When I started writing my current novel (every writer has at least one hidden away in a drawer, right?), I insisted on pre-writing and planning: outlines and character worksheets and even a concept map.
I did all of those things. But, when I sent off the first 20 pages of my manuscript to be critiqued at the Salt Cay Writers Retreat, I knew my work was lacking and fell flat in places. I just didn’t know exactly how or what I might do to set it right.
Every morning in Salt Cay, a handful of other writers and I gathered at a picnic table and–under the guidance of Chuck Adams–workshopped the pages of someone’s manuscript. When I learned my pages were up for a turn in the spotlight, I first broke out into a sweat. Then I mustered a meek, Looking forward to it (thumbs up), and wondered how I might get hold of a Bahama Mama before this whole thing got started.
I had no reason to be anxious; the critique sessions were all about encouragement and moving the story forward, not about pointing out where the story failed. But in the process of critique, weak areas become clear. On my manuscript, we talked about character, specifically the antagonist in my story, Victor Manning.
Here’s where I remind you (and myself) that writers should never take themselves too seriously. Otherwise, we lose perspective and learn nothing in the process. And, we miss out on a good time.
That’s right, Critique and Good Times can go together.
First, my colleagues at the table circled around Victor’s dialogue in a gentle sort of way. But eventually, they said my villain was too villain-esque, too sinister, to the point of resembling someone like this:
Okay, the bow tie is deceiving, but the twirling of the mustache fit the profile. Their feedback was funny and spot-on and exactly what I needed to hear. Victor was a little too bad and completely unrelatable.
In taking a closer look at him, I also tuned into a few other overlooked (and crucial) characters’ details. I hadn’t yet figured out the name of the protagonist’s mother, first or last. While her mother doesn’t play a leading role in the story, family history does, especially names.
I had a lot of work to do, not in going all the way back to the beginning but in working on aspects of the story I wished I’d fine-tuned earlier.
There are two reasons why I struggle with character development, especially when it comes to longer projects like a novel.
1. I can be L.A.Z.Y.
I’m a born pantster when it comes to writing. That might work well when cranking out a 1500 word short story, but not a novel. In plotting and planning out the basics–I had a protagonist in mind and the skeleton of an antagonist–I figured I was good to go. I had pages to fill, after all, and a word count to meet. And laundry and dishes and lunches to make and…who has time to dig so deep into characters, major or minor? I wanted to believe that they would all flesh themselves out more fully as the story unfolded.
Even when I met with Michelle Brower for my one-on-one at the retreat and she pointed out the same issues, suggesting I sketch out my characters more, I said, “Each one?” As much work as I knew I had left to do, I was still hoping for a shortcut all around.
Lazy might not be as fitting for me as Stubborn.
2. I lack the right tool.
Stubborn isn’t all bad when I use it on the flip side. I had already bookmarked links to character worksheets and filtered through old photographs online for a face that resembled the person I aimed to grow. While physical description helped, it didn’t probe deep enough. What I needed was a way to uncover the history of these characters, so that I might discover their goals, their secrets, the good side to the antagonist, for example, as well as the bad. What I needed were more options.
I listened to the writers at critique and to Michelle, and then I asked around some more, learning about Character Interviews. Not structured interviews, but organic Q&A’s that might begin with a predictable, “In what year were you born” but lead to a more personal, “What would your father say of you now?” Questions that evolve from “listening” to the character tell his or her story.
Later, when I interviewed Victor on paper, that cartoon villain not only lost his mustache but he became flesh and bones, soul and spirit, and introduced new twists and layers to the story as a whole.
The Lessons
- Writing on the sidelines is as important as working on the first drafts when it comes to characters. I remind myself of that daily, because I’m still itching to get back to the real draft, even if my characters aren’t yet ready.
- If a certain kind of exercise or technique doesn’t give you what you need, keeping searching for one that does. Nothing is wasted in writing, even if those words never make it to a final printing.
Nothing is wasted.
(Yes. I said that twice).
How do you grow your characters?
What a great post, Christi! It’s hard to “waste” writing time “interviewing” characters to figure out who they are. I’ve done it before (at the insistence of people in-the-know on writing), and it was really, really helpful. So helpful, I know I need to do it from the get-go (and maybe repeat the interviews later on) so all my characters don’t sound like some poorly disguised version of… well, me. But it’s HARD. And here’s my secret anxiety: what if I get it wrong? I know, sort of laughable, right? But I’m still afraid of screwing it up – maybe that’s why I balk at it. I won’t get it wrong if I don’t do it. But I won’t get it right, either.
So, that’s my new assignment for me – to sit down and interview my characters. This week, too (yeah, I need concrete deadlines or I can procrastinate forever). Thanks for the reminder, Christi – your post is the push I needed! 🙂
“I won’t get it wrong if I don’t do it. But I won’t get it right, either.” Yep, I completely understand that feeling. Sort of the same as not wanting to screw up the first draft but never reaching the final draft until we’ve scratched out a few rough starts.
Thanks for your comment, Karen. Hope your interviews go well!
Great words to follow, Christi. Thank you for sharing your process and insights. From a fellow pantser, I understand everything you said. And this is so timely – this year for NaNo (yep, I did it, again) I thought I might try an outline. But nothing came and I gave up that idea, disappointed, but resigned. However, I had an idea to do character sketches during October in preparation. I was itching to get started although I didn’t have a story, and no outline would come, so I spent time coming up with characters. I had names, ages, hobbies, other various pieces of info, and found some online photos like you. I had a solid ten characters when I started on November 1st; I threw them into a setting with a very basic premise and let them play. A few more characters were added along the way – but the story flowed much easier, the plot points surfaced with more coherence. I ended up with an extremely rough draft with some solid characters and a story worth working on and I think the editing and further development will be easier.
And now I have a new tool – the “character interview.” I’d forgotten about that and have probably poo-pooed it in the past. But – thank you.
I also agree – nothing is wasted when it comes to writing. Those side trips, the interviews will probably bring out other pieces of information for the story and, writing the character sketches/interviews is probably like oiling the bike chain – it keeps the writing lubricated and running.
Thank you for this piece of writing!
Dot,
You’re the NaNoWriMo Queen! Congrats on finishing, and so exciting to hear that even a little bit of planning made a huge difference. I love your point, too, how even these writing exercises that seem like breaks from the real work of drafting a novel keep the writing loose and flowing. Thanks for your comment!
There’s no question that characterization is my weakest point in writing fiction. Maybe it’s why I prefer personal essay these days. I know myself!
Ha! I can understand that 🙂 Thanks for stopping by, Nina.