2022 - January - Begetting Quality

  This year we're back to first-of-the month posts, this year topics are about writing well and telling a story well. 

Writing does not beget good writing, it begets repetition of the same-old principals of setting words into sentences that were taught in school. 

In order to write quality stories worth a reader's interest, time, and money, a writer needs to learn and then train their mind to write with techniques of the successful, highly paid, multi-published.

It's the difference between learning to swim and making the Olympic team in swimming.

That's why I tell new writers to stop writing and learn craft. Craft enhances talent and liberates creativity. And here's the catch — by learning craft, a writer must practice what they're learning and thus bring to the writing a whole new aspect of workmanship and mastery of word images.

Other benefits follow, like far less rewriting, far less revising, and far less errors of all kinds from the big picture of plot to the minuscule of line edits done word by word.

If you're truly interested in writing well and telling a story well, then take a time out to learn. Start with books on craft, not an Internet blog post or two of a few hundred words, but books that cover a topic-subject in tens of thousands of words. Then practice that craft subject in a short form—  a short story or a scene—  until it comes naturally. Those will not be wasted words. Those will be better words, better scenes, better stories.

So where should a writer start this learning curve? Start by learning what story is. And I will recommend the following books that can teach this:

A STORY IS A PROMISE by Bill Johnson

This book is filled with, as the subtitle says: "Good things to know before you write that screenplay, novel, or play." And never forget, verbal stories, epic poem-stories, and plays came long before novels.

HOW TO TELL A STORY—THE SECRETS OF WRITING CAPTIVATING TALES by Peter Rubie and Gary Provost

This book does hold the secrets of writing captivating tales.

WRITING THE SHORT STORY—A HANDS-ON PROGRAM by Jack M. Bickham 

This book takes a writer step-by-step through the Developed Short Story. Here's the catch: the only difference between the Developed Short Story and a Novel is length and scope. Learn to write the Developed Short Story and the novel is oh so much easier to do.

SAVE THE CAT by Blake Snyder 

A screenwriters bible, but again, plays came before novels. This book's how-to's give insight and practical advice on story and writing a story.

You don't have to buy the books. You can usually get them through the Library Loan system. 

It's the New Year and resolutions and goals often are set — or at least thought about. Isn't it time you made a commitment to not just writing the same-old way but writing well and telling a story well?

****Stop back the first of February for the next posting to this blog.   — Catherine E. McLean, Author, Writing Instructor, Workshop Speaker

Connect with me at

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2021 - October through December — Fears Worse Than Death

This year's posts have all dealt with "lists" (also known as Cheat Sheets) that help a writer recall necessary elements before (or after) writing that make for a story worth telling and selling. Such Cheat Sheets are the backbone of a producing writer's Project Bible. 

Fears Worse Than Death 

One of the key elements to collect and put on a Master Character Worksheet or Questionnaire and to ask only of your main characters is: What is your fear worse than death?

That's right — 

There are things far worse then death or dying. Among them are fears and phobias. 

Often a fear or a phobia is the Protagonist's or Antagonist's Achilles' heel, their weakness, their vulnerability, which will play out in the story in some way, often in a major or catastrophic way.

Such a fear or phobia makes the character more human or adds a quirk to their personality. For instance, Indiana Jones's fear of snakes. My own fear is of wasps and hornets. I've been stung so many times over the years that I am now allergic to their stings. As a result, should I hear a buzz, I about panic looking for the culprit to kill it before it stings me.

It's important that a writer avoid plastering just any fear or phobia onto a character. The fear or phobia has to be part and parcel of the character's character because their fear or phobia resulted from a "cause." That is, something happened in the Protagonist's or Antagonist's past that created that particular fear and that fear, in turn, affects how the character judges and reacts or tries to avoid dealing with the fear or phobia they have acquired.

These fears-phobias fall into three groups: debilitating, life-threatening, and extremely humiliating. The result it that the character (or a person) will do just about anything to avoid facing that fear. One example is the fear of public speaking, which to most seem to result in the ultimate of humiliations.

Of course, often the character doesn't realize what affect that original fear-inducing incident had on them until "The Wise One" or "The Voice of Reason" type of character in the story points it out to them—or the Antagonist uses that fear or phobia against the Protagonist (or vice versa). What Lex Luther villain doesn't enjoy jabbing a little kryptonite into Superman?

Over the years, and from many different sources, I've put together my own extensive list of "Fears Worse Than death" (which includes phobias) that people have. You can start your own list by checking out: https://www.therecoveryvillage.com/mental-health/phobias/related/list-of-phobias/

Such a list should go into your personal, master copy of your Story Project Bible.

* * * 

October 9, 2021  — I will be giving two IN-PERSON writing workshops in Erie PA at the WRITER'S ROAD TRIP #9. This is the 9th year for the event hosted by Area 1 Pennwriters, part of Pennwriters, Inc. 

REGISTRATION AND INFORMATION

CAN BE FOUND  HERE

OR AT 

https://pennwriters.org/content.aspx?page_id=4002&club_id=522048&item_id=1516903

                                                                       

2021 - July through September - Why They Kill List

    This year's posts will deal with "lists" (also known as Cheat Sheets) that help a writer recall necessary elements before writing (or after) that make for a marketable story, a story worth telling and selling. Such Cheat Sheets are the backbone of a producing writer's Project Bible. 

The "Why They Kill" List

Be they hero or villain, Protagonist or Antagonist, have you every thought about why they would kill or why they might loath killing? 

Disregarding them being caught red-handed or cornered with no way out of the predicament they've gotten themselves into, below are some reasons to ill that might help flesh out or better understand your Antagonist or Protagonist. They would kill for:

MONEY 

ENJOYMENT (sadistic or cold-blooded)

REVENGE 

SEX (jealousy)

JEALOUSY OR ENVY (over personal possessions, social or job status, etc.)

PERVERTED ACTS 

DRUGS

CULTISM

TERRORISTS

CHILDREN ARE A BURDEN

INADEQUACY AS A PARENT

HATE

BECAUSE THEY ARE DELUSIONAL, MENTALLY ILL, OR INSANE

BECAUSE THEY ARE ASSASSINS 

BECAUSE THEY ARE ADDICTED TO BLOODLETTING OR HOOKED ON KILLING

It should be noted that men far outnumber women when it comes to the above. And speaking of women killers, did you know that 50% of women shoot their victims while 3% bludgeon, stab, torture, suffocate, neglect, or drown victims? And then there are the 29% of woman who employ a combination of the above.

One last thing, there is little difference between terrorists and hit men (assassins), but there are types— 

● The Enforcer who has a cold-blooded mentality

● Those where murder is an art to them

● Those that are loyal only to the person who pays them

● They are vicious psychopaths— having aggressive, perverted, criminal, or amoral behavior

● They are sociopaths— having a personality disorder marked by aggressive, antisocial behavior

So, under what circumstances would your Protagonist kill someone?

Under what circumstance would your Antagonist kill someone?

********************

Next posting October 1, 2021 

2021 - April through June - The Criminal-Villain Qualities List

 

Special Notice: This year, my Writer's Cheat Sheet Blog posts will be updated on the first of every month but quarterly. The next update will be Oct. 1st.

This year's posts deal with "lists" (also known as Cheat Sheets) that help a writer recall necessary elements before writing (or after) that make for a marketable story, a story worth telling and selling. 

The Criminal-Villain Qualities List 

The Antagonist in a story is The Who or The What that opposes or thwarts the Protagonist. In this month's post, we'll be looking at only The Who type of Antagonist.

It goes without saying that the Antagonist needs to be powerful and ruthless enough to succeed in achieving their goal or goals. The Antagonist goal is to stop or defeat the Protagonist at every turn of the plot.

However, The Who Antagonist doesn't need to be truly evil-evil. Yes, people can be horrendously cruel, greedy, exploitive, and egocentric but not all psychopaths or sociopaths are criminals. Even if that Who Antagonist is a person, being, deity, extraterrestrial, etc. somewhere within them is a spec of goodness or kindness.

And of course, there can be one or more Complicating Characters who are a story's antagonists. Complicating Characters are bent on complicating the Protagonist's life and goals. Complicating Characters act individually or they may team up to thwart the Protagonist on several levels, which don't usually include murder but create a great deal of mayhem, frustration, and anxiety for the hero or heroine.

To better understand your story's Antagonist, ask your villain or each complicating character: What is your "malicious intent?" In other words, name their one, dominant, secret, deep-down desire, want, or need—and why that is.

It might help to know if your villain is AN ORGANIZED CRIMINAL who possesses several (but not necessarily all) of these qualities— 

. acts aggressively

. plans the crime or attack in detail

. personalizes the victim

. controls conversation with the victim

. controls the crime scene

. removes weapons from the victim's reach or use

. requires a victim to be submissive and/or restrained 

. leaves very little evidence that can identify them (cleverly disposing of bodies)

Or is your Antagonist THE DISORGANIZED CRIMINAL who possesses several (but not necessarily all) of these qualities— 

. acts spontaneously, emotionally

. targets people they know, or who they think have done them wrong

. depersonalizes the victim, keeps conversation with victim to a minimum (they don't want to be dissuaded from hating or disliking the victim)

. attacks victim with sudden violence

. does not use restraints

. creates or leaves a chaotic crime scene and may leave the corpse at the crime scene

. leaves weapon(s) behind along with a variety of evidence

. may have sex with a corpse

Here's something you might not know— Villains have a VICE. A vice is: 

■ An evil, degrading, undesirable, or immoral practice or habit 

■ A serious moral failing

■ Wicked or evil conduct or habits, may be depraved

■ Sexual immorality, especially prostitution, rape 

■ A failing, a slight flaw or an imperfection (scar, tattoo, etc.) that is visible to others

■ A physical defect or weakness the villain hates himself for having and perceives others are repulsed by it or he is often ridiculed for it

The above lists are possibilities to think about that can help flesh out The Who  Antagonist of your story.

Lastly, I can't be say it enough —  A story resonates best with readers when there is a worthy antagonist, one who comes across as a person, not a puppet.

 *************

2021 - January through March

 

Special Notice: This year, my Writer's Cheat Sheet Blog posts will be updated on the first of every month but quarterly (the next post will be April 1). 

This year's posts will deal with "lists" (also known as Cheat Sheets) that help a writer recall necessary elements before writing (or after) that make for a marketable story, a story worth telling and selling. Such Cheat Sheets are the backbone of a producing writer's Project Bible. 

So, now let's start this new year off with— 

THE QUALITIES OF

 A PROTAGONIST 

(HERO OR HEROINE)

Most romance and fiction heroes (those alpha and beta men) of legendary stories come across as superior to real men in many ways. The same is said for heroines versus real women.

Now, go get a pen and a sheet of paper and recall a book you really enjoyed reading that had memorable characters. As quickly as you can, write down three POSITIVE qualities of the most memorable MALE character in that story. Once done, compare your three to this list of hero-protagonist qualities:

● HAS A WOUNDED SPIRIT

● HAS A CAUSE /JOB (OR IS BUMMED OUT BY HIS JOB AND NEEDS REJUVENATION)

● PEOPLE ARE LOYAL TO HIM

● HE IS LOYAL TO HIS FAMILY AND FRIENDS

● HE IS RESPECTED AND FEARED

● HE IS SMART / INTELLIGENT

● HE UNDERMINES THE ROMANTIC LEAD's OR HEROINE'S DEFENSES

● HE CARES FOR HIS PEOPLE'S PLIGHT (FAMILY, FRIENDS, COWORKERS)

● HE IS TRUSTED AND TRUSTWORTHY

● HE IS REALISTIC

● HE HAS INNER HONOR, A CODE OF HONOR

● HE IS DETERMINED, DECISIVE

● HE MAY BE A LONER

Now, list as quickly as you can, three POSITIVE qualities of the most memorable FEMALE character in a favorite story. Once done, compare your three to this list of heroine-protagonist / romantic-lead qualities:

● HER INTELLIGENCE MATCHES THE HERO'S

● SHE IS SMART / INTELLIGENT

● SHE IS CONFIDENT MOST OF THE TIME

● SHE IS BOLD, DECISIVE, OFTEN A LEADER-BOSS

● SHE IS MADDENING IN SOME WAY

● SHE IS DETERMINED

● SHE MAY BE STUBBORN

● SHE IS INDEPENDENT OR INDEPENDENTLY MINDED (SHE THINKS SHE CAN DO IT HERSELF)

● SHE IS NOT OUTWARDLY OR OVERLY EMOTIONAL (MOST OF THE TIME)

● SHE IS SENSUAL (NOT NECESSARILY SEXY)

● SHE STRIVES TO BE FREE, TO BREAK THE CHAINS THAT BIND HER 

● SHE HAS A NEED TO FEEL AND BE SOMEBODY SPECIAL

● SHE DOES NOT EASILY TRUST 

Did you notice as you went through all the lists, that these are admirable traits? Well, a Protagonist, be they male or female, must be highly admirable. 

Here's the secret, show the reader their MOST ADMIRABLE TRAIT when they come on stage by announcing to the reader their name (the name they will be known as throughout the story, not necessarily their full name). After all, a story is about SOMEONE, a person, so begin with that very special person on the first line of the first page, or within the first sentence or paragraph or within 500 words of the opening of the story. 

Doing so telegraphs to the reader the story is about "someone special" who is a person worthy of a reader's investment in reading the story.

So, how does your protagonist measure up as "hero or heroine" worthy?

A new year is like a blank book. 

The pen is in your hands. 

It is your chance to write 

a beautiful story for yourself 

in this the New Year of 2021!

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2020 - December - Characters Make The Story

 

Part 12 of 12  of Job titles for Story Characters • © 2020 All Rights Reserved

A lot of information has been included in this year's twelve monthly blog posts. That's why this end-of-the-year post is a summary— and a reminder. 

Topping the list of reminders is that plot is only as effective as the characters who showcase that plot. Write that in big bold letters and post it where you can see it every time you write a story.

Characters are so important that they can be sorted into categories by their job or function in the story. Knowing their story job titles and duties (job description) helps a writer create a far better story and stops overpopulating the story with a "cast of thousands." As you have learned this past year— 

Story job titles fall into categories of:

Major (or Main) Story Characters

The Protagonist (The Hero or Heroine)

The Antagonist (The Who or The What that opposes the Protagonist)

Major Secondary Characters

Romantic Interest or the Romantic Lead

Best Friend, Sidekick, Pal, etc.

Mentor, Advisor, Teacher, Sage, etc.

The Fool

The Entourages for the Protagonist are 

Friends, men

Friends, women

A Love Interest or The Romantic Lead (who is not a Major Secondary Character)

A Mentor

A Coach 

Pals (drinking buddies, poker pals, bowling pals) 

Family (parents, siblings, other relatives)

Neighbors

Work associates

Food industry workers (bar tender, waitress, etc.)

Health workers (doctor, nurse, etc.)

Tradesmen (plumber, mechanic, pool man, etc.)

Professionals (law enforcement, banking or financial, veterinarian, etc.)

. . . and so on.

The Entourage for the Antagonist (if a Who) can be

* Friends 

* Right-hand Henchperson or second in command

* Toadies, Monster-beings, Servants, Minions, etc.

* A Mentor

* Family (parents, siblings, other relatives)

* Professionals (gangsters, crooks, thieves, killers for hire, security enforcers, and others who procure things, obey orders, and carry out the Antagonist's plans and orders, and protect the Antagonist).

Tertiary Characters (Named Minor Characters), Symbolic Characters, and Prop People.

In the last three posts (September, October, and November) we discussed the sound of names (psycholinguistics), the merits of archetype names, tags and traits for names, and the value of having a master character worksheet (questionnaire).

Armed with the information in this year's posts, you should be able to write a story with far more believable characters.

If you're new to reading this blog, feel free to go to January 2020 and begin reading the posts.

And, thank you for being a faithful reader of this blog and for sharing the links with other writers. Your comments and questions are always welcome.

Strive to write well and tell a story well.

Catherine E. McLean

  

                         ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Revision is where the magic happens—

use this guidebook to take the frustration out of self-editing that draft you wrote during NaNoWriMo

Tell Santa you want this guidebook in your Christmas Stocking

                                                ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 

 

2020 - November - Character Worksheets

Part 11 of 12 of Job Titles for Story Characters 

 © 2020 All Rights Reserved

    

Hair and eye color are nice to know, but what makes a character tick—how he’ll respond to stress, his fears and desires are what’s really important to give you all the delicious tension and growth an I-can’t-put-this-book-down story needs. — Silvie Kurtz 

I've periodically mentioned writers using a character questionnaire or character worksheet to quickly get at the personality of the story's main characters. Unfortunately, it's mind-boggling what you can find in the way of character worksheets and characterization forms online. One site I stumbled across a couple years ago had hundreds of questions, even including the color of the character's kitchen sink!

In truth, it doesn't hurt to look over a lot of such questionnaires and worksheets, just don't use them as is. What  you want to do is incorporate questions into your own "cheat sheets" that will quickly define and bring to life your main characters. Strive to keep that form as simple and uncomplicated as possible to avoid getting bogged down filling in blanks or checking off boxes.

Producing writers don't waste time. Producing writers rely on their own, customized forms so they get at the core values of their main characters that helps ensure a viable plot.

Here's a secret — ONLY ONE MASTER FORM IS NEEDED. That "cheat sheet" works for the protagonist and antagonist. And, it's also used for a story with a Second Major Character who has Point of View-Viewpoint and without whom the plot will fail. 

All other characters are minor characters and do not need detailed work-ups (when they become heroes or heroines of their own books, then it's time to use the master questionnaire).

Using one master form means asking THE SAME QUESTIONS to the main story characters. Doing so reveals how the characters are fundamentally the same and how different they are. Those differences make for well-rounded characters and allow for an engaging and workable plot.

Working with "cheat sheet" forms is more than jotting in an answer. It's about asking the right questions and, more importantly, asking WHY or looking deeper into WHAT THE ANSWER MEANS. 

There are some common, fundamental, questions that appear on nearly every worksheet or questionnaire and those are below. I've also added in the WHY and WHAT factors to consider: 

1) Character's name — first, middle, last, initials, and nickname (if applicable). 

Be sure the initials do not spell something derogatory, unless you're writing comedy or irony, that is. Evaluate every name for the meaning, how the name looks, sounds, etc. –-  Refer to "Naming Characters," which was the September 2020 Writers Cheat Sheet blog topic.

2) The character's function in the story.

That is, what is their "job title" for the story. Is it Protagonist, Antagonist or Second Major Character (like the Romantic Lead, Mentor, Sidekick, etc.). Remember, each job title has a set of specific tags and traits.

3) Age 

Why that age? Does this character look their age? Older? Younger? Do they feel their age? What advantage or disadvantage does that age give the character in life or on-the-job? (i.e., An 18-year-old doesn't have the maturity of a 50-year-old.)

4) Sex or Sexual Orientation

How do they feel about their sexuality? If applicable, what kind of lover are they (both how they see themselves and how their partner or partners see them sexually, sensually).

5) Marital status — single, married, divorced, widowed/widower, with a significant other, etc. 

How do they feel about that status? If divorced, what caused the divorce? Are they a confirmed bachelor/bachelorette, and why? 

6) Occupation

This is about what the character does to make a living. Why did they choose that occupation? Are they happy in their career?  If so, why?  If not, why?

7) Distinguishing physical characteristics (scars, tattoos, blemishes, etc.)

This is where you-the-writer describe their physical attributes of height, weight, eye and hair color, shape of body and face, tone of voice, etc. Always ask Why that hair color? Why that eye color? The answers can yield clues to tags and traits. Tip: people react to colors on a subliminal level, for instance, blond often equates to "dumb blond" whereas someone with earth-brown hair is seen as "down to earth." You could have a smart blond or a dumb brunette, but you'll have to work a bit harder to convince the reader that you've gone against the stereotype.

8) Personality traits —  the "internal," intangible (abstract) of their character. 

Are they basically a pessimist or optimist? Note: I've found using percentages works best for me because no person or character is 100% pessimistic or optimistic. It's also wise to record the character's level for being an introvert or an extrovert. And ask, how do these traits affect their actions when under stress or in their normal day-to-day life. Or even, how do such traits mold their character?

9) Habits - what are their concrete habits (thumping a pencil, biting nails), speech-diction (formal, informal, use of slang, or repetitive phrases, diction, syntax), etc.

What triggered or triggers the habit? How do they typically react to fear, love, hate, anxiety? If afraid, do they stand and fight, freeze in place, or flee?

10) Background — their genealogy, their family and their social class, monetary status.

This includes their education (as in schooling or military service), the nationality influences of their family-upbringing (Christian, Jewish, Southern Baptist, and so on, and what holidays they love or hate or celebrate), previous jobs (and, if applicable, why they left them).

11) What is this character's greatest strength?  

Most likely it's one of the 7 Cardinal Virtues, or perhaps a few of Aristotle's 12 Virtues, which you can look up on the Internet.

12) What is this character's greatest weakness (their Achilles' heel)?  

Most likely it's one of the 7 Deadly Sins — either the Biblical ones or the Modern ones, which you can look up on the Internet.

And here is a bonus to consider putting on your form: What is the character's self-concept? To get the self-concept, have the character answer this question: "I am . . . " (fill in the blank with whatever the character says, which will be a short phrase). Examples include: I am a self-made man, or I am a disillusioned soldier (corporate executive, etc.), or I am a closet romantic, or I am always the bridesmaid never the bride . . . 

So that's the starting lineup of questions for a get-to-know-your character questionnaire. Where you go from there will depend on the type of genre you write, the information you feel is vital in getting to know your main characters, and looking at dozens of character forms to get ideas on format (arrangement of the items) and the question-content you want to add to your form. 

And, remember — only include what is useful and helps you discover a three-dimensional character that readers will recognize.

*************

Next Month  - 2020 — December — A Summary 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

To all who are participating in NaNoWriMo, I wish you success with your word quest!

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2020 October - Character Tags & Traits

 

Part 10 of 12  of Job titles for Story Characters • © 2020 All Rights Reserved

Last month's blog was about psycholinguistics — how names resonate as positive, negative, or neutral and how that benefits a story. 

As you learned last month, imagery is tightly tied to the look and sound of a name. Writers should strive for an archetype name for their major story characters because, on a subconscious level, the archetype name triggers deep-seated recognition of tags and traits that go with that particular name.

But you may be wondering: What is a tag? What is a trait? 

They are defined as— 

TAGS are a descriptive detail, a label, repeated almost every time a character enters the story and which serves to identify and characterize him or her. Tags are concrete actions of cracking knuckles, drumming fingers on a table, biting nails, tapping a toe, etc.  Tags are "externals"— they are what can be witnessed, seen, heard, etc. Tags are concrete, specific, and credible (believable).

Now, a character's name is the most important TAG of all because it is THE TAG OF IDENTIFICATION. 

Names, particularly archetype names, come loaded with meaning and even character traits.

However, some tags label traits.  Such tags are physical clues to traits.

TRAITS are a character's characteristic habits, patterns of behavior, and mannerisms. The dominant impression is the trait that stands out the most and which should be shown to the reader from the get-go. Traits include: Is the character an optimist or pessimist? How does the character instinctively react when angry, happy, sad, etc.?

Traits are "internals" and abstracts— they involve the mind-set and personality of a character.  But here's a tip: Traits come in pairs: one is admirable and one is despicable (thus they are opposites, which helps balance out the character). For instance, at their best a character can be down-to-earth pragmatic but at their worst they can be very self-centered.

Traits come in the form of:

● a verbal tic (they repeat a common phrase, which peppers their dialogue passages. For instance, in the TV series, Detective Columbo often says,  Just one more thing.

● a particular way of speaking, like with an accent or dialect. For example Yoda of Star Wars' If no mistake have you made, yet losing you are . . . a different game you should play.

● a physical mannerism or a repeating behavior (they smoke when nervous or chew on a toothpick, they bite their nails when anxious, they crack their knuckles, or they may even fiddle with something (a lock of hair, a token, a coin, etc.)

● a way of carrying themselves, which can be their brisk stride, keeping a ram-rod straight spine, a mutinous set to their jaw, the meek hunching their shoulders, and so on.

● a scent (their cologne, perfume, bath soap, or after shave, even their body odor from uncleanliness, fear, sweating, etc.)

Even if you love your protagonist and hate the antagonist, keep in mind that nobody is 100% good or 100% evil. It is the balance, or out-of-balance, personality traits that make a character "human," realistic, and believable to the reader.

If you need help with traits, google "Images of Character Traits." Or check out the book, A WRITER'S GUIDE TO CHARACTER TRAITS by Linda N. Edelstein, PH.D. 

One way to get to know a character is to journal in the voice of the character: 

∙ to learn how they talk, speak, think

∙ to get a look into their philosophies on life and death, right and wrong, and what's their moral compass

∙ to learn about their education, job or sports experiences, etc.

∙ to learn about their social-economic upbringing and heritage

∙ to discover weaknesses and strengths of their character and what events in their life molded those

However, journaling is time consuming. Journaling also requires going back through what was written to locate tags and traits and sort them into which seem to dominate (likely three will for the story). And, of course, in the end, only 10% of what was in the journal is needed for the actual story. 

A quicker way to get to know a character is to use a "cheat sheet" called a Character Worksheet or a Character Questionnaire, which may include lists of tags and traits that the writer has collected over time or from various sources. In other words, as the writer goes down the lists they've developed, the subconscious will likely trigger a "ta-dah" or other positive response. Then the writer can look at the traits and tags and which fit will dominate.

Do remember that the only characters who warrant such journaling or character questionnaires are the story's major characters—Protagonist, Antagonist, and possibly the Second Major Character.

Which brings me to—   

Next month we'll look at Character Worksheets and Questionnaires. 

2020 - September - Naming Characters

 

Part 9 of 12  of Job titles for Story Characters • © 2020 All Rights Reserved

Your choice of monikers for heroes, heroines, and heavies often sets the tone for everything that follows, shaping audience perceptions of the characters before your people have a chance to hit their stride.  - Author Michael Newton 

Few writers know about psycholinguistics. The definition is mind-boggling in and of itself so let me give you the simplified definition: sounds affect the way we behave and act or react in the world. 

For instance, hear the hiss of a snake and our primordial conditioning that vipers can kill us has us instantly on alert and afraid — or terrified, or panicked to the point of immobility. On the other hand, if we hear a baby giggling, we have this feeling of contentment, that all is right with the world.

Such reactions to sounds happen instinctively, down on the subconscious level. But some name-sounds can also elicit a conscious reaction, like laughter at a person's named Katz Meow, or Iona Bra, which, by the way, are actual names of real people.

Another factor about sounds is reading words, i.e., seeing a name. When reading a name and in the process of looking at the letters in that name there is both a conscious and subconscious emotional reaction to those letters and the word they form. 

This is especially so when listening to the pronunciation by syllables of a name. Pronunciation affects the interpretation and sorts the name into a feeling that the name-word is positive, negative, or neutral. Here's a tip, the easier it is to see and sound out the name of the story's main characters, the more enjoyable the story becomes for the reader and writer. We're not talking Dick and Jane simple. We're talking James Bond versus Mister Mxyzptlk (of Superman fame).

Here's a secret to ensure a better story— heroes need positive names, villains need negative names, and all other characters in a story who have a name fall under the neutral name classification. This is another reason why having a Master Word List or Style Sheet for a story is important (refer to August's post about word lists or look at examples here.  https://www.writerscheatsheets.com/free-writers-cheat-sheets.html

Yet, far too many writers feel they can "make up a name" for their characters. The truth is that millions of names already exist. And do consider that every person has been exposed to thousands of names from the womb to school, on the job, at leisure, and in being exposed to hours of video, TV, movies, musicians, and print media (books, magazines, and newspapers). Such names are filed deep in the subconscious along with a reference to the name, or filed with the characteristics (archetype) of a person with such a name. 

Of course, there are name generators you can find online, but again, what is the psycholinguistics of such made-up names? Keep in mind that whether it's a person's name, an animal's, a place's, a thing's, a gizmo's, a weapon's, etc., all those names solicit (consciously or subconsciously) a reaction (a feeling) that will be positive, negative, or neutral. 

The most enduring of people names (those passed down through the generations) have imagery and characteristic associations (tags and traits), which makes them archetype names. For instance, these are powerful archetype hero/heroine names: James, Sarah, Jacob, Adam, Michael, Jillian.

Let me stress that it's not about stereotype but archetype.

Archetype names better resonate with readers. For instance, Margaret Mitchell first thought of calling Scarlet O'Hara of Gone With the Wind Pansy O'Hara. I'll bet when you saw Pansy, you envisioned a Milquetoast personality. But Scarlet? Didn't you see the fire and flare that goes with the resonance of the noise of her name?

Mitchell wasn't the only one who changed the name of their lead characters. How about— Sherringford Holmes changed to Sherlock Holmes and Luke Starkiller to Luke Skywalker? Which means, a writer should not entirely trust the source of a name, be the source their own subconscious or their conscious effort to invent a name. Every major character's name needs to be checked before writing the draft. That's right, before writing a draft. That will save hours of edits and rewriting to change the name. 

As a matter of fact, the appropriateness of all names used in a story should be analyzed — be it a machine, a street, an animal, a weapon, etc.  Ask: how does the "name" look? How is it spelled? How easy is it to sound out? Does the name come with tags and traits that make the character easily identifiable? Does the name have a positive, negative, or neutral vibe? 

Next Month  —October - Character Tags and Traits

2020 - August - Named Minor Character - Prop People

Part 8 of 12  of Job titles for Story Characters • © 2020 All Rights Reserved

Let's look at some minor story characters - Tertiary Characters, Symbolic Characters, and Prop People. 

The term given for the Third Ranking Character in a story is Tertiary. Writers often lump all "other characters" in a story into the tertiary category. However, I like to simplify things and so I split that category into those who are— 

Named Minor Characters

Symbolic Characters

Prop People (who are not given a name)  

Characters that have a name are important enough to the story that they must be given a name, but not a Point of View-Viewpoint. Often those named characters are familiar with either the Protagonist or the Antagonist, like being part of either's entourage.

On occasions, one of those named characters might be considered a Symbolic Character. A Symbolic Character is any major or minor character whose very existence represents some major idea or aspect of society. For example, in Lord of the Flies, Piggy is a symbol of both the rationality and physical weakness of modern civilization.

Now as to— 

PROP PEOPLE OR PROP CHARACTERS

Like the furniture that decorates a setting, these necessary story folks are a kind of stage dressing. They bring realism to the setting and world of the Protagonist and Antagonist. Examples are the bar tender at the Protagonist's favorite watering hole, the taxi or Uber driver, the blacksmith, the farmer's wife, the brewmaster, the crewman who mans a communications or work station, a landscaping crew or other crews including ones led by the Protagonist's or Antagonist's second in command, and so forth. Although such characters may appear regularly in the story, the reader doesn't get to know them, their life story, or even their POV-Viewpoint about what's going on in the story. 

However, things will become confusing to a reader if there are too many characters with names, especially among the minor characters. To avoid confusion, most writers set up a Master Word List or what's also called a Style Sheet. This form (*see note below) can be used before (or during) drafting to keep track of names. It doesn't matter if it's a short story, a novel, or a saga, on that Master Word List go ALL NAMES— character, place, and named animals as well as named weapons, streets, or special props (like Ethan Allen or other designer furniture). Doing so uncovers repetition of names and repeated spellings of either whole or partial names. For instance a character called Beth and one called Elizabeth. Word Lists can also bring to light Freudian slips, faux pas, kazoo-sounds, or the rhyme or rhythm of consonants, vowels, and syllables (which isn't good).

A Word List can also reveal if too many characters or names are being created. Again, the reader will get confused if there are too many names to keep track of. So, here's a word to the wise— instead of creating another character who has a minor role, ask yourself if one of the other minor characters can do the same job or get or reveal the needed information.

If you've never done a word list, I have added a free PDF of the three most commonly used types of word lists (style sheets) at my Writers Cheat Sheet. The direct link to the page is HERE

[https://www.writerscheatsheets.com/free-writers-cheat-sheets.html]

RE: * FORMS — 

      The Internet abounds with countless forms for writers to use for developing a story. Trouble is, forms do you no good unless they work for you and the way you tell a story. So, consider looking at and reviewing lots of forms, then create your own unique ones which allow you to discover the personalities, tags, and traits of your main characters. You can also develop forms or worksheets that help define your story's plot. 

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Next Month — September - Naming Characters

2020 - July - The Antagonist's Entourage and Henchpersons

Part 7 of 12  of Job titles for Story Characters • © 2020 All Rights Reserved



     Although serving a certain dramatic purpose, 
secondary characters have to rise above their roles
 to avoid cliche. — David Corbett The Art of Character


Antagonists tend to be loners. However, now and then, or by their desire, they have others help them achieve their goals. 

As you learned in this blog's March post, the Protagonist has an entourage. Well, an Antagonist could also have followers, like—  

* Friends — be they a man or a woman, that friendship isn't a binding one because as soon as the friend's usefulness ends, or their inability to be manipulated by the Antagonist ends, that character becomes expendable. It's also inevitable or likely that such a friend may die at the hands of the Protagonist. But if the Antagonist's goal warrants, the Antagonist won't have qualms about sacrificing their friend, cohort, or Head Henchperson or any lesser henchpersons.

* Toadies, Monster-beings, Servants, Minions, etc. — these characters come across as unquestionably loyal. They endeavor to please and appease the Antagonist. Often they fail and incur the Antagonist's wrath, which leads to punishment and suffering, if not their violent death. Some Antagonist have volatile tempers and violent reactions to mistakes.

* A Mentor — often in their youth, an Antagonist will learn from a master or a mentor. However, at some point, the Antagonist concludes they are superior to or more powerful than the Mentor. The result is a termination of the relationship. Often a Mentor has a showdown with their Antagonist student and loses. That loss might severely cripple the Mentor or rob them of their magical or superior powers, or kill them. If the Mentor survives, they are so weakened they usually pose no worthwhile threat to the Antagonist.

* Family (parents, siblings, other relatives) — Depending on how functional or dysfunctional the family is, family members may help or hinder the Antagonist achieving his or her goals.

* Professionals (gangsters, crooks, thieves, killers for hire, security enforcers, and others procure things, obey orders, and carry out the Antagonist's plans and orders, and protect the Antagonist. Often these professionals are paid (money, items of value like gemstones, etc.) for their loyalty and service. Trouble is, true loyalty cannot be bought, so how can the Antagonist truly trust them?


Of course, either from orders from the Antagonist or by chance, one of the Antagonist's entourage members may interact or collaborate with the Protagonist. Such interaction, when not sanctioned by the Antagonist, will lead to a calamity. That event can enrage the Antagonist enough to kill the collaborator. That event may even force the Antagonist to change their original plans or devise a way to turn the incident to their advantage.

Although most of the Antagonist's entourage fall into the category of Minor Named Characters or are Prop People, neither group gets a POV-Viewpoint. 

However, in the longer novels, there may be that rare individual of the Antagonist's entourage that merits being a Second Major Character with a limited POV-Viewpoint. That Second Major Character that's on the side of the Antagonist is, of course, the Antagonist's second-in-command— the Head Henchperson.

That Head Henchperson is an obedient aid, a loyal supporter, a dedicated follower, and a subordinate who is engaged in nefarious or criminal enterprises on behalf of the Antagonist. That henchperson may even be in charge of other, lesser-ranked henchpersons. The Head Henchperson may lead attacks, assign people to tasks, and thus carries out the orders of the Antagonist. 

Only because of their narcissistic or egotistical nature, the Antagonist rarely seeks advice from others but may use the Head Henchperson as a sounding board. Still, Antagonist don't trust others, even their Head Henchperson. 

The value of a henchperson or ally is to showcase the Antagonist, or to provide intel to the Antagonist, or reveal the Antagonist's character, goals, and reactions to events. As I have said in earlier posts, a good story can host only so many characters who can have POV-Viewpoint. Which means, it's unlikely that any of the Antagonist's entourage will get POV-Viewpoint, yet they provide necessary interaction with the Antagonist—and, perhaps, the Protagonist.

Bottom line— the reader wants to see the Antagonist face off with the Protagonist in the climax so it's best to put emphasis on the quality and character of the Antagonist. However, in novels or in the longest of short stories, that Antagonist may need someone to talk to or to order about or they may need an ally or a henchperson. 

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Next Month August 2020 — Part 8 -  NAMED MINOR CHARACTERS
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2020 --

Part 6 of 12  of Job Titles for Story Characters • © 2020 All Rights Reserved

As I wrote last month— Antagonist is an umbrella term that covers the WHO or the WHAT that will actively thwart the protagonist. Last month, we delved into what constitutes THE WHO, which is a human or being. This month we look at THE WHAT, which can be— 

● Mother Nature (storms, asteroids, insect swarms, volcanoes, etc.)

● Disease (natural, man-made, mutant, etc.)

● An entity (vampires, deities, magical creatures, ghosts, etc.)

● Aliens (intelligent life that comes from another planet, realm, dimension, or eco-system, etc.)

To achieve a believable WHAT as Antagonists means paying attention to world-building, science, and the natural world. After all, The What in the story needs to be worthy enough to successfully oppose the story's Protagonist.

Let's look closer at The What list— 

MOTHER NATURE — Devastation arises from storms (like tornadoes, flooding, blizzards, forest fires). Then there are insect swarms (beetles, locust) and even suffocating algae blooms. The list includes earthquakes, volcanoes, and tsunamis. Any or all cause dire destruction, lives lost, property and land damage, infrastructure collapses (highways, power sources, etc.). At stake is survival.

DISEASE — For the past few months, we've all gotten a first-hand look at the impact of the coronavirus. The pandemic has been likened to a war with hospitals being the front lines and far too many lives lost. Then there is "shelter in place," shortages of food and protective gear, a shrinking if not stagnant economy, unemployment, businesses closing, and hardships. Again, at stake is survival of people, of mankind, and civilization isn't going to be the same again.

As to ENTITIES, the basic point of having an entity as Antagonist is that the story is more about the Protagonist realizing and dealing with some type of truth. 

Entities are also the creatures of fantasy and science fiction, so believability is paramount. Questions need to be asked before drafting a tale, like— 

● How did that entity come to be? 
● What powers does it posses? 
● What can it control? 
● What will destroy or kill it? 

A writer needs concrete answers because the story will likely fizzle out mid-way or the ending goes flat. 

As to ALIENS, there is a wide range form human-like to robotic, from Artificial Intelligence to mutants, and so on. Aliens are The What of science fiction and fantasy. Again, believability is an issue. That's why a great deal of forethought should go into the type of alien (and why that specific type), motivation (why they are a threat), their limitations, their Achilles' heel, etc. After all, at stake is the survival of the fittest, the Protagonist and what that Protagonist cares most about.

Make no mistake, readers are cynical disbelievers so it's imperative to find ways to suspend their disbelief and get them to believe in The What as the Antagonist. The secret is to give The What human characteristics or compare it (or them) to human's and the human environment.

As to disease and Mother Nature, most writers rely on facts and science to extrapolate a believable What as Antagonist. Mind you it's not about formulating some text-book tome, but providing just enough actual facts or tweaked facts that the premise is believable to the reader.

Lastly, remember a good story pits a great villain against a great Protagonist—two equal forces facing off. 
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Next Month  **  2020 —July The Antagonist's Entourage and Henchpersons

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