Everybody's Got One

A secret that is. Everyone’s got a secret. What were you thinking?

One of my favorite filmmaking tips is as the director, to give each actor a secret about their character. One they can’t share with anyone, but will inform everything they do in every scene.

Secrets can add depth and subtext to a scene that might otherwise be merely functional, or ordinary. For (a poor) example: A character who is hiding a fear of heights, might try to convince his crush not to hike up to a popular make out spot on a cliff despite wanting desperately to make out with her.

While it works really well in film where we can both see an actor’s face, and hear their change in tone when responding to an innocuous request, I think it can also work well in a novel.

You probably already know your main characters darkest secrets, and maybe even some of their love interest’s or antagonist’s, but what about everyone else? This ties in with my previous post “Why Are You Here?” about every character having a reason to be where they are in every scene.

In this case, having a secret can help give conversations between characters more depth and realism. If you know a character’s secret, it will color everything they do and say. It will make the world feel more real, because the people in it are real. It might even change your main character’s or the reader’s opinion of the character, and that can be used to your advantage when working on stories with mysteries. (And I believe every story should have a mystery, even if it’s not a mystery story, but that’s a whole ‘nother post!)

I would bet that if you’ve gotten pretty far into writing the book, that most of your characters already have a secret, you just haven’t picked up on it because you’ve been too busy forwarding the story. If you’re just starting your book, or you haven’t seen your characters dropping any hints, try giving them one and see if it perks up one of your lackluster scenes, or changes the way your characters view each other. You might just make a discovery or two!

What about you, do you give your characters secrets? What are some of the ways you add subtext and depth?

Why Are You Here?

Wired has a great interview with Joss Whedon. It's very long, but a great read if you're a fan of his, or interested in his thoughts on writing, characters, and plot. Here's the part that I want to talk about though, it's about characters and their motivations:

"...everybody is here for a reason and they deserve, while they’re on film, or on the page, for people to know what it is, even if we don’t like it."

Reading this made me feel good because it's something I've always tried to do with both my characters and my plot. I think it's important that in any scene you write, you should be able to turn to each character there and ask "Why are you here?" and they should have an answer. Whether the reason is personal, "I'm here because I love him." or practical, "This is my English class, I have to be here." they should be there for some reason that has to do with THEM, and not your plot.

If I ask and my character answers, "I'm here because you need me to overhear this argument so that later I can use that info to solve the mystery." then, in my opinion, I've failed to make him three-dimensional. He's merely a plot device in the shape of a person.

Every character, whether they're the main character or one who pops in for one scene, should have a full life, regardless of how much we see of it. When people appear only to prove a point, or drop a clue, or to tell us something about the main character, the whole world of your story feels a little less real.

Achieving this can be tricky. You don't want a minor character to walk into a scene and say, "I'm here because this is my English class, where I'm supposed to be, and I just noticed that your hair looks different." Subtlety is key. This is one of those things where the reason doesn't always have to be spelled out on the page, but YOU need to know it. When you know why a character is there, it shows in your writing, and scenes feel more real.

When it comes to plot points, I always check that all the characters involved are there for a reason, and not because I NEED them to be there in order for the story to move forward. Without that reason -- personal or practical, things can feel "too convenient" or false. You want those moments to feel inevitable, where your readers can almost see it coming, as they weave all the pieces together, and they think, oh no!, at the same time that they think, of course they would all end up in this place just as the bomb goes off, it couldn't be any other way.

Because that's the moment that really connects with the reader. That's where the emotional connection to the story comes in. When they can look back at everything each character has done, and know that this is exactly the way it has to be, because they understand why each character has done what they've done so far, and why they're there at that moment. Without that it's just another thing moving the plot along.

People Have Layers (Or What My Job Has Taught Me About Character Development)

For the last few holiday seasons I've worked at a book store. One of the things we do every year is a book drive for area children. Our goal is massive, around 400 books. In order to meet this goal, the store has a simple, but effective strategy. Ask EVERYONE. Even if they're frowning, even if they only bought a .50 newspaper, even if they're in a rush, even if they've said "no" to everything else you've asked them.

As a somewhat why person, this took some getting used to, but once I did, I noticed something fascinating. You never know who's going to say yes. Mr. Crankypants might just stop in the middle of his rant about rising costs, blink at you a few times and say "Sure." The sweet grandmother with the kind eyes might scowl at you and act offended you had the nerve to ask.

This is something I keep in mind when developing my characters, and writing my scenes. People have layers. There are all sorts of tiny things that affect them from moment to moment. What they show on their face or their body language might not be a true indicator of who they are or what they're thinking. They might be frowning because they can't remember a lyric to their favorite song, with no idea that they look angry. They might've just found out their kid got arrested while shopping for his expensive present.

So I try to make sure I have little moments like this in my book. Scenes where a character is thinking one thing but showing another, scenes where a character is completely misjudged or misinterpreted, because that's real, and I think it's always interesting to see the difference between the way a person is perceived, and the way they perceive themselves.

What about you, do you have any little tricks or reminders like this when you write?