Character Creation

I'm always looking for ways to stimulate my brain. This past weekend, I got a wonderful shot of creativity from an unexpected source.

For the first time in nearly twenty years, I joined a game based on Dungeons and Dragons. Yep, that old role playing game (RPG) that we used to fear would lead the youth of our nation into devil worship.

In actuality, RPGs are an adventure in shared, co-operative story telling. Any author who has co-written a story can tell of the joys of creating a world and quirky characters with another person. I got to have that fun with seven other bright, intelligent, fun people.

Every story starts with a character or eight. Someone with various strengths and weaknesses who gets challenged to push herself. How she reacts to those challenges depend a great deal on her personality traits. Fortunately, RPGs give you a wonderful way to discover those personalities.

Of course, we usually use archetypes (here) or GMC (here). But why not try some thing a little koo-koo crazy?

First, get yourself four six sided dice.

Then, roll your dice.

Remove the lowest number from the cluster.

Add up the remaining dice and write that number down. Do that six times.

Next time - what to do with those numbers!

Examples

Here's a quick example of how the nine sentence synopsis works.

1. The trouble starts when.....  Linda wants ice cream.
2. The protagonist makes a plan to cope by... going to the freezer.
3. The trouble gets worse when...there is no ice cream there!
4. The protagonist regroups and presses on harder by...checking her purse for money
5. The protagonist reaches the point of no return when...she gets in her car to go to the store.
6. The protagonist is pushed to the brink when...all the lights are red on the way to the store.
7. She appears to have lost when...there is no Coconut Bliss!
8. She fights on by...looking behind all the other ice cream containers.
9. Everything is on the line and only one will win when...she stands up on tiptoe, drags the last container out by the tips of her fingers, and barely avoids pulling over the display!

Even this little silly story about ice cream has rising and falling action. It also describes my GMC and how it changes. For example:

Goal: Get ice cream (what I want)
Motivation: Hungry (because)
Conflict: None in the freezer (but)

My goal and motivation remain the same, but the conflict changes as the story goes on. In a more complicated story, the protagonist examines if her goal is worth what she thought it was. In a tragedy, the story would go like this:

1. The trouble starts when.....Linda wants ice cream
2. The protagonist makes a plan to cope by...going to the freezer
3. The trouble gets worse when...there is no ice cream !
4. The protagonist regroups and presses on harder by...looking her purse for change
5. The protagonist reaches the point of no return when...she is out of money!
6. The protagonist is pushed to the brink when...she ransacks the sofa cushions for change
7. She appears to have lost when...there is nothing there either.
8. She fights on by...checking her bank account
9. Everything is on the line and only one will win when...she can't afford the ice cream.

This little tool tells you how you want to run your story, and what needs to happen between each section. The writer can add the setting by talking about how blisteringly hot it is out, by what her house looks like, what kind of ice cream is haunting her.

Story Basics, Part II

In the endless quest to understand your characters, I'm revisiting a post I did a couple of years ago. One of the most useful tools in a writer's toolbox is an exercise called GMC.
 

For each of your main characters, you determine their Goal, Motivation, and Conflict. You come up with with a basic description of their personality (which for me is incredibly difficult), a Tagline (which could be lessons she needs to learn, or perhaps his personal motto), and then, you start in on determining what they want, what makes them want it, and what is keeping them from achieving their goals.

The amazing Debra Dixon came up with this shorthand in her amazing book called (oddly enough), Goal, Motivation & Conflict: The Building Blocks of Good Fiction.

One hint before you dive in - when you are working on this exercise, make sure your character's external goal is a concrete one. "World Peace" is a nice goal, but it's completely undo-able. Make it something that he can attain. Instead of World Peace, write "Obliterate X Terrorist Cell" or "Get President to sign X Peace Treaty on time and alive". For something less Earth shaking, try, "Buy childhood dream home" or "Open coffee shop in six weeks". What kind of story you have often depends on the antagonist's Goal.

For example, let me show you one of the GMC charts that Ms. Dixon uses in the book - Rick Blaine from Casablanca.

Rick Blaine
Description: Cynical Loner
Tagline: (lessons he needs to learn)
One person can make a difference in this world
Women in war must make desperate choices (think of the newlywed)



Goals: (what he wants)
External

1. Keep bar open
2. Punish Ilsa
3. Get Ilsa and Victor on that plane

Internal

1. Regain the love he had in Paris
2. To do what's right in the world

Motivation: (because)
External

1. Needs money and people depend on him
2. Because she left him in Paris
3. Insure her safety

Internal

1. The pain of losing Ilsa has never gone away
2. Daily, he sees what war is doing to people around him

Conflict (but)
External

1. The French Prefect has all the power
2. Punishing her puts her in more danger
3. Victor has been put in jail

Internal

1. Ilsa is married
2. He must put aside his own happiness

Looks easy, doesn't it?

It's actually a difficult chart to fill out because you are constantly learning more about your characters and your story. The big part of a good character arc is discovering how their GMCs change from the beginning of the story to the end.

Story Basics, Part I

My friend Opal Mirror and I have had an interesting conversation since my post on Catching Up On The Classics.

He says he likes to write setting, but has trouble with narrative and character development (whereas I'm all over narrative, but setting is ridiculously hard for me). So, for both of us, I thought I'd go over some concepts and see if it helps us (and you, too).

Character development - creating a fictional person who is as confused and searching as a real person - isn't easy, but there are some tools to help you on your way.

The first tool set involves basic questions such as:

1. What does the person need to learn?  Humility? Self-Confidence? That his uncle murdered his father and then married the widow?
2. What are her flaws? Is she a careless listener? Is he greedy? Hamlet had some serious focus issues, for example. His job was to kill his uncle, not everyone else!
3. What is her greatest fear? Gertrude did not want to face the truth of her actions - that she had committed incest by marrying her brother in law.
4. What is his best quality? I always thought Hamlet's best quality that was he didn't take the ghost's words for granted - he had to investigate and prove the truth to himself.
5. What is the price she will have to pay if she doesn't learn the lesson(s)? Since it took Hamlet so long to learn what was going on, he left behind a trail of innocent dead.

These are just ideas to start the brainstorming process. More character tools to come!

So yeah, that writing thing.

I'm at the first draft stage of Book Two, the sequel to Dracula's Secret. I thought I might give you all a peek into what I've been doing for research and prep work.

 Here is Daniel Craig, the model for my hero Lance Soliel. I have several pictures of him (yes, in various states of undress) to show me what Lance's moods and body language is like.

 Here are some pictures of Georgia May Jagger (daughter of Jerry Hall and Mick Jagger). She is the model for my antagonist for Book Two. I've got that character's backstory and Goal, Motivation, and Conflict finished. She's going to be very cool, and I think very different from anyone I've written before.

 I like to start off with hand-writing a lot of my first draft ideas and scenes. Keeps me from getting too self-critical about the quality of the work and lets me just roll with my brain.

I also have my plot turning points figured out for my main three characters and their relationships with each other and themselves. This gives me a road map of where I'm going, instead of flailing around blindly for ideas. I just have to look over my notes and something will trip my creative triggers.

And there we go!

I'm off to work now.

Ah, Vacation.

Mostly. :)

The Charming Man is on vacation and I'm loving having him around so much. The best part - he completely understands and even appreciates when I leave him to do his own thing so I can work.

Lately, I've been working on getting my "World Reference" in order. I'm putting all my character pictures and the book plots into one three ring binder. Soon I'll have their GMC sheets (remember those?) and their descriptions all in one place. If I want to write a multi-book series, I refuse to let myself forget everyone's eye color or height. :)

I'll post pictures of it soon.

Back to work.

Today, I officially started on The Sequel (title still unknown, sorry). I've had several outlines, plots, and ideas for this book, but since I changed the ending for Dracula's Secret, I had to start completely from scratch.

I don't worry about all the previous work because I've found that writing is never wasted. I know it'll be useful, and most likely sooner rather than later. :)

And to top it off, I found my plot! I'm not going to announce it yet, because things can always change (and usually do), but for now, I have an road map for myself. I also started in on my GMC charts.

And that makes for a very very good day. :)

Revisions

I'm revising Dracula's Secret (again). The first draft was a rambling, shambling monster with no clear plot or idea where I was going. I had some thoughts that I should try working from the seat of my pants.

Which is why I am now on my fourth set of revisions. *grin*

One of the most useful tools in a writer's toolbox is a little exercise called GMC.

For each of your main characters, you determine their Goal, Motivation, and Conflict.

The amazing Debra Dixon came up with this shorthand in her amazing book called (oddly enough), Goal, Motivation & Conflict: The Building Blocks of Good Fiction.

Let me show you one of the GMC charts that Ms. Dixon uses in the book - Rick Blaine from Casablanca.

Rick Blaine
Description: Cynical Loner
Tagline: (lessons he needs to learn)
One person can make a difference in this world
Women in war must make desperate choices (think of the newlywed)

Goals: (what he wants)
External

1. Keep bar open
2. Punish Ilsa
3. Get Ilsa and Victor on that plane

Internal

1. Regain the love he had in Paris
2. To do what's right in the world

Motivation: (because)
External

1. Needs money and people depend on him
2. Because she left him in Paris
3. Insure her safety
   

Internal

1. The pain of losing Ilsa has never gone away
2. Daily, he sees what war is doing to people around him

Conflict (but)
External

1. The French Prefect has all the power
2. Punishing her puts her in more danger
3. Victor has been put in jail

Internal

1. Ilsa is married
2. He must put aside his own happiness

Looks easy, doesn't it?

It's actually a difficult chart to fill out because you are constantly learning more about your characters and your story. I just did my fifth GMC for my leading characters. *facepalm*

But every time I do it, I learn something more. If I let it, it's exhilarating.