Archive for the Writing Category

Do You Really Have to Kill Your Darlings?

Posted in Writing with tags , , , , , , , , , , on April 8, 2017 by Dawn Ross

Stephen King Kill Your Darlings

First of all, what are darlings? To writers, the term is used when referencing a piece of the story or a character that the author loves but really has little to do with the story itself. The advice you’ll hear from many writing experts is that you need to kill them, murder them, or to put it simply, get rid of them. Take them out of your story.

Eliminate or Change?

The problem I’ve encountered more than once is the assumption that they always have to be killed or gotten rid of. This is not always true. After all, if you as the writer love some element of your work, why should you get rid of it? For example, you really love a certain character but he or she doesn’t really add value to the story. How about changing your story or your character a bit so that they do add value to the story?

Moana’s Hei Hei Changed

I read that when Hei Hei the rooster was originally written in the story of Moana, he was a cranky and proud rooster (http://disney.wikia.com/wiki/Heihei). But his part in the story really had no purpose other than to be annoying. So the writers had to rewrite him or he’d be cut. Hei Hei is a much different rooster now. He’s also a more important element to the story—he’s a source of comical trouble. Perhaps the character in your story won’t need such a dramatic change in character. Maybe he or she just needs a more dramatic part. And if, after trial and error, you just can’t make this character fit into the story, then you can reconsider eliminating them (or save them for another story). The same can be said for certain scenes or other parts that aren’t contributing to the story.

Don’t Force It

You might be told that you shouldn’t try to force it. This could very well be true. So ask yourself why you want to keep this darling in your story. Is it because you worked so hard on it and it seems like a waste to get rid of it? Sorry. This probably isn’t a good enough reason to keep it. Is it because you really like it? If it doesn’t fit in your story, save it for another story. Or is it because you think it’s an important part of the story? If you think it’s important but your professional critiquers doesn’t, try to figure out why. Then consider changing things so they see the importance too.

Listen

As a writer, we need to be willing to listen to the advice of a professional writer. We need to be willing to make changes to our stories in order to make them better. If you really want your story to shine, if you really want people to love your story as much as you do, you need to listen to and learn from your betters.

You are the Writer

Ultimately, though, it’s your story. Don’t let a strong critique force you into doing something you don’t want to do. Don’t be pressured or let your critiquer make you feel stupid when you say you don’t want to change this or that and the critiquer responds, “Ugh. This is why I hate little darlings.”

Consider All Your Options

There is nothing wrong with keeping something or some character you love in your story. There’s nothing wrong with wanting the story to end a certain way because you plan on writing a sequel. If the person or persons critiquing your story think a certain element or a certain character is useless and should be gotten rid of, consider their advice seriously. But consider all your options. There’s more than one way to do something.

Get Multiple Critiques

It also helps to get the advice of more than one professional writer. This way if everyone is saying the same thing, you know the critique is valid and not just an opinion. Critiques are invaluable in that they can help you become a better writer. But the line between critique and opinion can sometimes be blurred.

What are your feelings or opinions on “darlings”?

Finding Core Story Problems with a Content / Development Editor

Posted in Sci-Fi Part 1 - Revised 3, The Kavakian Empire, Writing with tags , , , , , , , , , , on March 18, 2017 by Dawn Ross

Have you ever heard the saying, “You don’t know what you don’t know”? It is very difficult to critique your own writing skill. My beta readers helped but the feedback they provided just touched the surface of what was wrong with my story. So I hired a professional content / development editor, one that looks at the overall story development. And let me tell you, Kristen Lamb’s feedback was phenomenal.

I knew my story wasn’t perfect, but I didn’t know why. I hoped it was good enough, but knew deep down that it wasn’t. When she discussed her findings with me, it was like a lightbulb came on and I was struck by lightning at the same time.

Lightning Bulb

The lightning strike was because nothing pains the heart more than hearing the story you’ve poured your soul into still needs more work. The lightbulb was because she also provided feedback that encouraged me to move forward. My writing is great. My story is on the right track. And the story problems can be fixed. Here is what she said:

Luke Skywalker Fights His Father

Your Primary Protagonist Has to Face a Hard Choice

You can’t just throw trouble at your character and always have him make easy choices to get out of trouble. You have to really push them to the edge in the final act. You have to force them to do something that goes against their nature. And you have to make the choice a sacrifice no matter which they choose. Think about how Luke in “Star Wars” is forced to kill his own father. His hard choice—sacrifice the galaxy to save his father or sacrifice his father to save the galaxy.

Labyrinth Ludo Sarah Sir Didymus

Your Primary Protagonist Has to Grow

Your character starts out one way at the beginning of the story and learns something so profound from his journey that he changes into someone else. I don’t mean literally, though it could be literal, like in “The Fly”. And I don’t mean their whole persona. I mean something about his or her character changes. Think about Sarah in “The Labyrinth”. She began with the romanticized view that she was a Cinderella-like person forced by a wicked stepmother to care for a spoiled sibling. Then she faced a real adventure and learned to appreciate her life and her brother.

Choose One Protagonist to Focus On

Although you can have multiple protagonists, only one will face the hard choice and truly transform and grow in the end. Consider “Star Wars” again. There are many great protagonists in the story. And they all have grown in their own way. Han Solo isn’t such a scoundrel after all. Neither is Lando. Leia and Han fall in love. But the primary protagonist is Luke. He’s the one who grew the most—from the whiny kid in the beginning to a Jedi master at the end. He’s also the only one who truly faced the heart of the Empire. And he’s the one who sacrificed the most when he made his choice.

You Have to Have One Strong Antagonist

When you just throw trouble after trouble at your character like I did, it’s more difficult for your character to face a hard choice at the end. And as you will see in the next heading, it’s more difficult for them to fight a final battle.

The Departed

Your Primary Protagonist Has to Face the Primary Antagonist in the End

I wanted to add “and Win” because I like my heroes to win. But they don’t have to win in order to make a powerful story. The movie, “The Departed” comes to mind. Although Billy Costigan killed Colin Sullivan in the end, Billy was also killed. Anyway, without one primary protagonist and one primary antagonist, you can’t have the hard choice with the big battle at the end. You simply have a journey from one place to another with no ultimate purpose to keep your reader interested.

What This Means for “StarFire Dragons”

To keep this post from getting too long, I will post my musings on this next Saturday.

Conclusion

As writers, we can either let critiques bring us down and keep us from writing, or we can accept them as learning experiences and work on improving our skill. Because the feedback I received from Kristen Lamb was so spot on and made so much sense (and wasn’t at all contradictory like it was with the beta readers), I’ve chosen the later route. I strongly encourage you all to get your own stories reviewed by a content / development editor. They’re well worth the money. You can’t become a great writer if you don’t learn what you don’t know.

How to Come Up With Sci-Fi Story Ideas

Posted in Writing with tags , , , , , , , , , on February 25, 2017 by Dawn Ross

My sci-fi story is more of a space opera than a hard-core sci-fi. For those who don’t know what those terms mean, a space opera is more about the characters and their lives in space than about any technical sciency. Hard-core sci-fi is quite the opposite. I’d like for my science fiction novels to be a little more sciency, but I’m having a tough time coming up with ideas. So I thought I’d do some research for idea generation and have come up with some ways I hope will help.

Firefly Cast of Characters

TV, Movies, & Books

What are your favorite movies, TV’s, and books? What were their plots? You shouldn’t steal someone else’s ideas, but ideas can generate from them. Actively think about the plot when you watch or read something. Then mediate on it later to see if it inspires your own ideas. I admit I got the idea of Jori from a Star Trek: The Next Generation episode, “Suddenly Human”. Jori isn’t exactly like the boy in this episode. Nor is his situation the same. But some aspects follow along the same lines.

World-Building

Documentaries & Non-Fiction

You can get a lot of great ideas from reading a science magazine or non-fiction book. One book I’ve read, “World-Building” by Stephen L. Gillett has given me a few ideas. This book educates you on how things work in space and provides potential planet-scapes and such based on today’s knowledge. Documentaries, such as “Cosmos: A Spacetime Odyssey” can also give some great ideas.

Take Ten for Writers

Writing Exercises

Writing exercises are a great way to stimulate the imagination. In fact, this is something I need to do more often and something I plan on making a part of my regular writing routine. One book I’m planning on going through is called “Take Ten for Writers” by Bonnie Neubauer. Books like this give you a basis to start. For example, the first exercise in this book gives you a list of phrases that you can use to write a short story. The first phrase is “blindingly bright”. Next week, perhaps I will share the short story I wrote that contains this phrase.

Seems simple enough, but this book contains a variety of different exercises. One asks you to write a short story around a particular object, such as a Styrofoam cup. Another gives you a scenario, such as being abandoned by your date or being lost in the woods. Another wants you to write about an attribute without ever actually using the word or similar words. Even if none of these writing exercises mentioned here sound fun, there are many different exercises in this book. And there are lots of other books that help prompt writing exercises.

Brainstorm

I most often use brainstorming as a way to come up with book titles. But it’s great for coming up with story ideas as well. Simply write words related to your topic. For example, if you’re writing about a space ship, write down words like interstellar travel, speed of light, vessel, sub-space, warp drive, and so on. One or more of these words just might trigger an idea.

Write Randomly

This is the most common method I used to generate a story idea. I know my setting and I know my characters, so I simply start writing what I want to achieve and randomly write things I think might work. I don’t’ stop and think. I just write. And so when one idea comes while in the middle of writing another, I go with it and keep writing. This is the method I used to come up with the idea of the Chekrosians in book one of my sci-fi novel.

Computer-Generated

There are a number of apps that help writers generate story ideas. One of my favorites, and one I learned about through a fellow writer, is called Brainstormer. Brainstormer lets you spin three wheels, which line up to form one idea. I just now spun the wheel and here’s what it came up with – healing journey, Nazi, mansion. Did this trigger a short story idea for you? It certainly did for me.

There are websites you can visit as well. One I recently visited called SciFiIdeas.com randomly pulled up this story idea – “When a man is abducted by aliens, a clone is created to replace him. The story is told from the perspective of both the original and the clone.” Sounds fun!

Study People & Surroundings

The world might seem boring most of the time. But if you look carefully, you will probably see some quirky people or odd out-of-place things. Yesterday, I saw a short couple with a really large white dog and I began thinking about how those small people could possibly control such a large dog. I bet that dog eats more than those people! Maybe it’s an alien. I also saw a Star Wars kids baseball cap laying on the ground by a pond. Of course, the child could have just left it there after feeding the ducks. But what if he was pulled into the pond by a pond monster? (We have no alligators in our area, so pond monster would be much more realistic.) I started thinking about this kid and all the circumstances that led to him leaving this cap behind. It could make for a great mystery story.

Conclusion

There are many ways to generate ideas. It’s just a matter of actually implementing them. Tv’s, movies, and books are great, but don’t let yourself get too absorbed in them. And don’t just mediate on ideas. Write. To quote Yoda, “Try not. Do. Or do not. There is no try.”

Do you have another way that helps you generate sci-fi story ideas?

So Confused – Best Way to Start a Story?

Posted in Sci-Fi Part 1 - Revised 3, The Kavakian Empire, Writing with tags , , , , , , , on February 11, 2017 by Dawn Ross

I just finished tweaking my first sci-fi novel, StarFire Dragons. I tweaked the first chapter based on some good advice from someone I consider a professional writer. She said that rather than  just jump right into the action, I need to ground my character in a normal world first. So if you look at my original and my revised 3 versions, you can see the difference. My original started out with the communications officer reporting a distress signal. My recent final version, previously reviewed by said professional, starts out with J.D. sitting on the bridge and wondering what the heck he was doing here. In a way, it establishes ‘his’ problem as a character and I feel that it helps people get to know him a little as well as get a feel for the setting. Then at about the 7th paragraph, we get into the action with the distress signal.

I recently presented this same finalized first chapter to others and several are saying I should jump straight into the action in order to grab the reader’s attention. So which is it? Do I ground the reader first or do I jump straight into the action where no one knows the characters, or even cares? Both sides make valid points.

Getting a story reviewed and getting feedback is a great way for writers to grow. But sometimes these mixed messages can be quite confusing.

What do you think? When you begin reading a book, what do you like best about the beginning? Do you prefer a stage setting first or do you like to dive right into the action?

 

Simple Steps to Writing a Novel

Posted in Writing with tags , , , , , , , , , , , on January 28, 2017 by Dawn Ross

Typewriter for Writing a Story

So you have a story in your head and you suddenly feel inspired to write it. You sit down and you open a Word document. The story flashes through your head. The action, the heartache, the drama. But where do you start? How do you start? Suddenly you’re overwhelmed.

While some writers can simply start writing by the seat of their pants (called pantsers), some of us need a little more structure and guidance. If you are one of the later, here are some tips on where to begin.

Firefly Cast of Characters

Establish the Main Characters

If you’ve been thinking about your story for some time, you may already know who your characters are. You may also know things about them such as what they look like, where they work, their strengths and weaknesses, and so on. Either way, you need to create a character journal with all their information. The more important your character is to the story, the more thorough this journal should be.

Dwarves Bilbo and Gandalf in Rivendell Hobbit Movie

Establish the Setting

This is something else you might already have in mind. Creating a journal about it will help you fine tune it. A journal is also a great way to keep track of details later on as you write your story.

Set Up the Story Structure

If you’re having trouble just sitting and writing, having a story structure can help. The first structure you need to consider is the three acts basic acts that most good stories should have. The acts also help you determine your overall plot.

The first act establishes your setting and characters, and then brings about the inciting incident. The inciting incident is the event that rocks your character’s boat, the even that calls for his or her intervention. This incident can be something as simple as a death of a family member to something as cataclysmic as an explosion wiping out half a city. The second act consists of your character trying to resolve the situation only to find it’s not easy. Two steps forward, one step back. The third act contains the climax and the final wrap-up.

I have only given the basics of the three acts. If you’re having trouble with this, there are a ton of books and free online resources that can help.

Notecards for Writing a Story 001

Map Out the Outline

An outline is not the same thing as the story structure described above. The outline consists of the story structure, but it is much more detailed. It doesn’t just help you with your timeline, it also helps you establish important scenes, show you where gaps are, and gives you something to refer to as you write.

I have written an article previously on how using index cards helps me establish an outline – Outlining Your Novel with Index Cards. Make it fun with colored index cards!

Decide the Point of View

This can be a tricky one. Before you write, you really need to know how you plan on telling the story (or showing it, I should say). Here’s an article titled, Point of View Writing. It gives the basics and in an easy-to-understand way. The article states that Third Person, Limited is the most common point of view in fiction. I agree. And it is the point of view I use. I find it the easiest to use and the easiest for readers to fall into. But whichever you use, be sure you are consistent.

Decide the Tense

There are only two choices in writing tense: past tense or present tense. One would think that writing in present tense would be best because it establishes the immediacy of what’s happening. But past tense can work just as well. For some reason, I tend to do my outlines in present tense, but write my novel in past tense. Whichever you choose is fine, just be sure to be consistent. The Write Practice has another great article regarding writing in past tense versus present tense.

Book Time Clock Ticking

Write

This can still be the hardest part. But a friend and fellow writer posted something on her blog recently – Write Bravely. What does it mean? It means write and don’t worry too much about what others think. Don’t worry if your point of view or tense is off or whether you have enough descriptions in your scenes. Just write. You can worry about all that other stuff later.

If finding the time is a problem, make the time. Give up a television show or two. See if your significant other can help take up a chore or two. Even an hour a day is better than nothing. You’re story is never going to get written if you don’t make the time. Here are 10 Ways to Create More Time in Your Day.

Conclusion

Try not to look at novel as one big huge project. Big projects are easier to complete when you break them down into smaller projects. Use the headings I’ve used in this article as mini-projects. Even the heading Write can be broken down. Just take it one chapter at a time. One chapter at a time and you’ll get there. Good luck!

Tips for Writing Dialogue

Posted in Writing with tags , , , , , , , , , on January 21, 2017 by Dawn Ross

Dialogue

We all have our strengths and weaknesses when it comes to writing. Me? I’m tend to be a little skimpy on describing the scenes and the characters. But I think I’m pretty darned good at dialogue. Other writers may not be so good at it. Perhaps the conversations between their characters seem too contrived. Or perhaps the characters come across as too stiff and formal. Or every character sounds the same. So here are some tips to help improve dialogue.

Get in the Characters’ Heads

-Motives

Each of your characters has a different motive. So what they say is generally going to be motivated by what they want. For example, say Jack really likes this girl, but his friend Kevin happens to know the girl isn’t really into him. So while Jack is busy talking about how great this girl is, Kevin will try to find a way to hint about the girl without hurting Jack’s feelings. Perhaps he will start out by pointing out all her flaws.

-History/Background

Another way to get into the characters’ heads is to remember they all have different backgrounds, different beliefs, different occupations, and so on. This is going to affect how they speak. Someone from the country may be more inclined to use slang. A doctor will be most likely to use correct medical terminology and medical jargon. Someone who is religious might go around blessing and praying for everyone or by often attributing things to God’s will.

-Personality

The different personalities of each character will also need to be considered. If Steve is self-absorbed, he might not care about why Sally is crying and so he’s either going to ask half-heartedly or not at all, depending on their relationship. If Joe tends to keep to himself, he’s not going to say too much in a conversation and to have him suddenly spill his heart out will not make any sense.

Grammatically Incorrect

People don’t always speak in a grammatically correct way. They might use slang or improper words like ain’t, y’all or irregardless. They might use a lot of filler words like um, yeah, well. They might use gone instead of went like, “She’s gone to the store” instead of “She went to the store.” They might use me when they should use I or I when they should use me like, “him and I” or “him and me”. They might end the sentence with a preposition, such as, “Where you at?” instead of “Where are you?” they might say should of instead of should have. The list goes on and on. And for the sake of readers, it will help if each of your characters has a different quirk. One way to get an idea for all the different ways people speak is to listen.

Be Clear About Who is Speaking

Be clear about who is speaking, but not by overusing names or by overusing tags. By overusing names, I mean by one character saying the name of the other character over and over. For example:

     “Hello, John. Good to see you.”
     “Hello, Fred. Good to see you too.”
     “So, John. How’s your family?”
     “Great, Fred. Blah, blah, blah.”
     “That’s great to hear, John.”

You see what I’m getting at. By overusing creative tags, I mean by always adding John said or Fred said. Some people get around this by using creative tags like John coaxed or Fred persuaded. This can get a little annoying for some readers. That John coaxed or Fred persuaded should be obvious by what they said and the way they said it, not by the use of a creative tag. Don’t get me wrong. Creative tags have their place. There will be times when you will want to say John whispered or Fred mumbled. But use these creative tags very sparingly and not just as a way to use something other than said or replied.

A great way to give an idea of who is speaking without the use of tags is with action. For example, consider the above conversation modified with actions:

     Fred eagerly put out his hand and grinned widely. “Hey, John. So good to see you.”
     John’s eyes lit up. “Hey! Great to see you too.” He grasped Fred’s hand and shook firmly.
     Fred clapped him on the shoulder. “Gosh. It’s been forever. So how’s the fam?”
     “Great.” John’s brows went up. “Can you believe Ashley got into Berkley?”
     “Wow! That’s great to hear.”

Action is a great way to add more feeling into the conversation. But one can overdo it on the action as well, so mix it up. Use said or replied when needed since readers find these tags less annoying. Use an occasional creative tag only where appropriate. Use action. Or, as you may have noticed in the last sentence of the conversation, use nothing. There are only two people speaking so there is no need always specify who said what. Another way you can get away with not indicating who is speaking is if your character has a unique voice. As stated in another article I wrote, there is no need to say Yoda said because everyone knows Yoda by the way he speaks.

The Conversation Has a Purpose

I can’t tell you how many times I planned for a conversation to go one way, but ended up having it go another. If you force the conversation, it sounds contrived. But if you let it flow naturally, you might end up going off on a tangent. What you need is to find a way to get the conversation to flow naturally so it goes where you want it to go. It’s not as easy as it sounds.

Even though people in real life conversations have a tendency to veer off topic or quickly change the subject, try not to do this in your dialogue. Every conversation should have a purpose, whether it’s to convey information, to get an idea of the characters’ points of view, or to establish tension between two characters. For example, my sci-fi story is about the relationship between two enemies. So there is no reason to have a chapter where one of these two characters has a conversation with a third character about knitting. This is an extreme example, but you see what I’m getting at.

If you feel two characters need to have a long conversation before they get to the primary purpose of the conversation, see if you can find a way to slim it down or skim over to the good part. Although it is better to show than tell, sometimes it is acceptable to simply tell by stating they talked about this and that for a good hour while having tea or something.

Pauses, Hesitations, Interruptions

I have a bad habit of interrupting people and I’m not the only one. People interrupt other people all the time. Then there are those people who like to take the time and think about what they’re going to say before they say it. And there are people who hem and haw with filler words before they finally get to the point. Some people talk a lot with almost no pause for breath while the other party simply shrugs their shoulders and interjects a few uh-huhs and such.

Change of Subject is Purposeful and Explainable

Don’t let your characters simply change the subject without a good reason. Changing the subject without some sort of explanation can be very jarring for the reader and can make the conversation seem contrived.

Characters Lie

Have you ever asked someone of they’re feeling okay and they say yes even though it’s obvious they’re not? Have you ever spoken to someone who told you one thing but did another? Or a person who is nice to your face but gossips about you behind your back? People are not always truthful when they speak. You can make the lie obvious or not-so obvious, depending on your purpose. Just keep your purpose in mind. Let’s use the dialogue above and change it to show what I mean.

     Fred eagerly put out his hand and grinned widely. “Hey, John. So good to see you.”
     John’s eyes lit up. “Hey! Great to see you too.” He grasped Fred’s hand and shook firmly.
     Fred clapped him on the shoulder. “Gosh. It’s been forever. So how’s the fam?”
     John’s face fell. “Great.”
     “Yeah?”
     John shrugged. “Yeah. Just fine.”

John’s body language indicates things are not so fine but he doesn’t want to talk about it. Fred can be oblivious or he can pick up on it, depending on his personality, and you can reflect this in the continuing dialogue.

Conclusion

Remember, all things in moderation. Don’t have characters interrupt people all the time. If your character has a tendency to speak incorrectly, don’t force it so that every single sentence is wrong. If your character uses filler words like um, don’t interject the filler words every single time they speak. The overuse of anything can easily turn into an annoyance. Balance is the key. Balance your actions and tags as well.

These are just a few tips to help with dialogue. If you can think of some more, please feel free to comment below.

Tips to Improve Your Story by Writing Better Characters

Posted in Writing with tags , , , , , , , , , , , , , on January 7, 2017 by Dawn Ross

Toy Story on Writing Characters

I don’t care whether you have a sci-fi, fantasy, western, action/adventure, mystery, drama, or other genre. The characters in your story are just as important as the story’s plot. Without characters, you have nothing. With mediocre characters, you have a mediocre story. You could almost get away with a mediocre story if you have excellent characters. So how do you build great characters? Here are some great tips:

Write Their Backstory

When I began writing The Guardian of Destiny, I had a very difficult time writing the main character. I just couldn’t get into him. It wasn’t until I really got to know him by writing his backstory from his childhood to the present that made me really understand who he was. When you tell your actual story, you don’t have to provide your character’s entire backstory. Just include the parts relevant to the story and/or a few of the interesting parts that reveal why your character is the way he is.

Physical Characteristics

I’ve noticed some writers include very little character description and let the reader fill in the blanks. As a reader, I kinda prefer this myself. But I’ve come to realize that most readers want at least a little bit of a description. So make the descriptions unique or interesting. This is especially important when you have multiple characters. The more characters you have, the more difficult it will be for your reader to keep up with them all. So give them a unique feature or two. Perhaps one character has thick eyebrows or one has a unique color of eyes. Go beyond facial features. Perhaps one character has a limp or one is overly tall.

Ben Affleck

J.D., the character in my new sci-fi series, has a crooked smile. I like to think the smile looks a little like Ben Affleck’s. Jori has a Japanese look, though I never state this because of the genre. I try to hint at it with the color of his skin and hair, with the shape of his eyes, and with the fact that he occasionally uses Japanese words.

Gestures, Habits, and other Noticeable Characteristics

Speaking of the words a character uses, this is another way to help individualize your characters. People watching is something writers do all the time. It’s a great way to pick up on the little things people do that make them individuals. Perhaps you notice someone who taps their foot all the time or someone who plays with their hair. Habits can include someone who smokes or someone who is always drinking coffee. J.D. strokes his chin a lot. Jori and Terk curse a lot, Terk more so.

Strengths and Weaknesses

List your character’s most prominent strengths and even a few of his weaknesses. If a character has nothing but strengths, never does any wrong, it makes for a very boring character. No one is perfect, so even the best characters will have a few things they’re not good at. Jori has a lot of things going for him. He’s highly intelligent, has a lot of common sense, and is greatly athletic. He even has a tendency to be modest and considerate, though you wouldn’t know this in the beginning of the story. So it seems he’s practically perfect. But he’s not. He has a bit of a temper, which sometimes gets him into trouble. He also has a tendency to keep his feelings to himself, which makes other people think he’s an emotionless jerk.

I admit I’ve read (and liked) books where the hero seems to have no character flaws. It’s true some people like a story with a perfect white knight hero. So if this is your character, make sure your story makes up for the lack of character conflict in other ways, such as with a great plot and interesting twists.

Stand by Me Movie

Relationships

How the character relates to others says a lot about them. What are their relationships like with their parents, siblings, friends, coworkers, and others? Do they have a lot of friends, or few? Are they loyal to one spouse or do they like to sleep around? Depending on your story, you may even want to consider your character’s relationships with animals. One character I particularly like in my story is Mik Calloway. He’s a complete ass. And one way you can tell this is by how he is with his coworkers. Even though he’s hanging out with them, he only thinks negative thoughts about them. And he only admits that he’s hanging out with them because he doesn’t want to drink alone.

Occupation

Be sure to consider the character’s occupation when writing their character. Stereotypes exist for a reason, so think about the stereotypical dentist, racecar driver, jock, lawyer, cop, and so on. But be careful about making your character cliché. Even though people tend to fall into certain stereotypes, they are still individuals. Jori, for example, is immediately viewed as a stereotypical warrior with a bad attitude and hot temper. But as you will see later in the story, there is so much more to him than that. Use stereotypes to your advantage by perhaps making your characters see other characters in a stereotypical way, but then have them learn a lesson by learning otherwise later on.

Cardinal Richelieu of the Three Mustketeers

Beliefs

Your character’s beliefs go beyond just what their religious preferences are. Think about the core values of your character? Does he believe each man for himself or does he believe in helping others? Is he open-minded or stuck in his ways? Does he tend to see the best in others or the worst? Is he a strictly by-the-book kind of guy or will he break the rules to right a wrong or to get ahead?

A Character’s Journey

Whatever happens in your story, whether your hero is out to save the galaxy, meets the love of his life, destroys the evil warlord, or catches a serial killer, these events are going to change your character forever. Hopefully, they are going to help your character grow. Even the bad guy could learn something new. When you develop your story, think about what your character is going through and what lessons they can learn from it. Think about how their lives are changing and will change as the action progresses.

Create a Character Journal

I forgot where I learned this from, but it has been the most helpful piece of advice I’ve ever received when it comes to writing characters. The character’s journal consists of everything listed above, plus a few extra if you’d like. If your character journal is a physical one, cut out pictures of what your character might look like or what he might wear. If you can draw, draw the pictures. Draw his home and/or his favorite things. If your character journal is a digital one, like mine, attach images. One person I know uses Pinterest to collect pictures that fit their characters.

Conclusion

The more you think about all the aspects of your character, the better chance you have of creating a deep and memorable character. And the more memorable your character, the better chance you have of creating a memorable story. If you have any additional tips for creating great characters, please feel free to comment below.