And I don’t mean getting published

This time of year is ideal for thinking of our resolutions. But we’re not the only ones who should be working (or autopiloting) toward a goal: in fiction, characters should have a goal, too. Characters’ goals affect their stories from beginning to end, on multiple levels.

Sometimes, we hear “goals” harped on so much that it gives us a complex. I had one: I used to think my characters didn’t have good enough goals. Beyond the scope of the plot, I couldn’t think of what their goals might be.

Plot-level goals
I used to think that characters had to have goals in their lives aside from the ones that get thrust upon them at the beginning of the story. While that’s true, I doubt the hero’s goal of retiring in Hawaii or the heroine’s dream of owning a bed and breakfast in twenty years plays heavily into their story. (It can help to make the characters richer, of course, but that’s just not what Goal-Motivation-Character is all about.)

Finally, I realized because of the types of stories I write, the plot did contain the characters’ goals, and that was okay. In romance, the characters’ goals often are to find someone. In mysteries, the characters’ goals are to find the killer/perpetrator and bring him/her to justice. There’s something wrong in the world (the character is alone; someone has been killed, etc.), and it’s their job to right it. And that’s OKAY.

The character’s plot-level goal is controlled by the story question. In a romance, it’s “Will they get together?” In a mystery, it’s “Will they catch the bad guy?” In other genres of fiction, of course, the variety of questions might be wider, but it might be “Will Jenny find healing?” or “Will Harry triumph over his awful, lonely roots?”

The answer to all of those story questions is yes. (You could phrase them other ways to get a no, like “Will the murderer get away with it?” or “Will Jenny’s past ultimately defeat her?”) The characters’ external, plot level goals relate directly to these questions. In a romance, with “Will they get together?”, the characters’ goals are to not be alone, to be with someone who understands them, to find someone who will love them in spite or even because of their peculiarities. (These might double as internal goals, too.) In a mystery, the characters’ goals are to serve justice.

Plot level goals are SIMPLE. I worked myself up overthinking this level of goals, worrying that my characters had to have a grand life plan in place and they were on step 27-B section ii-c when suddenly STORY CRISIS comes along. Not necessarily. What does your character get in the end? Is the story about the character’s journey to get that? There’s your goal. (And if your story isn’t about your character’s goal, take another look at your story.)

Internal goals
It was much harder for me to identify characters’ internal goals: until I looked closer at their internal conflicts. Just like the external plot conflict, I found the characters had goals inherent in their conflicts already. I just hadn’t fully expressed those goals to myself. And when I did, I was able to tweak their character arcs ever so slightly to make the characters even stronger.

For example, let’s say your character struggles with being disrespected. (Kind of external, but we’ll go with it.) The story follows their internal journey, from disrespected to respected, or maybe from disrespected/low self-esteem to high self-esteem. Their internal goal is right there, inherent in that starting point: gain respect.

To find internal goals, look at the character’s arc. Where does she start from, emotionally? What does she gain or how does he change in the course of the story? Voila.

Internal conflict adds a necessary dimension to characters. Making sure that internal conflict is clear and expressed in a character arc adds a necessary dimension to good fiction.

Scene-level goals
Characters have even smaller goals, of course, than living happily ever after or ridding the world of the threat. Characters should have goals in (almost) every scene. In fact, in Scene & Structure, Jack Bickham says that our POV characters should state their goals for that scene fairly early on.

The prototypical scene begins with the most important character—invariably the viewpoint character—walking into a simulation with a definite, clear-cut, specific goal which appears to be immediately attainable. This goal represents an important step in the character’s game plan—something to be obtained or achieved which will move him one big step closer to the attainment of his major story goal. . . . (24)

The scene begins with a stated, clear-cut goal. (25)

Scene goals are fantastic for structuring fiction at this level because they tell us, the writers, what needs to happen. Our character arrives at the car dealership with the mission to buy a car/talk to his ex-girlfriend/flirt with the new salesguy. (It sets up the “scene question,” if you will: will s/he get this goal?) The character works toward that goal, until the disaster, as Bickham calls it. We answer the scene question with, most likely, a “no” or a “yes, but [complication].” (Just plain yesses should be reserved for false victories, lulling characters into a sense of security, and, of course, the finale.)

But scene goals aren’t just for the beginning and end of scenes. You can use them to keep the tension high in a scene. By reminding the readers what the character is after—and showing the growing disparity between her goal and reality—we can draw the reader along through the scene. As always, we don’t want to harp on anything too much or be repetitive.

Scene-level goals drive the story forward through each scene. Keeping those goals clear helps to keep our characters—and our readers—oriented in the story.

Occasionally, we’ll have something unexpected befall a character in a scene. The POV character may not always have a goal at the beginning of a scene like this—but try to use this technique sparingly, or your characters might seem directionless and as though they’re not taking charge in their life.

Goals and character sympathy
Another role that goals can play in fiction is to help develop character sympathy. How? When readers support a character’s goal, they want the character to succeed. They care.

What does it take to get our readers on board? According to James N. Frey, it takes a noble goal. They can be a really detestable person (Frey’s example is of a convict who wants to break out of prison), but giving them a goal that we can all believe in helps us to believe in the character, too (Frey’s example, IIRC, is that the convict wants to get out of prison to help a family member). And this really works: I felt it happen to me while watching a game show.

What’s noble? Something that’s self-sacrificing, something that benefits another person more than it does the main character, something that helps the general populace (but that can be too vague: helping one concrete person, such as the character’s child, can actually be more effective as a character goal than trying to better the whole world).

Goals and characterization
Our characters sometimes do have life goals other than the plot-level story goals—goals that may or not play into our story, and goals that may or may not be fulfilled in the course of the story. The bed-and-breakfast, a job at the FBI, the private island in the Bahamas.

While these might not really influence the plot, they can still have a great effect on the story: adding layers to your characters. Like real people, our characters can have life goals and dreams. These goals help demonstrate the character’s depth, to round them out.

These goals can manifest in little ways: the FBI job is one of my character’s ultimate goals that doesn’t play into the plot of the story. That goal manifests in her hobbies: spy movies and spy novels. They can also come in handy when they play into the character’s motivations. (I’ll spare you the convoluted explanation of how this happens in my story.)

The biggest caution here: make sure this goal doesn’t upstage the main plot. We’ll see how this works out in edits, but I’ve had a little mixed feedback about my character’s dream. Some readers think it’s so important it needs to be mentioned in the very first chapter. And even though that chapter won the contest, at least one judge complained that the very same character didn’t have any dreams or aspirations. (Why, exactly, they thought she needed to think about those dreams and aspirations when dealing with the murder of her priest, I’m not sure.)

However, adding that to the first chapter might make readers think it’s an important part of the plot. It’s not part of the story question for this book. Our first chapter offers a promise of things to come, not a synopsis of the characters’ lives. If we make a promise of this character’s dream, and especially if it’s not fulfilled in this book, we’re setting our readers up for disappointment.

Instead, use goals and dreams to add depth to the characters and the story—from the hobby on up.

How can you better use goals in your writing?

Photo credits: climbing the mountain—Ben Rohrs;
my life in 10 years—lululemon athletica; grab the brass ring—Foxytocin

So we’re getting ready for NaNo. (Well, I am. Some of you are.) Usually I get to know my characters in the process of writing. I see them act and react to get to know them best. Several people in the comments agreed.

But of course with NaNo, we’re not allowed to write Word One on our novel until November 1. How are we supposed to get to know our characters and see them in action before then? So I was thinking about a fun way for all of us to get to know our characters better.

What you have to do:
Email me at jordan at jordanmccollum.com (spelling counts!) with the following information by the end of Wednesday, October 26, 2011.

• Character’s vitals: name, gender, age, pertinent family info, etc.—as of the start of your novel
• Types of external/internal conflict your character will face in your novel
• Maybe a little about your antagonist: what are his/her good qualities? Why doesn’t s/he like your protagonist?
• Themes of your novel (if you know)
• A little info about you: would you rather collaborate on a project with a small or larger group? Do you prefer Google Docs or email? What time(s) are you typically online?

And we’ll play a little game. (NOT on the blog, or anywhere else public, don’t worry.)

Photo by Tom Olliver

Keep collecting your favorite posts on writing for Writing Wednesday next week!

When I saw Jeannie’s guest post on author Elizabeth Mueller’s blog (another friend!), I knew I had to play along. Normally I’m reluctant to post much about my works (aside from excerpts that have done well in contests), but I’m making an exception today. It’s just three questions, right? And since I’m still working on falling back in love with my story, this seems like a fun opportunity. Plus it’s just three questions.

The character I’m playing with today is Frank Walters. He served in the Office of Strategic Services in World War II and when the story takes place, just after the war, he’s with the Central Intelligence Group (predecessor of the CIA). Physically, he’s based loosely on my husband’s grandfather Walter, who was in the Navy in WWII, pictured here. (Somehow we ended up with his WWII scrapbook. He traveled the whole world during the war, with pictures and postcards from Hawaii, Scotland, Iceland, Morocco, the South Pacific, and I know he served in Japan, too.)

And over to Frank:

What is your greatest fear?

Losing myself to the job. The peace might not be as assured as the general public would like to believe, but I’m here to keep things from falling apart again. At the same time, I need to prove something to myself—that we’ll prevail. That I’m on the right side. That we’re the right side because of our principles, and we don’t have to undermine those principles to do it.

What is your biggest accomplishment?

I don’t know. Standing up for someone who’s weak. Doing the right thing when it’s hard. It takes a lot of those little things like that to make it worth it—and just one failure to wipe it all out.

What is your biggest regret?

After the war, we had custody of a bunch of the Nazis’ POWs, including some Soviets. Some secret deal at one of the Big Three conferences included one little stipulation that we must’ve bowed to: all Soviets would be returned to the USSR.

Some of these men said they’d never even been to the Soviet Union. Some of them had come from there, and they couldn’t bear the thought of going back to the constant terror. After surviving a Nazi concentration camp, they’d be labeled as traitors and German spies. Maybe sent to Soviet labor camps. Maybe executed.

They begged us not to return them, to shoot them instead. Some of them even killed themselves before we handed them over.

But I followed orders. I sent grown men—and boys—begging, screaming and crying for mercy . . . to the slaughter.

---

Aaand back to me. Of these, question #3 was the only one I’d really worked on in depth before. #1 was there but this helped me refine and crystallize it a little. #2 was by far the most challenging. Isn’t that odd? Shouldn’t it be easier to think of something we’re proud of?

What do you think? What would your characters say? Which question would be hardest for you?

I’m not really that into character interviews myself, but I’ve been working on characterization lately for my WIP. So I’ve come up with a few questions that might be a little more informative than “When is your birthday?” or “What’s your favorite color?”

So, some questions to get to know your characters better:

• What’s your favorite color? (I’m hilarious, aren’t I?) Why? How would you feel in a room painted that color? Who else would you want in there with you? Who wouldn’t be allowed? What would you do there?

• What is your favorite food? When and where did you first taste it? What do you think of when you taste it again? What is your least favorite food?

• Where are you from? What is that place like? How do you feel about the location you’re in now? What are your favorite spots in your current location? How has it changed over time?

• If you absolutely must wake up, what scent of candle would you light? What kind of smell makes you feel relaxed? What did your grandparents smell like? What does your home smell like?

• Do you consider yourself a funny person? Do you prefer dry, zany, slapstick, punny or another kind of humor? Would you rather be seen as funny, clever, respected, stoic, mature or something else? What’s your favorite joke?

• If you hear bells, what do you think of? How about rain? Motors/engines? Running water? Sirens?

• Think of your favorite clothing. How does it feel—rough, smooth, heavy, stretchy, warm, cool? How does it make you feel? Where would you wear it?

The emphasis here isn’t so much the hard facts—it’s on the character’s senses and emotions. How do these things make him or her feel? Why? How can you incorporate these sensory and emotional experiences into the whole of your character?

What do you think? What else do you focus on when getting to know your characters?

Photo by Svilen Mushkatov

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 Waverly, 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 Waverly loves to write and is endlessly fascinated by the different ways writers approach the craft.