|Image from Puuikibeach|
Before I write down one word, I have to have the character in my mind through and through. I must penetrate into the last wrinkle of his soul.
~ Henrik Ibsen
I just finished outlining a complicated WIP, and when I say outlining, I mean more like discovery drafting. The process had the side benefit of giving me an opportunity to really think about the nature of the different characters who will inhabit my story pages.
I went back to basics to think about what each character type really is, or should be, and why he or she is there. My next step is tweaking and deepening the character worksheets I started before the plot work. I'm looking forward to this. I get these characters pretty well already, but I want to bring out the unexpected in them. The things I don't know I know, or haven't thought of yet. And at the same time, I want to make sure that I have made the most out of each of them.
Have you ever gone through this exercise? I haven't, not since school. And I loved some of the insights it gave me.
The character whose goal and transformation drives the story.
- Needs to be an unforgettable, frapturously fascinating character--so smart, smartass, brave, combative, quirky, funny or good at what she does--that we can't help caring about her.
- Needs to be in trouble. Deep, dark, edge-of-our seats trouble, where something she desperately wants and needs is at stake.
- Must have a weakness that may be her downfall.
- Wants or needs something crucial to her inner or outer survival, something so intrinsic to who she is and inseparable from her essential sense of self, that going after it will jump start the story and keep it rolling.
- Thinks she wants or needs something at the start of the story that may not be what she finds she wants or needs by the time the story ends.
- Chases headlong in a spiritually or physically risky pursuit of a goal she sees as larger and more important than her sense of safety and physical or emotional comfort.
- Sacrifices something to undergo a psychological transformation.
- Battles through obstacles that would have stopped her at the beginning of the story.
- Shows her transformation, her character arc, through concrete changes in action, attitude, values, clothing, or habits.
The character whose goal drives the conflict and push the protag toward transformation.
- Is not necessarily "a villain," and not even necessarily human or external to the protag.
- Must have a redeeming quality that keeps him from being cardboard.
- Must be at least as smart, fascinating, active, real, and determined as the protag, and probably a little stronger.
- Wants or needs whatever he is going after at least as much as the protag wants to achieve her goal.
- Sets off in pursuit of his goal in a way that propels the protag into the action, possibly kicking and screaming.
- Constantly boxes the protag in through brilliant moves and countermoves to keep her on her feet and thinking.
- Makes the protag fear him enough for us to keep turning the pages in anticipation of the protag's failure.
- Has his own story arc, some sort of character transformation. Maybe he gets dragged into becoming a better person as the protag grows, or maybe he gets more desperate and unhinged, but he ends the story changed by the battle.
A human or non-human mirror used to reflect and illuminate specific aspects of another character's traits.
- May be the antag, or someone else--a best friend, sidekick, mentor, romantic lead, parent or virtually any other character who serves as an example or contrast.
- Begins in the same place morally, socially, or physically as another character, and then follows a divergent path to point out a transformation (or failure to transform) that helps the protag learn an essential lesson.
- Has a character arc within the story's framework, even if that arc doesn't necessarily happen within the pages of the story.
Someone who likes things the way they are and opposes the protag when she wants to change that.
- Can be an ally of either the protag or the antag, or a completely neutral party.
- Usually shows up before a turning point in the story.
- Adds conflict to the story outside the main conflict with the antag by testing the protag or pushing her to solve a problem or puzzle, win a minor battle, make discoveries, or otherwise take action.
- Creates growth and momentum to propel the story forward.
- May become a mentor once overcome by the protag.
Someone in the story who give the protag answers, gifts, training, or assistance she needs to achieve her transformation or reach her goal.
- Can be anyone, the antag, the best-friend, the love interest, a parent, a teacher, a friend, someone in a coffee shop.
- Can be someone who helps the protag win past a threshold guardian, or even a threshold guardian who has been overcome and is necessary to help win past the next threshold guardian.
- Willingly or unwillingly, wittingly or unwittingly, teaches the protag something essential.
- Provides help through action, argument, or conflict--the protag has to earn it in some way.
- Doesn't necessarily provide helpful help. Could provide false leads, false confidence, booby trapped advice or weapons, or any number of things that will make it harder for the protag to achieve her goals.
- May have a story arc of her own. Could be a foil who has fallen on hard times and resurrects for one last stand against the antag. Or she may be the foil who can't be brave enough when it comes to the showdown.
An agent of the antag or someone who wants the same thing as the antag does.
- May oppose the protag for the same or an entirely different reason, but helps play into the antag's goals in some way.
- May be used knowingly or unwittingly by the antag.
- Motives may be inherently good, or inherently evil.
A character who helps you avoid infodump but may create worse problems.
- Because he himself urgently needs to find the answer, can help the protag discover information or reveal information to another character through dialogue or action and help fill the reader in.
- Used improperly, can lead to the introduction of characters the reader can't keep track of.
- Works best if can be introduced in a way that will be brought back and tied in to the story resolution in some way.