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!