The Roles They Play

Many beginning writers resist formulas or "rules" for writing-like studying myth-based fiction and why it works-because they want to be different or unique in their approach. However, just as there are tried and true methods for any craft or skill that make the project easier and more enjoyable, there are tried and true guidelines that can help authors develop solid characters for novels.

Understanding myth-based fiction doesn't mean that a writer can--let alone must--simply plug characters and events into a formula to come up with a classic. What such understanding does mean is a deeper knowledge of what strikes a chord with readers and why. Knowing the "formula" allows you to hold your favorite characters up to a template and discover what exactly makes them absorbing. Using this measuring rod, you can pick and choose what is important for the characters in your story and why. If you are determined not to follow certain "rules" you will not do it blindly but because you know exactly why those rules won't work for your particular endeavor.

Up to this point we've just discussed characters, but if you don't have a story idea in mind to build around, it might be good to spend some time playing "what if…." or "suppose…" to come up with a central story idea. Briefly, you need a crisis that is 1) genre appropriate, 2) negatively turns your lead character's life upside down, and 3) captures your imagination. Marshall calls this the suppose: Suppose thus-and-such happened. Once you have a crisis, then your lead must do something about it and when that "something" is successful, the crisis is solved. This defines the story goal. Effective story goals will 1) bring possession of something or relief from something for the protagonist, 2) lead to horrible consequences if not solved, 3) will draw on at least one worthy, selfless character motivation for reaching the goal, and 4) present tremendous odds against success. If you have characters in mind, by all means use them as you formulate a story idea. Building your characters will be easier once you have a story idea in mind because then you can choose details about your character that will enhance the core crisis of the story.

The average story is going to require a protagonist or hero and an antagonist or villain. Since these two are center stage for most of your production, the bulk of the character preparation will surround the building of these two people. While most writers understand the importance of understanding the lead character well, it is equally important to put the same care into crafting a worthy opponent that works to keeps tension high.

Qualities of the Hero

The word protagonist is derived from a Greek word meaning to contend. Protagonist inherently has the sense of a leader, and in an extended sense is a leader in a matter of importance. Naturally then your protagonist must have a story goal that motivates him or her to set things in motion. Your aim is to develop a three-dimensional person with a ruling passion.

Heroes generally have interesting backgrounds and can be a little wacky. They are interesting, passionate and dramatically driven. They are definitely not middle-of-the-road people, but stand out in a crowd usually because of being driven and/or desperate.

To develop your protagonist, you might start with creating a character fact list. Your story goal will provide clues for lead's appearance, background and characteristics. Concentrate on body shape, facial features, mannerisms, speech, dress, grooming, background, family, interests, likes, dislikes, passions-you cannot consider too many details. Remember that your lead must be courageous, virtuous, likable and competent.

In his book The Key: How to Write Damn Good Fiction Using the Power of Myth, James Frey lists the following key qualities for the fictional hero:

• Has courage. Hero does not hesitate unless there is real peril, unless the story is about the hero finding his courage, then this becomes the core conflict of the story.

• Is clever and resourceful. Uses his wits to save himself and is thereby transformed.

• Has a special talent. We're fascinated by people who have abilities and knacks that we do not have. The special talent helps reader admire and take interest in the hero as an individual. Must there be a link between hero's talent and story? There can be, but doesn't have to be. Sometimes developing an outstanding talent takes brainstorming and some research as well, but it is time and effort well spent.

• Is an outlaw. The protagonist lives by personal rules and doesn't necessarily do what is expected of him. S/he doesn't accept what is "standard" for his class/occupation. Not a conformist.

• Is good at whatever s/he does for a living. We respect people who are good at what they do. We disrespect people who are not. If you want the reader to love your main character, this is one way to make him or her likable.

• Takes the lead in a cause or action. If s/he does not take the lead at first s/he will at some point in the course of the story.

• Has been wounded (maimed, disgraced, grieving for a lost loved one) or will be in the story. Frey classifies this as an "extremely important aspect of the lead's character." It draws reader sympathy by rendering the hero human. This wound can be anything that causes the hero to suffer mentally, emotionally, spiritually, or socially. The deeper and more painful it is the better. The hero then needs to be healed, either through love or righting a wrong and this helps to propel the story forward as well. The wound can be self-inflicted.

• Is motivated by idealism at some point. Sometimes at the beginning of the story the hero is not self-sacrificing. Loss of selfishness is a strong motif in myth-based fiction. At some point in the story the hero is motivated because he has the good of others in mind and is not concentrated on self.

• Is sexually potent. Think James Bond, and you get the idea.

• Other heroic qualities:
  Often has a big head, and may learn a measure of humility in the course of the quest
  Bears pain without complaint
  Is unusually loyal
  Has some type of physical superiority
  Sometimes has a special birth
  Has a special destiny
  Is sometimes branded by a mark, scar, tattoo
  Is often cynical
  Usually can't keep quiet

Naturally not all of these qualities are required of every hero. Frey insists however that the more of them you weave in, the more memorable and successful your character will be.

Want to see the qualities in action? It may be helpful to make a chart of the traits, and stand a few of your favorite protagonists up to it and see how they rate. Ask yourself how the qualities the author chose to include help to forward the story action.

You need to exercise care when naming your protagonist as well. Oscar Flap just won't pull the same weight that Drake Spencer will. Some authors allow names to jell as they write; others like to go on a hunt for the perfect name before they start. Some helpful source materials include: Writer's Digest Character Naming Sourcebook, baby name book (or online listing), newspapers, magazines, and phone books. To make choices that meld with your story, take into consideration the character's background including the parents' probable preferences. Make sure the name you choose was in fashion at the time of your novel. It is even okay for your character to change his or her name to better fit his or her personality.

Other hints when it comes to names: to avoid possible reader confusion, try to use a different first initial for each of your characters, avoid names that are similar or end the same, and vary name lengths and sounds.

Qualities of the Opposition

The opposition character most stands in the way of the lead's achieving the story goal. This person must be an equal match to the lead to ensure a good conflict. Create person whose motivation for being in the way is as strong and logical as the lead's motivation to attain the goal; this motivation doesn't have to be negative. Make sure the opposition doesn't exist solely to obstruct the lead. Your reader must believe that his/her motivations are valid, and any action is justified.

Sometimes the story idea suggests an opponent. If it doesn't, make a list of characters who might oppose the lead character and why, then choose the one with the strongest potential.

In studying heroes and their opponents, you'll find that the hero and the antagonist are similar in many ways. Frey lists the following characteristics for a villain:

• Big headed

• An outlaw

• Clever and resourceful

• May be wounded

• May have great sex appeal

These qualities are similar to the hero, and make them equal contenders. However, the antagonist differs from the hero in these notable ways:

• Motivated by greed, vanity, lust for power: self-serving motives.

• Never acts out of idealism

• Is often cruel

• May win by luck (which never happens to the hero; he works to make things right)

• Is not forgiving

• Might quit

• May whine and grovel

• May turn on friends and followers

• Is not usually physically superior, but sidekick might be.

• Has no special birth or destiny though s/he may claim one.

It is important to give as much attention to designing your antagonist as you do the protagonist. For more help in creating an antagonist, my article Here Comes Trouble may be helpful.

Other Characters

Your book is probably going to include other minor characters, some who have a direct bearing on the protagonist's actions and others who populate scenes to make them believable but have little impact on the over-all story.

Important minor characters that you may need are:

The confidant: Not present in every novel but can add a great deal to a story. This person has access to the lead's thoughts, including secrets and fears. S/he acts as a sounding board, helping the lead analyze and decide and sometimes providing information for the protagonist. Can also be there to comfort, sooth or persuade.

While lead and confidant work together, aspects of the lead's personality will surface, deepening characterization. The best confidant will already be part of the lead's life, but will also exist apart from helping him/her.

The romantic involvement. Depends on type of novel you're writing, but a romantic involvement can aid with subplots, because the ups and downs of a developing romantic interest can add a layer of tension to the lead's life as s/he pursues the story goal. If a romantic involvement would add texture and depth to your story, then create a character fact list for this minor character.

Frey lists a whole host of other characters including sidekicks for the hero and villain, and well as gatekeepers, mother figures, even the "loved one of tearful good-bye" who the protagonist is anxious to return to once his/her quest is complete. These are all discussed in depth, and make Frey's book an interesting reference tool for creating any character who might lend depth or meaning to your story.

No matter who populates your book, Jack Bickham suggests that you examine even minor characters and consider how having them take strong, bold action can make them a more vivid and interesting part of your story.

©Dekat2004