Character Development is Good for You.

An example of my character template. The picture came via Flickr.com
and, if you click on it, it will lead to the photographer's gallery.

Is it possible to write a story without at least one character? I seriously doubt it, even if the ‘character’ is only something inanimate. But is it desirable? Definitely not. Characters are the writer’s means of delivering story. Plot is a framework, a guide, sometimes a straightjacket, that determines a story’s direction and ultimate end. But it’s the character (or characters) who, taking the reader’s hand, guides her through the twists and turns. And the more believable that character can be made, the more thoroughly will the reader engage with the story.

A lot has been written about character development, so I can add to the cannon only by describing my own method. Before I can start any story, I have to know my main characters. In my current fantasy trilogy, which is well under way (Volumes 1 & 2 are written and edited), I’ve so far developed a cast of 83 named characters. Each of these people has a history, biography, physical description and a picture on which I can hang my memory. I know; a lot of people will think there are too many characters here, but this is a tale in the tradition of the epic fantasy, though it’s more adult than many. It’s common in the genre to have a large cast list: think of Lord of the Rings. How I keep track of all these individuals is for another day, another post. For now, I’ll concentrate on how I ‘invent’ my characters.

As an ex-professional photographer, my driving creative muse is visual. So, having determined gender and age, and having a vague idea of what I want the character to look like, I search my catalogue of images of people. Over the years I’ve been writing, I’ve made it a habit to collect pictures of real people I come across on my flights through the matter on the internet. I copy these pictures and assign them a basic designation according to race, gender, age (approximate), and hair colour. I have so far collected a library of around 1,200 from which I can take my pick. (Some of you will be concerned about copyright infringement, but, as these pictures are never published by me, that’s not really an issue).

Having chosen my picture, I attach it to a template on Word in the form of a table, listing physical features, beliefs, relationships, political persuasion, family history and asking the character two questions: 1. What does this person want? 2. What is this person prepared to do to get it? I now have a pretty good knowledge of my character.

At this stage, I use my table of names to select an appropriate name. (I’ve a document listing over 10,000 names, sorted alphabetically and by gender, with annotations showing the nations that use the name. For access to that list, please visit the tab above, labelled ‘Tools & Links’ where you’ll find a .pdf version that you can copy/print for your own use.) For my fantasy, since I’ve invented a whole world along with everything that goes with it, I’ve made up my character names and tested each against Google to ensure I’m neither using one that already exists, nor naming somebody by using a word that means something inappropriate in another language.

I now have my character with name, age, physical attributes and belief system. I also know what motivates that character and what that character is prepared to do in order to achieve any ambition. That gives me a pretty rounded person to put on the page before I even start writing the story. This may seem a lot of work, but in my experience, the bulk of writing is preparation. Once I have my characters and locations and any historically factual information that may be relevant, I can start the story. I find that the preparation allows me to write very quickly. I always place hyperlinks in the story to each of my character’s bio pages so that I can quickly check to make sure I haven’t either changed some physical aspect or turned a peace-loving pagan into a warrior extremist.

So, there you have it: my method of creating and developing characters. Once they are on the page, I allow them to guide the story for which I only ever have a very loose framework, or none at all. Often, they take me along roads I didn’t know existed. I love that. I learn a great deal along the way, as well. Character is vital to the story; we neglect it at our peril.

This post first appeared as a guest post on Brian Hayden’s Blog where you will find lots of other interesting stuff.

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The Ipcress File, by Len Deighton, Reviewed

As Deighton admits in the preface to the Silver jubilee Edition that I read, ‘Like many inexperienced writers I expected far too much from my readers.’ And it’s this assumption that that the reader will ‘be aware of every tiny detail and allusion’ that makes this book, at least initially, a less than easy read. Of course, the film and the reputation of the book gives the reader motivation to stick with it. Without that motivation I can’t be absolutely sure I’d have got past the first few chapters. However, I’m glad I did.

This 1960s spy story has far more depth and character development than the Bond novels that were more or less contemporaneous. The use of the unreliable first person narrator was risky but actually worked well, adding an extra layer of uncertainty to the described events. I can recall being similarly fascinated by the literature about brain-washing at the time, as a teenager. And this central theme lifts the tale out of the usual spy story genre. It is, of course, a thriller. But it’s a thriller with heart and emotion. The reader cares about the characters. The action is driven by those characters rather than formula driven. 

There are places where aspects of the story are almost incomprehensible, dialogue sections where the identity of the speakers is all but impossible to ascribe, passages that appear meaningless until later in the book, when they fall into place. All this adds to the general air of confusion, uncertainty and mystery.

Deighton introduces female characters with personality, strength and intelligence and improves the story no end by so doing. His male characters are varied, detailed and credible. His depictions of the worlds of the high-ranking military, politics and the intelligence community come across with great authority, as though he was personally involved in each of these spheres of activity. I can only assume that his research was meticulous and involved many personal contacts. Unless, of course, he was so steeped in the burgeoning spy literature of the time that he absorbed the most striking and probable aspects of these worlds and was able to apply his own brand of fiction in such a way as to make them utterly believable.

The Ipcress File (film) (Photo credit: Wikipedia)

I’m unsure how I missed this in my earlier days of reading. Certainly, I read most of the Bond novels through my teens and early twenties. I did, of course, catch the film. But I’d forgotten that until I began reading. I must try to see it again. For the book, I can say that I enjoyed it as a thriller with real character. I shall probably now read more of the author’s work as and when I come across it. If you haven’t read this one and you enjoy action combined with wit and emotionally complete characters in your fiction, then I recommend this book to you.

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An Interview with Leighton from Breaking Faith.

I had a piece from Faith a short while ago. Thought I should restore balance by letting Leigh have his say. 

Leigh: Seems a bit odd, you interviewing me, when you invented me, Stuart.

SA: I know, but I'd like to give my readers a bit more insight.

Leigh: Readers matter, then, do they?

SA: They're the writer's lifeblood. Without them, the whole of the activity would be pretty meaningless.

Leigh: Bit insulting on us characters, isn't it? That attitude, I mean. I do have feelings, you know. In fact, you of all people, should know I have deep emotions.

SA: Fair point, Leigh. But you must also realise that you're a figment of my imagination, whilst the readers are real people. They have to have precedence in the mind and world of the writer.

Leigh: Fair enough. But it still makes me feel a bit like a spare part here. Anyroad, what did you want to know?

SA: Can we first get over the fact that I invented you and therefore know all there is to know about you? I'm not asking these questions for myself but for my readers. Okay?

Leigh: You're the boss.

SA: Perhaps you'd tell us which book you appear in?

Leigh: I'm the male protagonist, you might say 'hero' in that romantic thriller you wrote; Breaking Faith. By the way, I have to thank you for those great women you gave me to interact with. Had a great time with some of them; well, most of them, actually. And…

SA: Sorry to interrupt. It's great you want to talk this way, but I've a couple more questions to ask first, if that's okay?

Leigh: Right fire away. Though this was supposed to my gig…

SA: So it is. But if you could offer me some advice, what would you say to me?

Leigh: Honest, no holds barred?

SA: Express yourself.

Leigh: Well, there were times early on I thought you made me look pretty shallow. Of course, you let me develop as the story developed, but I felt I was perceived as a bit superficial to begin with.

SA: That's because you were being described through the eyes of Faith, and she had a very limited and specific world view.

Leigh: Fair comment.

SA: So, how do you feel about the way readers perceive you at the end of the story?

Leigh: Ah, well, by that time they know a lot more about me. I think I come across as a well-rounded bloke. I mean my initial obsessions, yes, I admit it's obsession, with naked women and sex, is modified by the way I grow to feel about Faith (this won't spoil things for readers who haven't yet read the book, will it?) and people get to know what really drives me, what really matters to me. I know I can come across to some as a bit too keen on getting their knickers off, but I really do love women. I mean, by that, that I love them in all their forms, all their ways. Look at the way a woman's put together. What better design for a living beauty can you imagine? Oh, I know we're all driven by our biological imperative, our need to pass on our genes and ensure they survive, but there's a lot more to it than that.

That's the trouble with the scientists; they reduce everything to rational causes, when we all know that feeling is a vital part of our make-up as well. And I, for one, don't subscribe to the school of thought that says our emotions are nothing more than sublimation of that damned biological imperative. Reducing us to chemical reactions is an insult to the race, don't you think?

As for those bloody godbotherers; well, they make my blood boil. Look, the early human race had no idea about what caused most things to happen. They lived in a world populated by wild and hungry predators, in a world where the climate and the environment were anything but friendly to them. They suffered earthquakes and forest fires, floods and droughts. No wonder they sought some reason for their plight. No wonder they came up with various different deities to explain the inexplicable. In those days, before science and rational thought developed, there was no other way they could make sense of their world.

But to continue these bloody myths into the modern world, when we know so much more about how the world and life work, seems to me to be nothing short of perverse. And, as soon as rational thought became widespread it was only a matter of time before some clever sod would pervert those beliefs in whatever gods were native at the time into methods of controlling the rest of the population. That's what religion is, after all: a control tool for despots and bullies. It's got about as much to do with spiritual wellbeing as a thistle up your arse.

Mind you, that doesn't mean I'm necessarily on the side of the scientists. Seems to me that a lot of what they have to say is open to debate as well. I know the best of them are open-minded and willing to be persuaded. But there's a good few who stick as doggedly to their theories and hypotheses as those bloody godbotherers do to their dogmas. Like to see a bit more doubt, a bit more humility, a bit more of an acceptance that we don't know the answer to everything and probably never will. Bloody good thing, too, if you ask me. I mean, can you imagine the arrogance of a human race that held all the answers? We'd be fucking impossible. It's the worst thing that could happen to us as a race, don't you think?

SA: Well, thank you for that, Leigh. You have some pretty wild ideas, don't you?

Leigh: Wild? I don't think so. But I guess I do get a bit passionate about things that matter to me. Why shouldn't I? The leaders in society, of whatever leaning or calling, have plenty of opportunities to have their say. It's not often the rest of us get a look-in, is it?

SA: If I could just return to the book for a moment? I'd be interested to know how you came to employ that sod, Mervyn?

Leigh: Ah. Merv the perv. In many ways I was as guilty of attempted conversion with him as Faith was with me in the initial days and weeks. I took him on for practical reasons: my workload was such that I couldn't afford to spend as much time in the darkroom as I needed to turn out the work I was producing. Merv had a natural skill with the chemical and physical processes. He'd absolutely no imagination, of course, but he was able to follow my lead and soon learned what I did and didn't need from him. Let's be honest, as a man he was a bastard, but as a printer…well, I'd never have found a better one. Once I'd got him in Longhouse, I tried to work on him and change his attitude to women, people in general, I suppose. Waste of time, of course, but that was my hope and intention.

SA: And your attitude to glamour photography; how did Faith influence that?

Leigh: Initially, I thought she was just a prude with some distorted view of nudity gleaned from her upbringing by that shithouse, Heacham. But when I really thought about what she had to say, she actually made sense. As you know, I stopped doing the glamour work completely and only did full nudes after that. Like Faith said, real art requires absolute honesty. I've her to thank for showing me that truth.

SA: Well, Leigh, thank you for your time and your thoughts. It's been most interesting.

Leigh; You're welcome. I hope the readers have got something out of it. Maybe some of them will understand where I'm coming from a bit better, eh?

SA: Perhaps. Let's hope they comment and then see what they say, shall we?

Why do people believe you when you say there are over four billion stars, but check when you tell them the paint is wet?

Faith Introduces Herself to Readers

Stuart's asked me to give you some insight into how I think, what matters to me, why I'm the person I am. Let me introduce myself. I'm Faith Heacham and I narrated the story of Breaking Faith along with Leigh. I hope that some of my rather strange background came through that narrative but there will be elements that you will either not know or be unfamiliar with, of course.

When I first started to work for Leigh, I was still imbued with my father's rather strange brand of Christianity and I was determined to develop Leigh's conscience and convert him into a devout follower of my religion. I don't tell you a lot about that aspect in the book, because I didn't want to come across as too evangelical. As it happened, I quickly learned that Heacham was in the wrong and that Leigh, for all his unusual and, dare I say, unconventional ways, was often in the right.

But I'm getting ahead of myself. Let me set the scene. I was brought up for the first few years as part of a small family with my mother, and two younger sisters as well as Heacham. I'm sorry, I can't refer to him as my father knowing what I do now. He was, to me, relatively normal and although he was always a very strict parent, he seemed no more odd or different than any other parent, until Mother left him and took my youngest sister, Charity, with her. It was then that I certainly noticed changes in my life. I was very young but I was expected to take over most of the duties my mother had carried out.

Heacham was a man who gave the impression of being pious. It was only later I learned how truly awful he was, not only as a father but as a man. However, I was placed in a position where I was required to look after him domestically as well as nurse my severely disabled sister, Hope. She, of course, had no hope of ever becoming anything other than a baby in a woman's body. But I didn't know that until I was a lot older. My life was difficult and restricted, as I was no longer allowed to attend the local school but was taught by Heacham. His teaching took the form of indoctrination with his peculiar form of narrow-minded Christianity taken from the Bible and some books of sermons by a rather extreme clergyman. I was allowed an atlas, and a dictionary and two volume encyclopaedia, both of which he censored for all sexual matters apart from the purely biological aspects. We had no television, no radio and he would allow no magazines or newspapers in the house. Living in an isolated cottage well out of the small Dales village, I had virtually no contact with children or with other adults. This obviously left me with a very odd view of the world. But I was a quick learner and loved to read. As a result, I picked up a wide vocabulary and a knowledge of many things that most people never come across.

For exercise, I did the housework, kept Hope free of bedsores by massaging and manipulating her limbs and body, walked the local hills and swam in the isolated tarn up the hill from our cottage. I loved the freedom of those few hours, away from home and father's constant watchfulness. I would strip to my skin and plunge into the freezing clear water and splash about until I was thoroughly tired. By the time I returned home, my clothes had mostly dried on my body. Not that it mattered, since Heacham required me to work in the house wearing the bare minimum of cover. He told me it was to save my clothes from becoming stained and dirty. I know now that it was to afford him a sexual thrill of both watching me and controlling me in a state of more or less permanent exposure.

He indoctrinated me to believe that most men and women were inherently evil and would eventually spend eternity in the fires of Hell. If I erred, even slightly, he would beat me with his hand, a cane or his belt, always on my naked skin. He told me he was saving my soul and I believed him. We prayed together every morning and each evening before bed. He attended some old barn that he and a few other men with similar views had converted into their meeting place, which he called their chapel.

When I first started to work with Leigh and discovered his free-thinking ideas and his openness toward nudity and sex, I thought he must be the most wicked man alive. His models were all beautiful and showed no shame or shyness in displaying their entire bodies for his camera. I was initially incensed and later intrigued. But, though Leigh gave all the appearance to my uneducated mind of being a wicked heathen, I quickly learned that he was a kind, warm, generous and basically good man. I suppose it was inevitable that I would fall in love with him, as the only other mature male I had any contact with. Apart, that is, from his printing assistant, Mervin. He was the embodiment of true evil in my eyes. A crude, ugly, cruel and utterly selfish monster of a man.

If you've read the book, you'll know how I came to change and what those changes involved for me and those I came into contact with. If you haven't read it yet, I can only point you in the direction of this blog, where Stuart's posting the whole book for you to read, free of charge, a chapter at a time. I hope you get as much out of reading my story as I did from telling it from my point of view and learning Leigh's view of things along the journey.

Stuart's Daily Word Spot: Stock Character

Image via Wikipedia

Stock Character: A fictional character based on a common literary or social stereotype. Such characters rely heavily on cultural types or names for their personality, manner of speech, and other characteristics and are a key element in genre fiction, supplying relationships and interactions that people familiar with the genre will recognize at once. Stock characters are ready targets for parody, exaggerating the stereotypes associated with them.

So, the 'stock' criminal may be dim and easily apprehended, the 'stock' nurse may be attractive and sexy, the 'stock' policeman not very bright and prone to uttering meaningless jargon, the 'stock' detective able and perceptive but not successful with women. You get the picture.

More honest and perceptive writers tend to avoid the stock character and portray people who appear real instead.