How to Write a Genre Story: Character Introduction: Unusual Position

Today I continue my series on how to create a memorable character. 

In my last post (How to Write a Genre Story: Character Introduction: Exaggeration) I went over Exaggeration. In this post I would like to chat with you about what Jim Butcher refers to as “Exotic Position,” but I’m going to call, “Unusual Position.” 

a. Put an exceptional character in an exceptional situation.

Jim Butcher writes:

“Locating your character in an unusual location or situation is another way to help create immediate interest. ... A sentence about a young woman sitting in a chair is far more blah than a sentence about the first female shuttle commander maneuvering in her EVA frame in high orbit.”

Here are the first three paragraphs of J.R.R. Tolkien’s Fellowship of the Ring:

“When Mr. Bilbo Baggins of Bag End announced that he would shortly be celebrating his eleventy-first birthday with a party of special magnificence, there was much talk and excitement in Hobbiton.

“Bilbo was very rich and very peculiar, and had been the wonder of the Shire for sixty years, ever since his remarkable disappearance and unexpected return. The riches he had brought back from his travels had now become a local legend, and it was popularly believed, whatever the old folk might say, that the Hill at Bag End was full of tunnels stuffed with treasure. And if that was not enough for fame, there was also his prolonged vigour to marvel at. Time wore on, but it seemed to have little effect on Mr. Baggins. At ninety he was much the same as at fifty. At ninety-nine they began to call him well-preserved; but unchanged would have been nearer the mark. There were some that shook their heads and thought this was too much of a good thing; it seemed unfair that anyone should possess (apparently) perpetual youth as well as (reputedly) inexhaustible wealth.

“‘It will have to be paid for,’ they said. ‘It isn’t natural, and trouble will come of it!’” (The Fellowship of the Ring, J.R.R. Tolkien)

Everything about Bilbo and his surroundings is unusual. Bilbo Baggins lived longer than was normal for hobbits. And not only that, as his years stretched out, he showed no signs of aging! Also, he was extraordinarily rich as well as adventurous--in fact, his travels abroad had made him a local legend! And of course we’re talking about hobbits, a population of people who are completely unaverage in all sorts of ways, including their diminutive height.

b. Put an exceptional character in an ordinary position.

Jim Butcher writes:

“Naturally there's the inversion of this, too, where you take a very unusual character and put him in an utterly mundane position, like Mister Incredible working in Insurance Cubicle Purgatory.” (Characters, Jim Butcher) 

The movie True Lies with Arnold Schwarzenegger and Jamie Lee Curtis springs to mind. 

“Harry Tasker leads a double life: to his wife Helen and his daughter Dana, he is a boring computer salesman often away on business trips, while in actuality he is a secret agent for a U.S. intelligence agency named Omega Sector whose motto is 'The Last Line of Defense.' ” (Wikipedia)

True Lies was a nearly perfect movie! Harry was a spy who had one of the most exciting jobs imaginable who pretended to be in one of the most boring jobs imaginable. 

Subdivisions: social, geographical, intellectual and moral

Butcher doesn’t go into detail about these variants, but here’s my interpretation:

Social position

An unusual social position, so something different from the average. Some of these are tropes, the commoner who is really royalty, the fey child unwittingly raised by human parents, and so on.

Geographical position:

Everything is relative. What would be considered unusual to Americans--a trip to Reykjavik or Honolulu--would be ho-hum to the people who lived there! Visiting Mars or The Moon, today, would be unusual but perhaps in 500 years it will be commonplace.

Intellectual position:

I think that Sherlock Holmes’ intellectual position was quite different. He was a genius. Perhaps he would say that he just noticed things other people didn’t and understood what he noticed. Perhaps it’s the same thing.

Moral position

This one I’m not sure about. Perhaps it would involve taking an extreme moral stand? Someone who cannot, or who refuses to, tell a lie no matter the cost? A monk or a nun who lives in a religious community? Someone who has vowed to never harm another creature?

The Unpredicted

We, as humans, are interested in the unpredictable--or at least the unpredicted--because it can kill us--because, by definition, we can’t prepare for it. We are on the lookout for things that violate our expectations, our understanding of the world. This is true for our story worlds as well.

Think about your life, what memories, events, come to mind? For myself, I remember when I came in third place for the high jump in elementary school. That event stands out because I wasn’t (and this is a charitable way of putting it) a top student in Physical Education. I was definitely more of a nerd than a jock!

Going back over my personal memories--especially my early memories--there is something emotional involved with all, or at least most, of them. For example, receiving an unexpectedly wonderful gift at Christmas or someone breaking their word about something I cared very much about.

As humans, we need to remember the exceptions, the things that aren’t as we would expect. When, in real life, we come across these things we need to understand them and incorporate them into our world view.

Jim Butcher’s character, Mouse

I’ll close with an example.

One of my favorite characters in Jim Butcher’s The Dresden Files series is a dog named Mouse. 

Physically, Mouse is impressive. He is a Tibetan Temple Dog (which in The Dresden Files is a rare breed) and is absolutely massive, standing waist high to Harry, and Harry is 6’9’’ tall!

Intellectually, Mouse is exceptional. My impression from reading the series is that he is much more intelligent than the average human. Harry Dresden is the Watson to Mouse’s Holmes--though that’s not quite right because, although Mouse might be smarter, Dresden is a powerful and wiley wizard.

Mouse’s origin is unusual. He is thought to be a descendant of an ancient Foo spirit. In Blood Rights a litter of puppies had been stolen by someone evil and Dresden had been commissioned to get them back. But one, Mouse, chose to stay with Harry and stowed away in his car, the Blue Beetle.

Okay! That’s it for today. I tried to get this post out on Monday but, well, better late than never! :-) Good writing! I’ll talk to you again on Thursday.

Links

Characters, by Jim Butcher

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Other posts in this extended series (I'm blogging a book):
How to Write a Genre Story: The Index

Where you can find me on the web:
Twitter: @WoodwardKaren
Pinterest: @karenjwoodward
Instagram: @KarenWoodwardWriter
YouTube: The Writer's Craft

Blog posts you might like:

How to write a blog post

How to write a 'Choose your own adventure story'

6 scenes any love story must have

How to Write a Genre Story: Character Introduction: Exaggeration

Story Openings: Introducing a Main Character

You never get a second chance to make a first impression. Today I want to talk about character introductions. 

First, an acknowledgement. This post is inspired by Jim Butcher’s post, Characters, where he goes into all this in great and glorious detail.

Second, when I write, “a character,” what do I mean? I like what Jim Butcher has to say about this:

“Maybe your people look like sentient renaissance mice, or maybe they look like talking cats, but there are going to be beings running around your story with a bunch of conflicting desires. Those are your characters.” (Characters, Jim Butcher)

Characters must be interesting.

We all know that characters must be interesting. I mean, of course!

Jim Butcher gives five characteristics that make a character interesting. I’ll list them and go over each one.

1. Exaggeration
2. Exotic Position
3. Introduction
4. Verisimilitude
5. Empathy

We’ll go over each of these starting, today, with Exaggeration.

1. Exaggeration

Exaggerate something, some feature of the character.

Physical: Big nose, striking blue-white eyes, enormous height, and so on.
Mental: Extremely smart, clairvoyant, telekinetic, and so on.
Emotional: An extreme and irrational fear, extreme courage/bravery, and so on.

i. Exaggerated traits are more interesting.

We are hard-wired to pay attention to exaggerated characteristics. Jim Butcher gives the example of two different situations and then challenges his audience to ask themselves which situation is the most interesting. What follows is roughly based on Butcher’s example.

Imagine an ordinary path with oak trees that reach out to each other over the path (this forms a green tunnel of sorts) and an ice cream shop at the end.

Situation A:
An average sized man walks down the path, under the tree branches and enters the shop.

Situation B:
A seven foot tall man walks down the path, bangs his head on the first branch before ducking. He then tries to enter the shop but clobbers his head on the door jam.

I’m more interested in the second character because there is nothing to the first. The exaggerated trait by itself, though, isn’t all that interesting. It only becomes interesting when it comes into contact with an environment that is calibrated for people of ordinary height.

Note: This reminds me of what I wrote about in my post about settings, specifically that the setting is the crucible for your character. It’s rarely the characteristic in itself that is interesting, it is that characteristic in conjunction with an environment. For more on this see my blog post, How to Write a Genre Story: Setting and the Hero's Journey (Part 1).

ii. Exaggerated traits are more memorable.

I’ve found that exaggeration does help recall. I have a book to recommend, “Moonwalking with Einstein: The Art and Science of Remembering,” by Joshua Foer. Foer goes through the history of memory techniques, the role of memorization in history as well as how to improve one’s own recall.

Anyway, in that book Joshua Foer notes that (this is an extreme simplification) to remember something--say the capital of Delaware, Dover--it helps if it is associated with an image. The idea is then to recall this image, and have the image act as a memory prompt. 

One thing Joshua Foer stresses is that it helps recall if the image depicts something that is exaggerated. Here’s the key I think, the brain doesn’t notice things we expect to see, but it will notice something it doesn’t. The exaggerated is, by definition, unexpected.

Jim Butcher writes:

“SECOND, it's a device to create an acute mental awareness of your character for the reader. Remember that the goal of this kind of story-craft is to create that virtual world inside your reader's head. The reader is glad to help you along with that. I mean, readers will provide a lot of the background sets and extras and so on if you give them a chance--but one way to make it easier for them to get into the story is to create a clear impression of a character on them, so that they always have a clear image in their head of who that character is. Exaggeration helps with that--it gives the reader something unusual and memorable to associate with any given character.”

Well said! I’ll leave you with that. Have a wonderful weekend! I’ll talk to you again on Monday. Good writing!

Related Posts:

Story Openings: Throwing Trouble at the Protagonist
Story Openings: Five Choices
An index to Jim Butcher's posts on writing: Jim Butcher on Writing

-- --

Other posts in this extended series (I'm blogging a book):
How to Write a Genre Story: The Index

Where you can find me on the web:
Twitter: @WoodwardKaren
Pinterest: @karenjwoodward
Instagram: @KarenWoodwardWriter
YouTube: The Writer's Craft

Blog posts you might like:

How to write a blog post

How to write a 'Choose your own adventure story'

6 scenes any love story must have

How to Write a Genre Story: Make Your Character Memorable & Unique: Tags

In a previous post, How to Write a Genre Story: Characters: An Introduction to Character Tags, I talked about why tags are important for characterization (essentially, it is because they help describe someone in a memorable way). For example, when Hercule Poirot’s green eyes glow--like a cat’s!--we know his little grey cells are working overtime, we know he has either solved the mystery or is very close. In other words, we know a lot that hasn’t been written. 

Today, I would like to drill down into what kinds of tags there are.

Kinds of Tags

Tags of Diction 

"Diction" refers to a speaker's "distinctive vocabulary choices and style of expression"[2] and can be used as a tag to tell one character from another.

When Edith Wharton writes that a character was "Dragging his words along like reluctant dogs on a string,"[1] she is talking about a character's diction.

Here are a few descriptions of diction:

"He [Edmund Wilson] spoke in a curiously strangled voice, with gaps between his sentences, as if ideas jostled and thrashed about inside him, getting in one another’s way as they struggled to emerge, which made for short bursts," Isaiah Berlin, New York Times Book Review, April 12, 1987

"Intoned monotonously like a sleep-walker," MacDonald Harris

A character might use the word "sir" repeatedly or use slang terms such as "awesome," "brilliant," "dude," and so on. (Also, the words one uses, especially slang, can be a nice way to indicate age or social group.)

Accents & Jargon

Accents can help to differentiate characters but I would advise caution, it is easy to overdue them.

The same can be said for “jargon.” Most professions--the police, lawyers, academics, doctors, and so on--have words unique to the discipline.

Mannerisms

Google tells me that a mannerism is a “habitual gesture or way of speaking or behaving; an idiosyncrasy.”

Here are a few examples:

Hands on hips, pouting, chewing strands of hair, a shy half-smile, drawing a hand across one's brow, foot tapping, biting fingernails, toss the hair out of one's face, twirling hair around a finger, running fingers through long, glossy, locks of hair, biting fingernails, winking, snapping fingers, stuffing hands in pockets, learning forward, grin stretching from ear to ear (cliched), and so on. 

Mannerisms are one of the more commonly used tags. Also, many of them have the advantage of involving action.

Attitude

I’ve written about tags of attitude in my post, How to Write a Genre Story: A Character's Dominant Attitude, so I won’t go over them here except to say that, just as I would characterize a flesh and blood person as a cheerful person or a grumpy person or an angry person, so characters have an attitude that characterizes them; Dwight V. Swain calls this the character’s Dominant Attitude. This attitude will be the lens through which both they see the world and the window through which the world sees them.

Appearance

In order for a characteristic/tag to help us remember a character, it must be unique to that character. So it would be potentially frustrating for a reader to read a story with two characters who looked nearly identical--except, of course, if that was important to the plot.

I think the first rule of writing is, “Write clearly.” Part of this is having characters who look memorably different from one another.

Examples of tags of appearance. Harry Dresden is the main character in Jim Butcher’s Dresden Files series. Harry is Chicago’s only wizard to advertise in the yellow pages! He is out of the magical closet, saving damsels and wreaking havoc. Three of Harry’s tags of appearance are his black duster, his wizard’s staff and his immense height (6’9’’).

Ability/Capacity

Let’s say one of your characters, Alfred, is a caterer. At some point in your story Alfred will show that he knows something about cooking, shopping, balancing books, and so on. 

On the other hand, if Alfred was a spy then he would know how to tail someone without being detected, how to tell when he was being tailed, how to lose a tail, how to plant a bug, how to pick locks, and so on.

In the above examples cooking, shopping, knowing something about accounting, how to plant a bug, pick locks, and so on, are all tags of ability.

Dwight V. Swain writes: "Failure to provide Character with the ability to perform as required believably can destroy--or make--a story."

As with everything, though, there are exceptions. For example, if your protagonist is a new spy he might be really good at some things, like tailing someone, but horrible at others, say lockpicking. Imagine that your protagonist knows he’s terrible at lockpicking. This means that when he goes out into the field with a team he would be terrified that he will be asked to pick a lock. Perhaps this fear makes him distracted at just the wrong time and something else terrible happens. Or whatever. 

My point is that you can do anything you like with tags, it just has to make sense given the context.

Tags Help Readers Recall A Character To Mind

As I’ve mentioned, because tags are unique they help make characters memorable. If Jim is the only one of your characters who has greenish-blue eyes, and if those glacier-like greenish-blue eyes are tied into something about his character--or, to put it another way, a tag of attitude [3]--(‘his eyes are as cold as his soul’ or something slightly less cheesy!) then when the character is reintroduced after the absence of a few pages or chapters and glacial eyes or cold eyes are mentioned, not only will that particular character be brought to mind but you’ll also remember something about his personality, his essence.

In the following, Jim Butcher writes about how to create a good villain but, of course, what he writes applies to any major character:

"A good villain needs to be instantly recognizable to your reader, so that even if he hasn’t appeared in a hundred pages, your reader will recognize that character instantly. You can achieve this pretty effectively using Tags and Traits, identifiers for a character which reserve particular props, personality traits, and words to associate with any given character."

Note: The above quotation from Jim Butcher was included in my article, "How to Build a Villain."

You can read more about what Jim Butcher has to say about tags and traits over at his livejournal blog. Here is an index I put together.

A word about traits

I haven’t talked much about traits because, the way I understand it, traits are tags that are dispositions. That’s confusing, so let me unpack it.

In the real world I like coffee. That’s a disposition. But that is a preference. Unless I’m sipping coffee from an oversized mug you couldn’t look at me and realize that I like coffee, you can’t just look at someone and see a disposition. 

That said, my disposition to like coffee and have four or so cups a day is going to manifest in my life in various ways. For example, I always have my favorite oversized red mug sitting close to my left hand whether or not it is filled with the luscious liquid. My desk may have some coffee grinds scattered around it from grinding the coffee beans and I can easily reach my french press, an object that enjoys pride of place on the bookshelf behind me. In this little tale, my red coffee bug, the scattered coffee grinds and the French press would be tags that bring my trait (my liking-of-coffee) to mind.

Here’s another example. Let’s say a character, Herbert, hates cats. His hatred of cats is a disposition, a trait. But we can’t look at Herbert and see, “Oh, yes, he is obviously a cat hater.” (Sure, we could just tell our readers, “Herbert hates cats,” but that’s telling not showing. It’s better if readers get there on their own.) 

So, given that we can’t see Herbert’s hatred of cats, how do we get this across to readers? Well, with tags. Herbert might have a chihuahua. The little dog is very cute but--although he gets along fine with all the other dogs--he goes completely insane when he sees a cat. Herbert smiles at this and says, “Good doggy.” So the tag, here, would be a behavioral tag: the dog's aggression toward cats, and only toward cats. We might go on to explain that Herbert is violently allergic to cats and has to carry around an epipen. He hates being allergic to cats, he hates having to carry around an epipen and constantly worry about dying because a damn cat might decide to jump up on him. In this case, Herbert’s epipen could also function as a tag.

Does that make sense? If not, please let me know!

That’s it for today. As always, thanks for reading. Good writing. I’ll talk to you again on Thursday.

Links/Notes/References

1. Coming Home, by Edith Wharton.
2. Diction, Wikipedia
3. I talk more about this in my post, How to Write a Genre Story: A Character's Dominant Attitude.

-- --

Other posts in this extended series (I'm blogging a book):
How to Write a Genre Story: The Index

Where you can find me on the web:
Twitter: @WoodwardKaren
Pinterest: @karenjwoodward
Instagram: @KarenWoodwardWriter
YouTube: The Writer's Craft

Blog posts you might like:

How to write a blog post

How to write a 'Choose your own adventure story'

6 scenes any love story must have