Backstory and the Moral Compass

I've talked about backstory before and how a character's past will inform their motives (why they do what they do) as well as their attitudes (how they respond to the people and events around them), but their past also plays a huge role in shaping their moral compass (or moral code). 

What is a moral compass? 

This is the code (or guiding principles) by which your character lives (the code which explains their motives and attitudes). 

A character will use their moral compass to determine what is right and what is wrong and how they will behave in certain situations.

Though stealing is considered wrong, Character A has no problem robbing from the rich to give to the poor. 

Though killing is considered wrong, Character B has no qualms about avenging the death of a loved one.

Though they may be a pacifist, Character C might draw the line when someone weaker is being bullied, stepping in to take care of the situation.

Why?

Well, let's look into their past. 

Maybe Character A watched a corrupt billionaire run a company into the ground, ruining her father's livelihood and depleting his retirement savings/pension. So when she stumbles across a hole in the operating software of this billionaire's new company, she sees a chance to make things right. Would she steal if it were any other situation? Probably not, but according to her moral compass, stealing is okay if the victim deserves it.

Maybe Character B lost a parent to a dark lord. When the dark lord returns, he seizes his opportunity. He's no murderer, but how could he pass up the chance to finally even the score?

Maybe Character C was severely bullied growing up. When he sees a kid being terrorized in an alley, he decides to step in. He doesn't go around beating people up for no reason, but his moral compass is set to help those who can't help themselves. 

Photo by Dishan Lathiya from Pexels

There are reasons why we do the things we do. Sometimes we operate consciously, sometimes it's unconscious, but it always makes sense in relation to our past experiences. 

The same applies to our characters: their behavior should make sense in relation to who they are and what they've been through, whether or not those events are fully explored on the page. (Some parts of the backstory are just for the author, after all.) 

This isn't to say that a character can't act in opposition to their core values; in fact, this is a great way to show some contradiction and depth. 

What if Character A sets out to take everything from that billionaire, but, at the last minute, has a change of heart?

What if your character is vehemently opposed to lying, but witnesses something she is forced to downplay or keep a secret?

What if your character's moral compass swings toward selfishness as a form of self-preservation when he stumbles across a dog in need of a home? 

No matter what your character decides to do in any given situation--whether they are acting in accordance with their moral compass or not and whether this is part of the arc that will change them or otherwise--the behavior still needs to make sense based on what we know about them.

Your character's backstory will shape their moral compass. 

Know their history, their values, and why they do what they do, but be sure to leave a little room for them to surprise you.

Be Brilliant!

~Katie~

The Chance Encounter

If all stories begin with a disruption of routine, then the "chance encounter" is considered one of those potential disruptions. 

A chance encounter occurs when someone from your protagonist's past waltzes back into their world. He has not seen her for years, but, suddenly, there she is.

The chance encounter sets up a fairly deep story, automatically pulling problems from the past into the present. Not only will the reader need to know what happened before (i.e. how they met, some of their experiences together, what drove them apart, etc.), but also how they have changed in the weeks, months, and years it's been since they last saw each other. 

This feeds directly into the plot of the narrative, of course, or how the two of them will address and work through their shared history, and the baggage that may come along with this, in order to move forward. 

Be Brilliant!

~Katie~

Eliminating the Info Dumps

It can be tempting for new writers to want to begin a novel with a resume's worth of information about the main character.

This is what we refer to as the "info dump."

First chapters from new"ish" writers tend to overly present backstory and minutiae--details like the color of a character's hair or eyes, how she feels about her brother (whether or not he's an important part of the story), and the fifth-grade teacher who made her want to pursue a degree in veterinary science. 

After all, the reader needs context--to know more about who a character is and what she's been through--to better understand what she's about to face.

The problem, though, is that these often read like a laundry list of information and experiences and rarely kick-start a story. They contain the kind of writing readers tend to gloss over and skim to get to the more "exciting" parts.

The remedy?

1. Write the first three chapters of your story, then toss out the first. Find a way to incorporate the information presented in that first chapter into later chapters.

If the action does happen to begin in chapter one, then toss every paragraph leading up to that moment. 

or. . . .

2. Keep in mind from the moment you open that blank document that it's important to begin your story as close to the action as possible, then intersperse the backstory and character details as they become relevant.

An author will *always* know more about a character than should appear in an actual novel, but just because *we* know that her fifth-grade teacher had a profound influence on a character doesn't mean the reader needs to know this (unless he does). 

And remember: rather than telling (i.e. presenting that resume or profile directly to the reader), it's always best to show the character in action.

Be Brilliant!

~Katie~

P.S. This strategy isn't only limited to fiction. I tell my composition and non-fiction students that any introduction they write to their essays should serve as a placeholder only. After the piece is written, they should delete the intro and start over from scratch. 

The first attempt at anything is mediocre, at best.

Good writing is good revising.   

On Characterization

What is characterization?

Characterization is who someone is.

This includes their style and mannerisms, how they feel about themselves, how they feel about other people, and how they present themselves to the world.

We learn about characters through a narrator, other characters, or the character herself, and characterization can be offered directly or inferred through her actions, thoughts, and dialogue.

In direct characterization, we are told by the author what the character is like.

With inference, the author creates the character, and we (the readers) are left to make the appropriate connections. 

What a character says, how they say it, what they wear, how they behave in certain situations--these all work together to paint a portrait of who that character is.

Some novels, though, won't call for rich, deeply imagined characters. These genre-based stories typically rely on archetypes or stock characters. Readers of mystery, for instance, tend to focus on the plot unfolding (whodunit?) rather than the detective unraveling the crime. This is why there's so little evolution of characters like Miss Marple, Sherlock Holmes, Nancy Drew, and Jack Reacher from book to book.

If your characters aren't very complex (on purpose), the plot should be intriguing enough to carry the reader all the way to "the end." Otherwise, your main character will need contradiction and depth (and so will your minor characters, to some degree).

An interesting character *can* carry an entire story, but only if the writer succeeds in expressing their dimensionality on the page, and this means becoming an expert at characterization.

Be Brilliant

~Katie~

Nine Key Emotions and What They Mean

Here is a list of nine common emotions (all negative), and what they mean for a character.

1. Fear

When a character is feeling afraid, it's because there's something unsettling on the horizon that needs to be prepared for.

2. Hurt

When a character feels hurt, it's because an expectation he held wasn't met.

3. Anger

A character becomes most upset when a personal rule has been violated.

4. Frustration

A character feels frustrated when the actions they are currently taking aren't working for them.

5. Disappointment

In these situations, something happened (or didn't happen), and the character is struggling to let it go.

6. Guilt

If a character is feeling guilt, it's because he has violated some standard.

7. Overwhelm

In situations resulting in helplessness, the character has likely lost control and needs to make a change or reconfigure their priorities.

8. Loneliness

A lonely character needs to connect with someone.

9. Inadequacy

A character who is feeling inadequate needs to change her standards.

A character can feel any of these negative emotions throughout the course of a story, and while most writers will naturally assign the appropriate emotion to any given situation, sometimes it helps to slip out of the subconscious and analyze what's going on with a character--how they're feeling and responding to what's happening around them.

As a bonus, knowing how a character is feeling and how they would (or should) react to an event allows us to turn these expectations and surprise the reader in new and exciting ways.

Be Brilliant!

~Katie~

How Characters Reveal Themselves

Characters will reveal themselves differently for every new story person they meet.

They, like us, will behave in disparate ways with everyone. 

Our job (as writers) is to know our characters so deeply that we can predict how they will react to certain people. 

Perhaps our main character grew up with an abusive father. She's going to be skittish around that new love interest who is nothing but nice to her.

Perhaps he had a bad experience with a former manager. He might approach his new boss with trepidation.

Perhaps she loved her grandfather who served in the war. She's likely to treat the elderly and/or the soldiers she meets with respect.

Perhaps he hates his mother. He'll likely hate all women, but not at first. At first, he will be charming, but this is just a game, and he'll eventually grow tired of it.

Now . . . what if these were the same two characters?

Our character's histories, their likes and dislikes, etc. will all inform their behaviors in some unique way, and this should be taken into consideration as they interact with the other characters in your story.

If Character A doesn't react differently to Character B than he does Character C, is he really human (i.e. complex)? 

Ask yourself: How does my character act and react around this person? 

Then plan your character's personalities accordingly. 

Be Brilliant! 

~Katie~ 

On Fighting

When, where, and how your characters fight speaks volumes.

Who are they most willing (and most likely) to fight with? With whom do they refuse to fight under any circumstances? Do they fight fairly or are they more vindictive--calling names, using threats or sarcasm, swearing or telling lies? What issues do they fight about? Are these problems serious or mundane--inconsequential, even?

Maybe your character doesn't fight at all.

Maybe she makes an exception in this one instance. 

What could have possibly gone wrong?

Part of developing a well-rounded character requires knowing and understanding how characters will act when faced with a potential argument. Their reactions and behaviors are what add variety and depth to a story, so it's worth considering these traits (among others) before the first page is written.

Be Brilliant!

~Katie~

On Secrets

What's one of the best ways to begin a story?

with a secret

     A secret tells us something has happened before the story began.

     A secret offers a hint as to where the story might lead.

     A secret automatically puts characters at odds with one another.


A secret puts a story in motion almost immediately, creating its own narrative arc.


Quick--

What is something your main character is hiding from everyone else? Why is he keeping this secret? How does this secret affect him? How does it affect his interactions with the other characters? What are the stakes? (i.e. What does he have to lose?)

Be Brilliant!

~Katie~   

Character Motivation and Believability -- Writing Tip

One of the biggest challenges a writer will face is creating a believable character. To be believable, the reader has to understand the character's motives, and, if we want an interesting story, those motives are likely to be complex.

Complex motives are what creates interesting characters because these lead to interesting actions.

BUT. . . .

The motives still need to be believable. 

Make sure you know why your characters are doing what they're doing, and make sure there's a pattern of behavior. 

If Sam is going to steal a car, we need to know she knows how to hotwire a car or where to find the keys. We need to know she's pissed at the car's owner. We need to know that this behavior is exactly in line with who she is. 

Little seeds, planted throughout your narrative, bear big fruit.

Okay. That was corny. But you get the point. :D

Be Brilliant!

~Katie~ 

Characters and Change

To be interesting, our characters need to learn from their experiences. They need to grow and change over the course of the narrative. 

As a people, though, we're not really fans of change. In fact, we're pretty resistant to it. A lot of us are firmly rooted in our opinions and beliefs. Sometimes we'll go through something that makes us question and adapt, but most of the time we are who we are and we don't really veer off course.  

But for a character, it's not that simple. Your reader wants to see progress, and in order for a big change to be believable, we need to see a pattern of smaller (but still believable) changes. 

In Cross My Heart, we accept Jaden's choice (in Parker) because she's spent most of the story shedding that "good girl" image. Each chapter she does something that pulls her closer to him and away from who she was. They're little things, but they add up, and, by the end, it's easier to believe she's a different person because of Parker. 

Use those seemingly small, insignificant changes and insights to your advantage. They prepare us for the bigger change to come.

Be Brilliant!

~Katie~ 

Character History

*This originally appeared in my March 2018 newsletter. If you're not a subscriber yet, the link is in the sidebar. --> 

A well-developed character does not exist in the vacuum of a single story.

Not even close.

They arrive at the inciting incident as fully formed beings. They step into chapter one with the proverbial suitcase in hand—all of the baggage they carry with them that they have amassed over the years. This includes thousands of thoughts, feelings, and memories of events that have come together to shape who they are.

They come to your story with hopes and dreams and ideas, something they are striving for, something they are working toward, and these things have grown out of who they have become (and are still becoming, since one of the main functions of the plot is to change the character in some way). A character’s past, including the choices they have made, holds everything that brought them to the moment your story opens.

A past informs your character’s motives (why they do what they do).

A past informs your character’s attitudes (how they respond to the events and people around them).

We (the reader) don’t need to know everything about your character’s past, but you (the writer) should have a solid idea of the kind of person you’re dealing with before you sit down to tell their story.

It’s likely you will need to share some of those key past events as the plot unfolds, but keep in mind that “info dumps” should be avoided, and the memories the character is reflecting on can’t be “convenient” to the story. Attitudes and actions must ring authentic.

The memories shared throughout your narrative will be most effective if, while the character is considering them, the meaning changes based on new information or a new attitude. It may be that the character didn’t fully understand something at first, but now they do.

But most importantly: a character should act out of their true emotions, hide from their true emotions, or feel paralyzed because of their true emotions, and this all stems from their past. Who they were, who they are now, and who they are in the process of becoming is because of their past.

The key takeaway? Know your character’s history.

Knowing why they do what they do will help them act naturally (both in character and out of character, when the time comes) as the plot unfolds. And the more believable your character (and their choices), the more memorable they will be.

Be Brilliant!

~Katie~