to deepen them, we need to KNOW them. What DRIVES THEM? How would they react according to their past, their wounds and their blind spot?

As a writing exercise, take a scenario. Maybe an attempted mugging. How would different characters react?

For instance, when I was in college, I taught Jui-Jitsu during the day and sold papers in the evening. One dark winter night a drunk tried to mug me in a dark apartment complex and take my hard case briefcase.

Because of MY background, growing up powerless and determined to be in CONTROL, I’d taken years of martial arts. Also, when I was eight, I witnessed my 6’8″ male family member raise his hand to hit my mom while she was cooking….and she beat his ass out the front door wielding a mad hot cast iron skillet.

This left a mark (though likely more on said family member).

Thus, 12 years later when a MUCH larger drunk came up behind and tried to mug ME, he got beaten heartily with a briefcase and then chased until I lost him.

But why did I fight, not just hand over the briefcase?

I’d always been POOR. I was very poor in college and had worked long hours to buy a really nice briefcase in hopes of landing a better job than selling and delivering papers. There was no money in the case. I could have handed it over but because of MY wounds, the briefcase was more than a briefcase.

Clearly my BLIND SPOT is I have an alligator mouth and a pekinese @$$. I could have lost and ended up hurt or dead.

But what about a person with a different background? A different wound? A different blind spot?

What if the person mugged was a trust fund baby who could easily buy another briefcase? Or a person who’d been beaten badly in formative years and would do anything to avoid experiencing that pain? What if the person was elderly? There are a lot of variables that make a VERY rich palette to create characters with LIFE.

Think of your own life and personality? What is your greatest strength? How does it create your greatest weakness? What is YOUR blind spot. Play a little armchair psychiatrist and what you find might be really interesting😉 . Feel free to share about you or even your favorite characters you’ve read or even written.

I love hearing from you!

To prove it and show my love, for the month of JANUARY, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook

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