How to Make Your Characters Believable:

a guest post by Stefan Vucak

 

 

People are quirky, unpredictable, emotional, and often cannot be relied upon. Governed by the environment within which they live, knowledge accumulated over years of learning, whether formal or through personal endeavor, and simply interacting with others, an individual is a complex matrix of what it means to be human. Above all things, people are self-centered, always looking for that angle which will make them come ahead—that quick fix to bypass the necessary hard work in-between. That’s why we gamble.

 

Standing on a busy street corner, waiting for the lights to change so I can cross, I am bemused by the sight of pedestrians hurrying, dawdling, or completely distracted with faces buried in a smart phone crossing the other way. There are tall people, skinny ones, some not so, Caucasian, Asian; all sorts. Some are wearing smiles, while others scowl, and there are those who seem to be stooped like they are bearing the load of the world on their shoulders. The teens skip gaily, chatting to each other and laughing, looking on us oldsters as incomprehensible cubes, wondering what all the fuss is about.

So, what’s with the philosophical sideline? Believe it or not, there is a point. Purse your lips and ask yourself if you have really looked at a stranger lately, and simply from his appearance tried to work out his personality, social status, mannerisms, identifying marks? If you can see them, does he have brown eyes or blue ones or green? Is his face round, square, long, gaunt, plump? Does he walk with confident strides or is he hesitant, his eyes darting suspiciously as he pushes through the crowd? Is he carrying anything? If so, what is it? Does it help you identify him? On an instinctive level, do you like him or do the hairs on the back of your neck tingle at the sight of him?

Are you starting to get the broader picture? Do you observe people or does the mass of humanity simply slide past your consciousness as you hurry across the street, your mind focused on whatever it is you need to do? Finishing that chapter you’ve been struggling with, perhaps? The struggle caused because your main character, and maybe the whole cast, is somewhat two-dimensional, a nobody, and you cannot quite figure out why? Then again, you might be thinking: I don’t need to describe my characters; the story is good enough to carry them. You could be right. You could also be wrong, you know.

Deciding how to portray characters in your writing can be a contributing factor in producing a great book, or something that’s okay for a once off read. Every book has two basic components: action sequences and characters who do the action or have action done unto them. Many books rely on action alone, and some do it with superb craftsmanship. Others get into a character’s mind and never let you leave it. That can be entertaining and enthralling—if done well. But how can you tell whether your characters are genuinely alive and real? Simple, really. Think of a recent book you have read and ask yourself this. Do the characters stand out? If so, why? Or are they cardboard cutouts who cannot utter a coherent sentence? It is an instinctive thing anyone can spot. Unfortunately, many writers can spot it in someone else’s book, but are unable to see it in their own writing.

All right, how do you make your characters believable? Before you even start writing that epic, you need a detailed outline, a story skeleton on which you’ll hang the words. Part of writing that outline will require that you line up your cast and stare at them, then pick those that will star in your book. Think of a casting director for a movie. Your cast will be determined by the type of book you are writing. Is it a love story, a techno thriller, a murder mystery, a convoluted spy thriller, a tearjerker? Are you looking for action men, sleuths, hard-boiled gumshoes, sleazy womanizers, or just mean guys? What does this process do for you? Whether you realize it or not, and you should, you are taking a first step toward making your characters believable. You are thinking of them as individuals with personalities.

To make every member of your cast a living person, you need a police profile that goes something like this:

- Height

- Weight

- Complexion

- What color eyes

- Does he chomp his food, or is he a dainty gentleman

- Does he swear

- What is his normal behavior: tense, relaxed, awkward, sharp…

- Special mannerisms, use of phrases, habits…

I think you are starting to get the idea. Why such a profile you might ask? For one thing, it will crystallize that character in your own mind. Whenever you write about him, the character will always behave consistently, true to himself. Any deviation will not be looked on favorably by your readers. There is nothing more irritating than reading on one page the character is five foot ten, and later, he is six feet two, or something like that. You may never employ all of the character’s profile in the book, so why bother? What this does is makes the character live, which is the important thing. He becomes a close friend, or an enemy. You will like him or you won’t. Either way, you will know this character, and so will your readers. If someone asks you to describe your sister, brother, mother or friend, you can readily spew out the words with hardly a pause. In the same way, you must be able to handle your characters in your writing.

Remember that cardboard cutout? He is a cutout simply because the writer doesn’t know him. He is a complete stranger, and he comes across as such to readers. That’s all there is to it. Well, there is a bit more, of course. That more being the dialogue.

You cannot handle a novel with a character not having to say anything—unless he is a Robinson Crusoe. Since there are no more unoccupied coral islands where someone can get away from it all and clam up, your characters will have to say something sometime. What they say and how they say it will go a long way toward making them real and believable, or two-dimensional cutout dummies. Some writers can handle dialogue with natural skills, while others agonize. How do you master dialogue? Grab one of your favorite books and check the dialogue. Why do you like it, and does your dialogue come anywhere close? If not, what can you do about it? That’s simple, but involves some sweat on your part. You are a writer, right? So, practice writing dialogue until it becomes second nature. Never mind about what, just write. Think of the last conversation you had with someone and write the ensuing dialogue. When you read it, does every aspect of that episode come through? And I am not talking only about what was said, but how it was said, what emotion was displayed, gestures, tone of voice, hidden meanings. If what you have written doesn’t match your memory, you obviously haven’t got it right. Give the piece to the person you had the conversation with and get his feedback.

If you have read this far, you are right to point out that there is much more to making your characters believable, but I hope I got you thinking and looking at your characters in a new light. By the way, get a professional editor to go over your writing. An impartial pair of eyes can do wonders for your novel.

 

Guest Blogger Bio

 

Stefan is an award-winning author of eight techno sci-fi novels, including With Shadow and Thunder which was a 2002 EPPIE finalist. His Shadow Gods Saga books have been highly acclaimed by critics. His political thriller, Cry of Eagles, won the coveted 2011 Readers Favorite silver medal award, and his All the Evils was the 2013 prestigious Eric Hoffer contest finalist.   

Stefan leveraged a successful career in the Information Technology industry and applied that discipline to create realistic, highly believable storylines for his books. Born in Croatia, he now lives in Melbourne, Australia.

Links:

Website:  http://www.stefanvucak.com/

Facebook:  https://www.facebook.com/StefanVucak

Twitter:  https://twitter.com/stefanvucak 

 

Shadow Gods Saga:  Series Link

 

Check out our latest Writing in the Modern Age blog article here.

“That which we call a rose by any other name would smell as sweet.” I teach Romeo and Juliet to rather reluctant 8^th graders every year. I’ve collected enough materials to probably teach a college course on the play, but no matter what every year we pause at Juliet’s words here and talk about the power of names. I ask them to think about it. How much of their personality is connected to their names? Is Juliet right? Can we simply change someone’s name without it changing the person? My students and I don’t think so.

            Look deeply into any mythology, particularly the mythology involving the Norse and Celts and we see the power of names so clearly. The Fae of the Celtic mythos kept their true names secret for if anyone knew their names they could be commanded. In Ursula K. LeGuin’s EarthSea series we see power tied to true names. Native Americans changed their names as they grew, preferring to refer to them as “use names” in some tribes. We too, in modern Western culture, change our names. How many of us cringe when we hear grandma call us by that nickname she gave us when we were little bits? I have a cousin who’s over 30 who many in the family still call “Juice.” Long story.

            As authors, we know that the name of a character can be a very powerful characterization vehicle. Certain names have certain connotations. If we name a character Damien, there are certain images that go right along. Now, sometimes we like to throw those preconceptions for a loop, but we go into naming that character knowing he’s going to be up against some interesting preconceived notions. Character names also have to be true to the genre and time period. There’s nothing that throws me out of a book than a trendy modern name in a period piece. Above all, we need to like the name. If we don’t like the name or we don’t really see how the name fits the character, well then we can’t make our readers see it either.

            Naming books too is an interesting and frustrating process. Just as a character’s moniker is the reader’s first impression of him or her, the title can very often make or break a sale. There are a lot of “rules” about titles. Many of them contradictory. Titles should only have six or fewer syllables—the shorter the title the more intriguing. Now, I admit you don’t want a title that scrolls across the entire book cover, but I don’t personally see anything wrong with longer titles. That being said, could “The Fellowship of the Ring” gotten a pass in today’s marketing world? Or would Tolkien have been told to shorten it up or at least “punch it up?” I’ve heard that a lot lately too. “Punch up that title!” What in heaven’s name does that actually mean? Make it shorter, catchier, or easier to remember?

            I struggle with titles. My first novel “Ribbons of Moonlight,” a time travel romance was easy to name. It was inspired by a poem and the title was merely a rearranging of one of the common poetic images. That was a rare exception. When I’m writing a book, the file usually has some sort of single word working title. My next book, a fantasy, “The Shattered Prism” due out on June 17th from Solstice Publishing, was much more difficult to title. It had originally been called “Dark Rainbow’s End,” but I’d expanded the idea and it transformed from one novel into a trilogy. So, now, not only did I need three titles, I needed three titles that worked together and I already had one. I scribbled and scratched out about a dozen title ideas with rainbow or circle or star imagery in them. The book was finished, ready to be sent out, but I couldn’t because I wasn’t certain of the title! That’s one of the most frustrating feelings for a writer.

            Unlike Juliet’s assertion that “Romeo would, were he not Romeo called, retain that dear perfection that he owes”, naming characters and books can be tricky. Coming up with the idea of the story, the problems the characters need to face and the end of it all can sometimes be child’s play compared to figuring out what to call the thing! Names and titles are a reader’s first impression and we all know that you never get a second chance to make a good first impression.

Guest Blogger Bio 

 

When I was a kid growing up in the near Chicago suburbs, I knew what I wanted to do. I wanted to teach and I wanted to write. I’d spend hours over the little typewriter Mom and Dad bought for me when I was little, clattering away at stories and plays I’d wheedle my cousins and brother into performing. I think I wrote my first “book” in 6^th grade and had a friend illustrate it for me. I never really looked back from there. 

Now, I can say that I’ve achieved both of my goals. I’ve been teaching 8^th graders for more than 15 years, sharing my love of words with hundreds. I always tell my kids that it’s not that they don’t like to read; they just haven’t met the right book yet. I make it one of my missions in life to put those books into their hands.  
My love of literature led to my debut Solstice novel. I’ve always loved poetry and “The Highwayman” has always been a personal favorite. I always thought there was more to that story and now there is. 

So, here am I living—still living in the Chicago suburbs, a little further out than where I first started, but I can still see the skyline on my drive in to work. I married my high school prom date and we share a beautiful little girl, two spoiled hound dogs, a love of reading and all things Disney. Overall, I’m happy where I am, but I’m also looking forward to seeing what the next several years bring. Hopefully, it will bring me several more books on this author page!

Links:

http://rebeccalfrencl.blogspot.com/
https://www.facebook.com/pages/Rebecca-L-Frencl/115163871892050?ref=hl

Universal Reader link:  https://books2read.com/u/mZrrWR

Check out our latest Writing in the Modern Age blog article here.

Some of us who have chosen to write fiction come from a variety of places. And by 'a variety of places', I’m not referring to a physical location; I’m referring to our writing experiences.

There are some of us who have enjoyed writing since we were children, and each year, by writing something in school, it improved. For some of us, it continued until we graduated college and began working. Some of us entered the work force taking jobs, which required us to write, whether it was procedures, handbooks/manuals, or news stories. But all of these are non-fiction, and each one has a set of “rules” that need to be followed to write something well enough to be acceptable.

As for myself, while my regular job did not require me to write, for eleven years I wrote articles (commentaries/viewpoints) of what was happening in my community and my feelings about it. When I started to write these items, my writing skills were not honed. I didn’t have my ideas organized in a tight manner, although my writing had been informative. By the time I’d written my last item, I’d become quite adept at it.

When I started to write fiction, I somehow drifted to writing a contemporary romance story with a paranormal element running through the storyline, but after almost nine years I still hadn’t completed it. That is, until someone suggested I should write for a much younger audience, which is what I did, culminating in my first YA Paranormal/Time Travel/First Kiss romance novel entitled I Kissed a Ghost.

Anyway, making the transition from non-fiction to fiction, I’ve had to learn a new set of rules on how to write. Most of these involved dialogue, showing not telling, where before I just told. I now had to learn about the use of tags. I had to learn not to be overly descriptive of something, but allow my reader to create the image for themselves in their minds. In the beginning I found it hard to break my old writing habits. Now I’m finding myself with these habits essentially gone. The biggest issue I still have, and am trying to get a good handle on, is POV (Point of View). Regardless of what’s happening or being said it has to be in one character’s perspective, and you can’t flip-flop between two characters within a scene. There needs to be a transition from one character to another. 

All these things have helped me mold myself into the author I am today. I’ve also learned there are additional rules within a genre, depending on the sub-genre you’ve decided to write in. These rules apply to the dialogue spoken, which needs to be true to the time period you’re writing in, as well as how your characters are dressed, and their titles, if any, as is the case with the Regency sub-genre of romance novels. 

So as you can see, writing is not merely a string of words you put together. There are rules that need to be followed if you’re to be well received by your readers.   

If you have any questions, I’d love to hear from you.

Guest Blogger Bio

 

I’m a retired NYC civil servant who has been married for 19 years with no children. We have two senior cats, a Maine Coon with diabetes, and a calico. My first YA Paranormal/Time Travel/First Kiss romance novel is entitled I Kissed a Ghost. For my second romance novel I’ve returned to writing the untitled contemporary romance I wrote about in my post.

I Kissed a Ghost is available on Amazon at: 

http://www.amazon.com/Kissed-Ghost-Robin-Leigh-Morgan/dp/1480030031  

Due to an unexpected delay the Kindle version should become available around May 13th.

If anyone would like to read several UNEDITED SNIPPETS from the book, you can find them under the category of “GHOSTLY WHISPERS” on any my blog sites:   

http://www.mypennameonly.blogspot.com or http://www.mypennameonly.webs.com

You can also find me on:

Facebook: http://www.facebook.com/mypennameonly              

Twitter: http://www.twitter.com/mypennameonly                  

Goodreads: http://www.goodreads.com/RobinLeighMorgan

Universal Reader Link: 

Check out our latest Writing in the Modern Age blog article here.

Guest Blogger Bio

 Stefan Vucak is an award-winning author of the sci-fi Shadow Gods series of books. His contemporary political thriller Cry of Eagles has won the coveted 2011 Readers Favorite silver medal award.

Website: www.stefanvucak.com

Check out our latest Writing in the Modern Age blog article here.