We’ve talked about how to get into a character’s head here before, and it seems most of us discover our characters along the way, but the perennial question came up recently on one of my writers’ email loops. I especially liked the breadth of the following answer by member John Ferguson, reprinted here with his permission (with video and formatting, including emphasis, added).
Call me weird, but I collect things like this. Here’s some of the ideas I’ve collected:
Write a day in their life
This is kinda like [a previously posted] journal idea, but it doesn’t have to be first person. I like starting by describing their name on a nametag. Then zoom out and describe their clothes and their physical characteristics. Then zoom out and describe where they are and why. Who else is there? What do they think about these people? Etc. At some point they leave and go home. Why do they leave? How do they travel? How far do they travel? What do they drive/ride? What do they do in the car? Do they listen to music? Do they sing? Do they get angry? Describe their home. They listen to their voice mail or check their email. What messages do they have? Who are they from? How do they feel about them? Then they go to bed. Describe their nighttime rituals if any. What do they dream about?
Define their possessions
Start writing about the things they own, the things they treasure, the things they want to own and or the things they used to own or the things they would never-in-a-million-years get caught dead with. And why.
Describe their surroundings
This is similar to defining their possessions only in this case you describe where they work and live. Describe their office/desk, kitchen, bedroom, garage, yard, etc.
Write a biography
Pretend you are a biographer and write a story from the person’s life. Pick something the character finds important. You can also do this like a journalist writing an article. In this case, YOU get to pick the topic—a topic that will be interesting to a general audience.
Interview them
Someone already mentioned that they go online and find character questions and interview the character. Another fun thing you can do is to have one of your characters interview the other. Then you can begin to see the relationships between the characters as well. Some of my characters will answer one way if a parent or teacher interviews them and a different way if their best friend (or a romantic interest) interviews them.
Brainstorming
Sit down and type everything you know about the character. When you feel the “flow” has gotten slow, set a timer for 10-15 minutes and keep going, writing anything that pops into your head until the timer goes off. It is sometimes surprising what you come up with once the “well is dry.” After you are done brainstorming, go back and delete all the stuff that doesn’t make sense.
Pictures
Go through magazines or look online for pictures. What does the character look like? Who do they wish they looked like? What do they drive? Where do they live? What do they wear? Where would they like to go on vacation? If you are doing this online, copy the picture into Word and then write a short piece about why the character resonates with that picture.
Real people
Try to think of real people the character reminds you of and see if there is anything in that real person’s personality that you can “borrow” for this character. Make sure to use traits from several different people so the original sources aren’t obvious, especially if you are working on a villain. (Unless it’s me, I’d love to be a villain in your book.)
Bio sheets
There are hundreds of character sheets online. Pick one. Fill it out. This is different than the Interview mentioned above because in an interview you are answering in the character’s voice and point of view. In the bio sheet you are answering as the novelist with an omniscient point of view.
There are some variations on each of the themes, but the ideas I’ve gathered fit into one of these. I would be interested if anyone has found other ideas.
For me, creating a character is a bit different each time, but I get the most mileage out of the first option.
What do you think? Have you tried any of these methods? What are your favorites?
About the author
John A. Ferguson loves to write and is endlessly fascinated by the different ways writers approach the craft.
I’m gearing up to write something new—you know, when life with a new baby and adjusting to three children all settle in. But even the gearing up phase is going slowly, because I’m feeling like I have to get to know the main character inside and out before I start writing. Before, we’ve looked at creating sympathetic characters, but now I’m just thinking about creating characters themselves.
I know some people do just that—spend hours, days or even months designing a character and bringing him or her to life, tweaking every last nuance of his or her backstory, weaving it into the plot outline, crafting quirks, homing in on weaknesses—all before they start writing a word of the first draft.
And then there are people like me, who outline characters in broad strokes and then launch into a draft. I edit and add to my characters’ life stories as I draft—and often don’t actually create those histories until I have something come to me in a stroke of genius, which usually requires some rewriting of the draft to that point.
Then I get to the end of the draft and have these characters that have evolved over the course of the draft. Even their voices have developed and been refined, until at the end of the draft, they have more distinctive voices, and going back to the beginning, I find bland, voiceless narration.
“Fixing” all that, and further refining and defining my characters, can be a lot of work. That’s part of the reason I wanted to try to get all that figured out in advance. And while I’ve definitely worked to develop my new character, her life story and her personality (with some ideas from The Power of Point of View by Alicia Rasley), I’ll find most of who she is and how she sounds in the writing, and for me, can’t be found any other way.
When do you do most of your character crafting—before, during or after drafting? What are your favorite ways to get to know your characters? (Warning: awesome responses to the second question just might be “foreblogged”!)
Why is awe so important in writing? Well, to put it simply, it may not be strictly necessary, but it’s an element that will help you craft Maass’s favorite: a breakout novel, one that stays with readers and shakes them to the core. To do that, sometimes, you have to shake your characters to the core, too.
To create characters that inspire awe, he suggests:
Answer the following questions and apply the answers in your current manuscript:
What happens in your story that makes your protagonist the most angry? Anticipate that anger three times in the story before the big event.
What does your protagonist believe beyond all else? Create a story event that forces him or her to accept the opposite.
What does your hero or heroine see about people that no one else does? Find three times when he or she will notice that thing at work.
Why does your protagonist’s life matter? At the moment when that’s most true, allow your protagonist to humbly grasp their importance to someone else or to the great scheme of things.
As I’m sure you can see that’s just the beginning. Inspiring awe requires building awesome characters.
You might recognize this as very similar to exercises Maass suggests in Writing the Breakout Novel Workbook. These are challenging exercises that prompt you to dig deep into your characters—so have you ever done them? What have you found from exercises like these?
Yesterday (and throughout this series), I mentioned that we have to focus on our characters and what they perceive when we detail the sensory information. We’ve talked about how to get into a character’s head (waaay back when), but sometimes seeing with our character’s eyes (or using their other senses) is a bit more challenging than just understanding what they’re thinking.
One thing that I’ve done to work on this (can you tell this is actually what I’m working on now?) is to go through each scene and write down all five senses for that character in that setting. As I do this, I ask myself questions about the character in the setting:
Which of my character’s emotions or experiences would color this setting? Does the sandy desert remind her of her grandmother’s house, or him of Desert Storm? (Or make up new experiences, if you feel like it.) If you need a setting to have an impact, sensory data could trigger strong memories for your character. Or if you just want your character to have a strong emotional experience, sensory data from the setting might be the way to go. Emotional
Is this a new setting for the character? If so, keep in mind your character’s personality and purpose there. Someone accustomed to danger might scan for the best escape route first. (And she won’t sit with her back to the door. Don’t even ask.) But if she’s there to meet a friend, looking for that friend will be a close second priority.
Conversely, is this setting very familiar to the character? If, for example, it’s their home or workplace, they may not “experience” it anymore. So if you need to be in that character’s POV in that setting, focus only on what stands out. Most of us don’t know what our own house smells like (unless we’re the ones buying the air fresheners!), but we’ll notice the overripe garbage.
In a familiar setting, can I have other people interact with the set? The other characters’ interactions with the POV/owner character’s furniture may suddenly draw her attention to the ratty patch on the arm of the couch where her cat sharpens its claws—or maybe the cat does that itself.
Do we remain grounded in the setting? Do we go too long without referencing something concrete in the “real world” of the story, devolving into people talking in space? (That’s one of my big things to work on.) Note: we don’t have to redescribe the drywall, but even interacting with a prop keeps us from floating off into space.
Do we remain grounded in the character? Kind of the opposite phenomenon—do we spend too much time on the description so that we kind of lose track of what the character is doing/thinking/feeling? (And thanks to Andrew for bringing this to mind in the comments!)
What do you think? How do you get into your characters’ senses?
Tomorrow, we’ll have more about picking which senses to focus on for your character!
After all this talk about character arcs, I was browsing around on an interesting screenwriting blog, and found an article kind of arguing against character arcs. So are character arcs necessary? The answer, of course, is it depends—and it depends on several factors.
In plot-driven fiction, for example, the characters’ growth and change aren’t what the story is about. Dirk Pitt, James Bond, and Indiana Jones see little, if any, character growth in each episode of their stories (aside from the new Bond movies, maybe). While they are memorable characters, and we root for them to win, we don’t care if they have a life-altering experience to become better people. We’re cool with them staying the way they are. The story focuses on their adventures rather than their experiences.
However, in character-driven fiction, the character arc is central. Reading this kind of fiction enables us the live character’s experiences and feelings, and those are at least as important to the story as the actual actions.
It also depends on the genre. Mysteries tend to be more plot driven. Action stories are usually more plot driven. Romances, especially single-title length ones, are usually more character driven.
Another consideration is whether the book will lead into a series (and if so, how long). If this is going to be a serial character, how many different lessons can s/he learn? It’s possible, of course, to do a metaarc—one that takes the character on a journey from the beginning to the end of the series (Harry Potter?)—but it will probably require considerable planning.
What do you think? Can you think of successful characters who don’t arc? Do you write characters who don’t arc?
I know some people do just that—spend hours, days or even months designing a character and bringing him or her to life, tweaking every last nuance of his or her backstory, weaving it into the plot outline, crafting quirks, homing in on weaknesses—all before they start writing a word of the first draft. 
However, in character-driven fiction, the character arc is central. Reading this kind of fiction enables us the live character’s experiences and feelings, and those are at least as important to the story as the actual actions.
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