Too Many Characteritis

Too many characteritis is a disease that each author must work their way through. You have a scene and you inject a character, maybe for comic relief, maybe for drama. They may be throw away or a character you plan to have come in later. But do you need them?

I have this problem myself. Characters throw in because I need something done seem like a good idea but really their function could be accomplished using a character that is already established.

By using a character you’ve used before, you give that character a deeper history within the story. This rounds them out, lets you explore who they are and how they fit in the story.

What characters are extraneous? Well, ask yourself a few things.

  • Will they be back?
  • What are they doing that no other character can do?
  • How does the scene they’re in add to the story?
  • Do you need that scene?

If you answered no or nothing to any of those questions then you might need to cut that character out. In my book I have a scene where the main character is shopping. She has to deal with the mother of another character who owns the shop. That character never comes back but her son is in the scene and plays an important role later. The solution is to take her out and just use her son. He’s already been introduced and he’ll be back later. The mother never comes back, she doesn’t add to the story at all.

So out comes my story scalpel and I cut her out of the book. I keep her details in my world-building document. She may come up later in another work, or when her son talks about her. Never throw away tidbits you surgically remove. They are part of your world if not your story. Who knows when you might need them later.

CPGO: Step 3 – Characters

I start this step much as the last one, but this is not optional. I start entering characters into yWriter, starting with main and adding side characters next. The character file grows as the story grows, entering a new character as needed. As I mentioned before we’re in different steps in the books. So, a little back tracking.

Smith has prep as step two through three, step four is characters. Schmidt doesn’t get to characters till day four. Wiesner has characters step one in outlining.

I believe characters are the soul of the story and without them you just have a catalog of events and description…you don’t have the actually happening of action, you lose emotion without characters.
But how to do this? There are a thousand questions you can ask a character and you may not know every detail. This is how I do it.

Write what you know now and the rest will come. That’s it. I put down what I know and I just add more as the book shapes itself.

Ever character gets a description, may have a short bio and a birthplace. If I learn more I add it to the file. yWriter lets you have a description and bio separately and you can structure it how you want. I don’t give everyone a name…some people are just their job description unless they speak up. Any dates I come up with go into that timeline (See Step2) in Excel so I can keep track of my timing.

FDi30D gets complicated on characters. The character sketch is a simple sheet, but then she has character settings (sheets where you list the areas you might find the characters. And in her research she includes research for these locations and accents and such. Too much. Write what you have then go on till you discover it later.

Smith has two notepads of forms for major and minor characters. I prefer the computer. He does have a point about listing flaws and grace. So I’ll keep note on that. I don’t actively search out pictures but grab them when I see them. I do write down interesting names I see, but that’s outside of the outline process and something I just do. Smith talks a lot about habits to pick up as a writer. They are good but I have those. His best advice just put down with you need. Creating characters can be a full time job and distract you from writing. Smith concentrates on files and such in the physical realm…I try to stay digital.

Sit that damn character in a chapter and take what you can get. Mainly I try to get:
Description, Short Bio, Name, Occupation, Goals, birth place. There you go.

Schmidt has you enter characters as you summarize and detail but on day four it’s the fill out stage. Quick characters and special scenes for those characters. Ugh. No. Too much. These are long worksheets. I try to come up with fears and such when they are needed in the story then back fill.

Remember when I said I have sundry stuff. Well I took a look through that and I have a character sheet that is just too long. I like Wiesner’s sheet and I’ll stick to that.

So onto our Tips from NaNo and Writer’s Digest today!

NaNo Card: Aim Low…They’re not saying you should not do your best…just remember complete it and change it later. Obviously with this process I’m aiming to cut down on that time.

WD Tip: Misusing Writing Groups. There are people (you know who you are) who use a group for social and self gratification…which is fine, but instead of getting things done they just endlessly work on the same project…never finishing. I’ll admit sometimes it looks like I’ll never finish. Obviously I’m part of a group but it moves me forward with criticism to make my writing better. If at any time you can’t see the goal for the trees, time to see if you need those trees.

Divorcing Yourself From Your Character

Well now, this is tricky.

You’ve had something horrible happen to you…or maybe something great. And you’ve decided to turn it into a story. You fictionalize it, add some magic, some name changes and bam, you have…

Crap.

You do, you really do. I know this really happened to you but this isn’t you any more. This is a character whose story is based of events in your life. You thought ly darlings were hard to kill…well nothing compares to the bitches that are you. This not only Mary Sue, it’s Super Mary Sue: the Armageddon.

1. Emotional Investment.

The emotional attachment you have to your characters is pretty tight. But when that character is really living your life you can’t bare the thought of parting with those details. A lot of times you’re writing the story to get it out of you, to break that black hole into little pieces and stomp them into dust. So do it, write the whole damn thing out. Don’t stop, edit or add. Just write.

Then put it away.

Not for a month, or six but for a year. You have to remove yourself from the process of bleeding on the page. Why so long? Because this isn’t only your story…it’s you and it can’t be if it’s going to get good.

2. But It’s My Life

No, it’s not. It’s your characters life. You’re going to have to edit the crap of this to answer questions like why aren’t the police involved, why on gods earth did you say yes and similar questions. Don’t rationalize your decisions, if it is a bad one in a story (though it may be great for real life) then toss it out and change it. What begins as a cathartic exercise can either stay that way or become story.

3. Decisions

It was cathartic to get it out…maybe killing the bad guy in the story but…can it really be more than that? Look at it…would you really have read this on your own. Is there really a market for this? Maybe it needs to go back in that drawer.  Maybe it’d be best to burn it.

I wrote about one of the most painful periods of my life, when I had no friends to turn to, no one to talk to and my entire life was falling appart. I didn’t embellish, add or fantasize I wrote down the horror in its entirety let it sit. Later when I came back to it (and had critique comments, ugh) I realized the crap for what it was, a way to get all the horrible things out of my being.

Whisper to yourself, but this true, realize that no one cares and go write a good story.

Originally published at MJN