Tag: character development

How to write in an other-worldly voice

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The robot bares his soul on paper. Photo by Mirko Schaefer.

Last week we talked about how to craft an authentic voice by listening to the voices around you and in media. But what if your character is a type of person you can’t find in any of those places? What if they’re from the future, of which we know little, or from the ancient past, before there was a written language to record how they spoke? What if they are not even human—an alien, an angel, a robot dinosaur?

What if you want a voice just as unique as the character? A voice that will blow your readers’ minds?

Here are some steps to help you create one.

NOTE: this is a list of ideas, not a checklist. All will not work for your character, and there are probably additional methods you will need. This is simply a starting point. Choose wisely, but don’t be afraid to experiment!

 

First – a few questions to get you in the mindset:

Is the narrator intimately familiar with the modern human world? Would he be able to use and understand our weird human idioms and expressions?

Imagine a day in the life of this character. What does he spend most of his time doing? How does this effect what he thinks and talks about?

If this character doesn’t speak English, whatever you write is a translation. Ask yourself what his native language is like, compared to English. Is it as descriptive? Is it more rigid? Is it simpler, or more complicated? Are there some concepts in his language that can’t be translated to English at all?

Are there human or earthly concepts he cannot understand? Does he understand gender? Light and dark? The passage of time? Physical space?

Will this story be like describing color to a man born blind, and if so, who is the blind man—the character, or the reader?

 

Now, some fun things to try:

  • Remove all idioms and clichés – or get them intentionally wrong
  • Remove any pop culture references
  • Make up pop culture references
  • Occasionally try, then fail, to describe something, then explain that human words are inadequate
  • Replace common words with words you make up, or words from an obscure human language: especially replace words that are measurements, such as in time (minutes, hours, years), distances (feet, meters) as well as days of the week, etc.
  • Change the spelling of words – think of Olde English, or 1337 (leet)
  • Remove common words like articles (a, an, the), like in The Moon is a Harsh Mistress
  • Cut words down to their roots, eliminating ings and eds and the like
  • Eliminate punctuation, using only line- and paragraph-breaks to differentiate between phrases and sentences
  • Use all the senses except sight in your descriptions
  • Describe from a sixth sense, like telepathy – bonus points if you can make up a sense nobody has thought of before
  • Don’t use adjectives
  • Don’t use pronouns
  • Write normally, then remove every fifth word and see what happens
  • Describe events at a molecular level
  • Describe events as if watching from miles away

 

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What wacky voice ideas do you have? Spill them in the comments!

 

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Other posts to help you prepare for Voice Week:

When I announced the first Voice Week

How to find your voice – explained in 5 different voices

5 fantastic examples of voice

How last year’s Voice Week went

How to craft an authentic voice through research

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How to write like someone you’re not – and still sound authentic

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This might be a little too obvious. [Photo by Emil]

 As a copywriter, I might be selling waterproof work boots to truckers one day, and giving makeup tips to fashionistas another. Maybe both in the same day. But if I’m not familiar with my audience, I have to get familiar before I write anything. You may have the same problem.

Say you’re writing about a character who is wildly unlike yourself. Maybe they’re an extreme version of some part of yourself (as all characters tend to be), but their background and lifestyle demands a manner of speaking completely different from anything you know. How do you master a voice that’s not your own?

Start by writing down everything you know about the character whose voice you need to create. Personality traits, occupation, hobbies. Then, prepare to research. You must immerse yourself in the voice you seek to emulate, much like living in a different country to learn the language. Here’s how:

 

Online communities

My number one resource for getting into the heads of my audience is the Internet. You can find a blog or forum for just about any group of people – I have stumbled across communities for everything from anorexics to Satanists, to Jews who love bacon (those all purely by accident). Look up social websites centered around your narrator’s profession, hobbies, even medical or psychological conditions. Do this by Googling your subject with words like blog, forum, community, online support group, tips, terminology, handbook, dictionary (i.e. “spoon-collector’s forum” etc.). Take it a step further by asking yourself what products your character would buy, then find the Facebook page of a company that sells said product, and read the fan comments. Google the definitions of terms you don’t know. Bookmark the sites you find and reference them frequently.

Books

Probably the most obvious way to familiarize yourself with a voice is to find a book narrated by a character who is like yours, or at least one that has a lot of dialogue by a character like yours. Type out a few pages of the narrative/dialogue to help give your fingers and your brain a feel for the flow of the language. Reach outside fiction, too – read the memoir of a real person who is similar to your character. If you’re writing period fiction, read something that was actually written during the time period in question.

 

Movies & TV

Can’t think of a book that has your character type? Try thinking of a movie or TV show that does. Find some quotes from that character on IMDB – and again, type them out to get a feel for the voice.

 

People watching / eavesdropping

Find a public place where you’re likely to find the type of people you’re writing about. If you’re writing about a college student, hang out in a coffee shop by the closest college campus. If you’re writing about a factory worker, eat lunch at a diner close to a factory, or check out a nearby bar at happy hour. If you’re writing about children, offer to baby-sit your sister’s kids, or hang out at the playground of your local park (just bring a friend with you so people don’t think you’re a creeper). Shop at stores your character is likely to shop at. Visit a church or synagogue they might frequent. Listen to snippets of conversation around you, and surreptitiously write them in a notebook.

 

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Where do you find the voices of your characters? Tell me in the comments!

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Dates for Voice Week 2012!

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Yes folks, Voice Week is back—and we’ve got less than two months to get ready for it.

 

What is Voice Week?

Voice Week is the time the InMonsters (and anyone else who wants to join in) all step outside the voices we are used to and try writing something new. We’ll each write five different 100-word pieces—each piece told in a different voice. We’ll post a piece a day, Monday through Friday, in the first week of October. Then we’ll hop around to each other’s blogs, reading, commenting, learning, and offering constructive criticism. There’ll also be a prize or two awarded to randomly-selected voice writers (exact prize(s) to be announced soon).

 

What is voice?

Voice is the personality infused into your writing—from the words you choose, to the structure and rhythm of your sentences, and other little details, like whether you add accents or grammatical errors on purpose. Different narrators have different voices. An old man will choose different words and arrange them differently than a teenage girl will.

 

Why do I need a unique voice?

Your voice sets you apart from every other writer. Voice is the quickest way to help your readers get to know your narrator—and it’s more effective than exposition. Voice is one of the biggest ways you show (don’t tell) your narrator’s personality. An intriguing or amusing voice can keep readers reading even when not much is happening with the plot. 

 

Why do I need to practice different voices?

Your voice may change depending on the story you are writing. Maybe your novel is a brooding literary piece, but you’re also writing a short adventure story that requires a whimsical wit. Even if you don’t cross genres, your protagonists may be different. A boy or a girl, an adult or a child. An angel or an alien. A person from the seventeenth century or the twenty-seventh. They all require different voices. The more unique and authentic, the better.

 

But what if I write in third person?

All narrators have voice, whether they are characters in the story or not. Think of your favorite third-person writers and how different they sound from one another. Is the tone dark, or light? Clean and sharp, or thick and introspective?

 

How do I become a part of Voice Week?

  1. Leave a comment telling me you’re in! Be sure to include a link to your blog so I can add you to the Voice Week blogroll.
  2. Write something about 100 words long. You can use an InMon prompt, a Voice Week prompt, or even a piece you wrote a long time ago. HINT: It might be easier if it’s in first person, but it’s up to you.
  3. Rewrite that piece four times. Change the personality of the narrator each time. The goal is to write with five different voices. The benefit of using the same story/scene/situation is that we can focus on the difference in the voices. Whether you simply change the personality of the same character five times, or write the same scene from five different characters’ points of view, or only write similar situations happening to people in five different centuries—it’s all up to you.
  4. Come October 1, start posting, and link back to the Voice Week homepage with each post.

 

I’m confused.

Check out the rules

See answers to frequently asked questions

 

I need examples. How did Voice Week go last year?

Read last year’s voices

Read my summary post

 

I can’t wait to get started!

Comment below, and…

Get your Voice Week badge!!!

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Stay tuned: in the weeks leading up to Voice Week, we’ll be digging deeper into voice, what it is, and how to find yours.

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8 cool ways to get close to your characters

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Image by Okko Pyykko.

People who aren’t writers don’t know the extent of background work that goes into writing a novel—how much plot, setting and character development we write that never appears on the published page.

This is a list of a few of those things.

If you find you have a flat, boring, predictable character—or possibly an unpredictable one, whom you can’t force to do anything he is supposed to do—you probably just don’t know him well enough. Here are some icebreaker exercises to get you two acquainted.

  1. Outline a short history of his (or her) life. Born in this type of neighborhood, went to this type of school, had these types of friends, had this first job, was obsessed with this brand of beef jerky, etc. Include all the major emotional events—moving to another town, death in the family, spelling bee won, heart broken, etc. Check every scene in your novel against this history. Does the character’s emotional reaction match his background? (I recently realized that, in my novel, I had recreated the most traumatic event of one character’s childhood, but he endured it with no signs of inner turmoil: not even a flashback. Don’t let this happen to you! Don’t waste a good chance to add drama!)
  1. Write a traumatic scene from his childhood. Pick one part of that history and actually write it out. It can be as traumatic as his parents’ violent deaths or just losing his mom in the grocery store for five minutes, or seeing a scary movie. This’ll help you figure out his deepest fears and how he reacts to them as an adult.
  1. Describe his “emotional acre.” This tip from Anne Lamott’s Bird by Bird. She says we are each born with a sort of imaginary acre of land we can do whatever we want with. Plant vegetables or hold an eternal garage sale, that sort of thing. Based on what you now know about your character’s life, figure out what’s in his emotional acre. What does he nurture, hoard, or leave to ruin? With that in mind, ask what he carries in his pockets (or her purse), or keeps in his sock drawer.
  1. Write a stream of consciousness piece from his point of view. Even if you’re not writing in first person (or if you are, but this character isn’t the narrator), step into his head for half an hour and look through his eyes and read his thoughts. Write down what you discover.
  1. Write what people say about him behind his back. How others see him will reveal a lot about him—even is it isn’t all true. How does he stand? How does he sit? How does his posture change when he is bored or nervous? Do people misinterpret his body language? What are the worst rumors about him? How much of it is true?
  1. Write his eulogy—as written by some of your other characters. What people say about him after his death can be even more revealing. Are they afraid to speak ill of him, or was he such a jerk that no one cares? Do they remember nice things about him they had long forgotten? Do they wonder how they’ll go on without him?
  1. Take the Meyers-Briggs personality test for him. Now that you’ve got a feel for him, answer this series of yes or no questions on his behalf. At the end, they’ll tell you his personality type, give you some essays about that type, and a list of fictional and real characters who have/had the same personality. Read it all!
  1. Give him breathing space. You may go through several drafts of your novel, the character shifting with each draft. His actions and speech will change as you learn more about him, and you may discover things about him that force you to alter your plot. Go with it. Don’t try to force him into a box. In a strange twist that parallels Judeo/Christian theology, if you don’t give your characters free will, they will be boring, soulless robots.

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What Meyers-Briggs personality type is your character? Tell me in the comments! (I’ve got an INTJ and an INSJ.)

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20 tips for creating relatable – and lovable – protagonists

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Photo by Alex Brown

Photo by Alex Brown

Keep them reading. That’s our mission, right? And there’s nothing that can hook any reader faster and stronger than a protagonist they can relate to, like, and therefore care about. This is one half of the D in AIDA:

The D in AIDA

So what makes a character likeable?

I took inventory of the most likeable attributes of some of my favorite characters. I also borrowed some of the best advice from the Internet, and compiled it all here for your reading pleasure! Not all of this will apply to every character, but pick the right handful of traits for your hero, work two or three of them into your first page, and you’ll be well ahead of the average aspiring novelist.

Stuff that makes us connect with them

  • They enjoy things – especially the simple things. People who don’t enjoy anything are whiny. People who like things are fun to be around, both in real life and in books
  • They have flaws, but not unforgivable ones – flaws they must realize and overcome (Donald Maass writes about flaws and strengths here)
  • When they make bad choices, there are consequences – otherwise it’s a Mary Sue
  • They express universal truths – this doesn’t have to be deeply philosophical, just a little detail that everyone notices but nobody has put into words yet. Like how hard is it to drive in high heels (okay, maybe that one’s semiversal).
  • They want something deeply for personal reasons – this is the most important trait. They are in love. They are slaves. They’ve never met their real father. Etc. Even if your protagonist is a villain trying to take over the universe, he should have a personal reason for doing it (e.g., so that no one can ever hurt him again). We should feel this on the first page.

Stuff that’s just plain likeable

  • They have pets – especially if the pet is stupid, ugly, or smelly
  • They have the chance to be mean but aren’t – even characters who are jerks most of the time, but nice to one person (who must be weak or an underdog), or are nice when it matters most, are lovable (Blake Snyder calls this “saving the cat“)
  • They don’t realize how awesome they are – other characters like them better than they like themselves (this doesn’t mean they need to be totally insecure – just a little)

 

Stuff that makes us root for them

  • They are unlucky – Stanley Yelnats from Holes is unlucky but perpetually hopeful anyway, and it makes us love him
  • They defend the innocent – and/or stand up for the underdogs
  • They want to run away from danger, but don’t – the definition of courage
  • They are loyal – even a character who lies, cheats, and steals, but still sticks up for his friends, is likable

Book Country advises:

  • We don’t have to like what they do: we have to understand why they do it
  • Never let coincidence help a good character

Elise Broach adds:

  • They should be in love or in trouble (or both) on the first page
  • Avoid whiny, passive or cruel
  • Shoot for: spunk, persistence, courage, kindness, ingenuity, loyalty, humour
  • But be careful with spunk/sass – now getting overused
Neil Landau and Matt Frederick suggest these devices for getting to know your character:
  • Create memorable entrances – what would you notice about them meeting them the first time? Their charm, or clumsiness? Their laugh, or their uneasy silence?
  • Use props – what your character carries with him everywhere, or keeps in an honored place in his bedroom, can tell you a lot about him

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QUESTION FOR THE COMMENTS: What protagonists do you connect with most? What makes you like them?

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Stay tuned: next week, we’ll talk about more stuff you need to include in the first pages.

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puppy dog

Ways to make your readers love your main character.