The first book I wrote (that has still gone unpublished, a-boo-hoo) came from the desire to summon a character into literary being that was so chaotic and anti-authoritarian (yet ultimately harmless) that he would rip through whatever situation I placed him in and get me to a finished manuscript. He did. Over the course of 50,000 words I got to know the guy. Then I threw 90% of the book away and started over (as is the fate of first drafts of first books), this time with more intimate knowledge of my character. I started with a concept and ran it through a machine of events and conflict. Ding! A character was born.
So as not to waste that much time and paper, however, character profiles and sketches were invented to save the author some hassle. It’s helpful to have a reference for all of the dramatis personae flying around a story. I agree. I have a hunch, however, that a lot of profiles focus on the character’s appearance (which usually translates to dry prose when described over and over…) or their general backstory (which can be interesting, if you go into one or two character’s histories in a novel, but quickly turns into a slog).
Writing a character profile is difficult, I think, because it’s hard to describe ourselves. You lovebirds on OKCupid know what I’m talking about– when there’s a gun up to your head to describe yourself, you end up talking about the music you like, the hobbies you enjoy, and how invested you are in your career. Vague. Which isn’t always a bad thing.
It’s better than, “Hi! I’m Dina! I’m 5’7″ I wear black eyeliner and leather boots with black jackets with pink buttons with little butts engraved in the copper and when I was growing up in an orphanage by the dragon lagoon, I found a pendant that farted when I prayed to it…”
It’s even harder to describe other people. Enjoy this familiar scene I have prepared for you:
“Tell me about Steve.”
“I bet he’s shy, as well.”
“He is a little bit shy, but really fun once you get to know him.”
Now here’s the Godfather of noir, Raymond Chandler, describing Phillip Marlowe:
“down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. He is the hero; he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor—by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world.
“He will take no man’s money dishonestly and no man’s insolence without a due and dispassionate revenge. He is a lonely man and his pride is that you will treat him as a proud man or be very sorry you ever saw him.
“The story is this man’s adventure in search of a hidden truth, and it would be no adventure if it did not happen to a man fit for adventure. If there were enough like him, the world would be a very safe place to live in, without becoming too dull to be worth living in.”
Damn, right? Here’s a few takeaways: Chandler is focusing on values. On basic motivations. On attitude. He knows how Marlowe is going to handle any situation, before he knows what the situation is. That kind of confidence is what can allow you to improvise.
Let’s say you write a scene in which your hero is fleeing a kill-squad of robots, only to run into her evil twin brother, wielding a machete. BAM. Writer’s block. You flip to your character sketch. It says, “She has a sick belt buckle.” Oh no! You keep reading. “She’s really funny.” That could come in handy later, but is currently useless. “Highly aggressive and brutally violent to a fault.” Phew, you exhale, wiping perspiration off of your brow. Now you know that you hero would kick her brother in the chest, grab the machete and start swinging wildly at robots until they overwhelm and imprison her for robot crimes.
Bad example, but you get the idea.
So how about this? Spend some time making character profiles (even with your currently written ones) and identify some key characteristics.
- “What is their general attitude?”
- “How do they respond to conflict?”
- “What is their way of speaking?”
- “What do they find despicable?”
- “What do they believe in?”
“How sick is their belt buckle?”
- “What can break them?”
Once you have the answers to this, or a list of rules that summarizes those values, you should have a pretty keen mental shorthand of your character’s behavior in addition to a concrete reference.
And hey, while you’re rolling your character’s stats, you might as well take another page from Dungeons and Dragons and try using the alignment spectrum and decide where you character falls and why. Want to use archetypes? Consult the enneagram which offers motivations behind archetypal behaviors.
Tired of writing? That’s cool, too.
Take a break and get to know thyself.
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