So my problem with most âget to know your characterâ questioneers is that theyâre full of questions that just arenât that important (what color eyes do they have) too hard to answer right away (what is their greatest fear) or are just impossible to answer (what is their favorite movie.)Â Like no one has one single favorite movie. And even if they do the answer changes.
If Iâm doing this exercise, I want 7-10 questions to get the character feeling real in my head. So I thought Iâd share the ones that get me (and my students) good results:Â
What is the characterâs go-to drink order? (this one gets into how do they like to be publicly perceived, because there is always some level of theatricality to ordering drinks at a bar/resturant)
What is their grooming routine? (how do they treat themselves in private)
What was their most expensive purchase/where does their disposable income go? (Gets you thinking about socio-economic class, values, and how they spend their leisure time)
Do they have any scars or tattoos? (good way to get into literal backstory)Â
What was the last time they cried, and under what circumstances? (Good way to get some *emotional* backstory in.)Â
Are they an oldest, middle, youngest or only child? (This one might be a me thing, because I LOVE writing/reading about family dynamics, but knowing what kinds of things were ânormalâ for them growing up is important.)
Describe the shoes theyâre wearing. (This is a big catch all, gets into money, taste, practicality, level of wear, level of repair, literally what kind of shoes they require to live their life.)
Describe the place where they sleep. (ie what does their safe space look like. How much (or how little) care / decoration / personal touch goes into it.)
What is their favorite holiday? (How do they relate to their culture/outside world. Also fun is least favorite holiday.)Â
What objects do they always carry around with them? (What do they need for their normal, day-to-day routine? What does ânormalâ even look like for them.)Â
Wei Ying dies in the Burial Mounds after the First Siege, but the Burial Mounds love him so much that they protect his body after he died, hiding it from both his many enemies and his one remaining lover, working to revive him.
And after 13 years, the spirits and the ghosts and the resentment succeed.
take off your pants!! (âtake off your pants!: outline your books for faster, better writingâ by libbie hawker)
this outline starts with a character â specifically their biggest flaw â and leads to five points that will make up the core of your story. itâs best for plots and subplots that focus on overcoming the flaw!
this outline doesnât just have to be used for coming of age novels. it is just as important in your dystopian, fantasy, or thriller novels that the main character learns something or has changed by the end.
STEP ONE: think about your character
your main character â what is their name, and what are their important features?
what are your characterâs flaws? what about their FATAL flaw? ex: hubris, overconfidence, stubbornness, etc.
STEP TWO: think about the end of the story
the story (whether the main plot, a subplot, or a facet of the main plot) is the journey lead to overcome the flaw. now that you know the characterâs flaw, you know what lesson they need to learn.
the end of the story = the flaw mastered, the lesson learned.
STEP THREE: think about the external goal
the external goal is the plot, the outer motivation to push the character to the end of the story where the goal is mastered. if you remember my post on quests, you know that a quest has two reasons to be there: the external factor (shrek saving fiona for his swamp), and the real reason (the lesson learned)
the external goal should provide a chance for the character to recognize their flaw and begin to change. how does your plot tie into their character development?
STEP FOUR: think about the antagonist
thinking about the external goal should reveal who the antagonist is. the antagonist should want to achieve the same goal or a goal that impedes with the protagonistâs goal. the antagonist should be the biggest obstacle to the character.
STEP FIVE: think about the ally/allies
the character(s) that is capable of forcing the protagonist down the correct path. where your protagonist most likely will resist changing and confronting their flaw, the ally will help force them to do so anyway.
STEP SIX: think about the theme
so whatâs the point of your book? if you are struggling to boil it down to one sentence, you might want to think about it a little longer. this is what keeps the story feeling coherent. what are you trying to tell us?
STEP SEVEN: think about the plot
each main plot element should somehow relate to the core of the book, aka the characterâs development in overcoming their flaw
OPENING SCENE - set the stage. address the flaw or the theme
INCITING EVENT - what forces the character out of their everyday life and into the story?
REALIZING EXTERNAL GOAL - what makes the character begin seeking their goal?
DISPLAY OF FLAW - if the characterâs flaw hasnât been made blatantly clear, now is the time. make it known to the reader.
DRIVE FOR GOAL - what is your characterâs first attempt to reach their goal?
ANTAGONIST REVEAL - how do you first show your antagonistâs opposition to your character?
FIRST THWART - what happens to your character that keeps them from reaching their goal?
REVISIT FLAW - show the characterâs flaw again, even if they themselves arenât aware of it yet.
ANTAGONIST ATTACKS - what does the antagonist do that makes things worse?
SECOND THWART - where your character fails most likely due to the attack
CHANGED GOAL - the character finds a new goal or focuses on the external goal in a different way
ALLY ATTACKS - what does the ally do to force the character to see the flaw?
AWAKENING - the character knows what they must do to reach the external goal. how will you show that the character has also awakened to their flaw? how will you show them changing?
BATTLE - the final showdown with the antagonist!
DEATH - the characterâs flaw dies here. how will you show that the character truly is different now?
OUTCOME - show whether the character won or lost the external goal, reveal the theme of the story.
naturally, you donât have to follow that outline exactly, but it can be a good place to start ;)
This week, we have a little DTIYS challenge for you!
We invite you to take this piece by @curiosity-killed and âDraw This In Your Style.â Send us your art by reblogging this post and tagging us. We canât wait to see your art!
And donât forget to participate in our giveaway!
âThereâs a legend about a Chinese painter who was asked by the emperor to paint a landscape so pristine that the emperor can enter it. He didnât do a good job, so the emperor was preparing to assassinate him. But because it was his painting, legend goes, he stepped inside and vanished, saving himself. I always loved that little allegory as an artist. Even when it is not enough for others, if it is enough for you, you can live inside it.â
â Ocean Vuong, from an interview with ZoĂŤ Hitzig in Prac Crit
I finally, FINALLY, sit down to get back to work on All Other Lights... And my computer is on the Fritz. I can't even write a whole sentence before it stalls out.