Today is part two of my October NaNo Prep series. This post explores character creation. Often, we have ideas for great characters but no story for them. For those who don’t write daily, it’s a way to help get you into the habit.
These exercises will only take a few minutes unless you want to spend more time on them. They’re just a warmup, getting you thinking about your writing project. Each post will tackle a different aspect of preparation and won’t take more than ten or fifteen minutes to complete. By the end of this series, my goal is for you to have a framework that will get your project started.
SO—let’s begin with characters. Some will be heroes, others will be sidekicks, and still others will be villains to one degree or another.
I recommend you create a file that contains all the ideas you have in regard to your fictional world, including the personnel files you are creating. I list all my information in an Excel workbook for each book or series, but you can use any kind of document, even handwritten. You just need to write your ideas down. See my post, Ensuring Consistency: the Stylesheet.
Perhaps you already have an idea for the characters you intend to people your story with. Even if you don’t, take a moment to sit back and think about who they might be.
No matter the genre or the setting, humans will be humans and have certain recognizable personality traits.
So, who is the protagonist of my intended story? Truthfully, in some aspect or another, they will be the person I wish I were. That is how it always is for me—living a fantasy in the safe environment of the novel. Bilbo was J.R.R. Tolkien’s younger self, an inexperienced man discovering the broader world through his wartime experiences. Luke Skywalker was the hero George Lucas always wanted to be.
For me, a story is the people—the characters, their interactions, their thoughts, and how the arc of the plot changes them. In return, writing the events they experience enables me to see my values and beliefs more clearly. I begin to understand myself.
I feel an author should introduce however many characters it takes to tell the story. But we must also use common sense. Too many named characters is too many.
So, let’s start with one character, our protagonist. First, we need a name, even if it’s just a placeholder. I have learned to keep in mind simplicity of spelling and ease of pronunciation when I name my characters. My advice is to keep it simple and be vigilant—don’t give two characters names that are nearly identical and that begin and end with the same letter.
Have you ever read a book where you couldn’t figure out how to pronounce a name? Speaking as a reader, it aggravates me no end: Brvgailys tossed her lush hair over her shoulder. (BTW—I won’t be recommending that book to anyone.) (Ever.)
You might think of the unusual spellings as part of your world-building. I get that, but there is another reason to consider making names easily pronounceable, no matter how fancy and other-worldly they look if spelled oddly. You may decide to have your book made into an audiobook, and the process will go more smoothly if your names are uncomplicated. I only have one audiobook, and the experience of making that book taught me to spell names simply.
Now that we have a name, even if it’s just a placeholder, we can move on to the next step. Then we write a brief description. One thing that helps when creating a character is identifying the verbs embodied by each individual’s personality. What pushes them to do the crazy stuff they do?
The person our protagonist appears to be on page one, and the motivations they start out with must be clearly defined. Identifying these two aspects is central to who your character is:
- VOID: Each person lacks something, a void in their life. What need drives them?
- VERBS: What is their action word, the verb that defines their personality? How does each character act and react on a gut level?
If we know their void, we should write it down now, along with any quirky traits they may have. Next, we decide on verbs that will be the driving force of their personality at the story’s opening. Add some adjectives to describe how they interact with the world and assign nouns to show their characteristics.
Example:
Maia (healer, 25 yrs. old, black ringlets, dark skin, brown eyes with golden flecks.) Parents were mages, father an earth-mage who builds and repairs levees in the cities along the River Fleet. VOID: Mother murdered by a priest of the Bull God. Father never got over it. Maia is not good with tools and unintentionally breaks or loses things. VERBS: Nurture. Protect. ADJECTIVES: awkward, impulsive, focused, motivated, loyal, caring. NOUNS: empathy, purpose, wit.
Once I do this for the protagonist and her sidekicks, I will ask myself, “Who is the antagonist? What do they want?”
Nord, a tribeless mage, turned rogue. Warlord desiring control of Kyrano Citadel. Intent on making a better life for his children and will achieve it at any cost. VOID: Born into a poor woodcutter’s family. Father abusive drunk, mother weak, didn’t protect him. VERBS: Fight, Desire, Acquire. ADJECTIVES: arrogant, organized, decisive, direct, focused, loyal. NOUNS: purpose, leadership, authority.
Our characters will meet and interact with other characters. Some are sidekicks, and some are enemies. Don’t bother giving pass-through characters’ names, as a name shouts that a character is an integral part of the story and must be remembered.
Your project could be anything from a memoir to an action-adventure. No matter the genre, the characters must be individuals with secrets only they know about themselves. This is especially true if you are writing a memoir. Over the next few days, list these traits as they come to mind.
Name your characters as they occur to you. Assign genders and preferences and give a loose description of their physical traits. If you like, use your favorite movie stars or television stars as your prompts.
We are changed in real life by what we experience as human beings. Each person grows and develops in a way that is distinctively them. Some people become jaded and cynical. Others become more compassionate and forgiving.
Everyone perceives things in a unique way and is affected differently than their companions. In a given situation, other people’s gut reactions vary in intensity from mine or yours. Whether we are writing a romance, a sci-fi novel, a literary novel, or even a memoir, we must know who the protagonist is on page one.
That means we need to create their backstory, just a paragraph or two. This will grow in length over time as the story takes shape. As we write each personnel file, we will begin to see their past, present, and possible future.
Making lists of names is essential. You want their spellings to remain consistent and being able to return to what you initially planned is a big help later on. When we commence writing the actual narrative, each character will have an arc of growth, and sometimes names will change as the story progresses. Do remember to make notes of those changes.
Heroes who arrive perfect in every way on page one are uninteresting. For me, the characters and all their strengths and flaws are the core of any story. The events of the piece exist only to force growth upon them.
Posts in this series to date:
#NaNoWriMo prep part 1: Deciding on the Project #amwriting
Credits and Attributions:
Dustcover of the first edition of The Hobbit, taken from a design by the author, J.R.R. Tolkien.
Short story collection
Next, check out the community tabs. The tabs will be across the top if you are in full screen. If you have the screen minimized, the button for the dropdown menu will be in the upper right corner and will look like the blue/green and black square to the left of this paragraph.
By the time November arrives, I hope that those who want to “do NaNoWriMo” will have the tools they need and the confidence to get it done.
As we progress into November, we will make that prep work into a coherent book.
Three-Part Point of View Seminar was offered by 
Damon Suede, on the other hand, is fireworks. If you aren’t prepared for it, the amount of information he delivers can be overwhelming. His handouts are thorough and closely follow the content of his classes, which is essential for me as I have trouble learning without visual aids.
Unfortunately (for them) on that survey, there was a box where we could write detailed opinions about the catering. I’m a writer, so I took advantage of that opportunity.
So, for the two final weeks of November and the first two weeks of December, we will be firing up the Starship Hydrangea (our hydrangea-blue Kia Soul) and driving 30 miles a day to and from the clinic. This will happen four out of five days a week, barring snow.
I have no problem getting the first draft done with the aid of a pot of hot, black tea and a simple outline to keep me on track. All that’s required is for me to sit down for an hour or two each morning and write a minimum of 1667 words per day.
The real work begins after November. After writing most of a first draft, many people will realize they enjoy writing. Like me, they’ll be inspired to learn more about the craft. They discover that writing isn’t about getting a particular number of words written by a specific date, although that goal was a catalyst, the thing that got them moving.
A good way to educate yourself is to attend seminars. By meeting and talking with other authors in various stages of their careers and learning from the pros, we develop the skills needed to write stories a reader will enjoy.
I aspire to write like my heroes, authors who create characters who come alive. While I’m in that world, I see the people and their stories as sharply as the author intends.
Polarity gives the important elements strength. It provides texture but often goes unnoticed while it influences a reader’s perception.
I use the 
Let’s have a look at how the Big 5 Publishers of literature did last year. You will note that the top players have changed since my last Big 5 article. Some of the big fish have been absorbed by the even bigger fish since we last looked at them.
For indies, our most reliable royalties have always come from digital sales, although we do sell some print books. But the best route to gaining loyal readers has been book fairs, conventions, and signings at bookstores.
I am a planner, but I’m also a pantser. I’m just writing to a loose outline. All I need is a little free time in advance of November to let my mind wander.
Next, I ask the creative universe who the protagonist is. I create a brief personnel file, less than 100 words. It’s a paragraph with all the essential background information. Sometimes it takes a while to know what a character’s void is (a deep emotional wound), but it will emerge. I note the verbs, adjectives, and nouns the character embodies, as those give me all the necessary information.
Meditating on mood words often precipitates a flash of brilliance that has nothing to do with anything. What if …
I just finished reading a sci-fi book set ten years from now, in 2032. It was a free Kindle book, but I felt overcharged.
Never once did the super-heroic and uber-capable protagonist fear for her life no matter what ridiculously dangerous situation popped up.
Take a look around in your local secondhand bookstore. A brilliant source of information on low-tech agricultural life and culture came in the form of a book I found at a second-hand bookstore in Olympia in the mid-to-late-1980s. It was called ![Fairy of Eagle Nebula By NASA [Public domain], via Wikimedia Commons](https://conniejjasperson.com/wp-content/uploads/2017/10/fairy-of-eagle-nebula-by-nasa-public-domain-via-wikimedia-commons.png?w=500)
The second master class was on the how of creativity. Those of you who follow my blog know how the subject of creativity fascinates me. If you haven’t read any of Jeff Wheeler’s work, here is the link to my 2013 review of his first book, the 
First, Lindsay pointed out that thinking is an action scene, as are conversations. He asked what a character does while thinking. He pointed out that Humphrey Bogart had a way of tugging on his ear when thinking, a habit that carried over into his movies. A side character with a certain amount of screen time but isn’t the POV character can be shown as real when they have a small personal habit that appears from time to time.
When a character’s facial expressions take over the scene, they become cartoonish, two-dimensional displays of emotion with no substance. A landslide of microscopic showing can make your characters seem melodramatic. All that physical drama doesn’t show a character’s emotions. What is going on inside their heads?
And this brings me to the core of this post. During NaNoWriMo, when I write new words as quickly as possible, I lean too heavily on the external, relying on a lot of smiling and shrugging. Conversations are action scenes, but too much “face time” is too much.
Life in the Realm of Fantasy 