mbarker: (Burp)
[personal profile] mbarker
Original Posting 8/30/2019

I'm rather slowly working my way through Creating Character Arcs by K. M. Weiland. Chapter 1 talked about the Lie that the character believes. Some belief, some model, something that is out of step with reality, but the character believes it, and it causes problems, symptoms for them. Chapter 2, that I want to talk about today, is another conceptual chapter, where K. M. takes a look at what the character wants as opposed to what the character needs. The Lie that the character believes is the reason for the character arc, for their change. But, what they want usually is a perceived cure for the symptoms of that Lie. What they need, on the other hand, is truth. Truth with a capital T!So, what the character wants, often is a goal. What does the character want? Is it a major story goal? Looking at the goal, we are often taking the plot and making the goal an extension or reflection of something that really matters to the character at some deep level. So think about why does the character want this? Fairly often, what the character wants is external, physical.On the other hand, what the character needs is Truth, an antidote to the lie. Typically this isn't physical, although it often manifests as something physical or visual. It's a realization that transforms the character's view of the world and of themselves. Fairly often, the character is called to sacrifice what they want for what they need. Sometimes, this sets up them actually getting what they want.So, some questions to consider.1. How is the Lie holding the character back?2. How does the lie make the character unhappy or unfulfilled?3. What truth will disapprove the lie?4. How will the character learn the truth?5. What does the character want more than anything?6. How is the plot goal related to or an extension of what the character wants?7. Does the character believe that what he wants will solve personal problems?8. Is what he wants blocking what he needs?9. Does What He Needs block What He Wants, or, will he only be able to get What He Wants after getting What He Needs?10. How will the character's life be different once they embrace What He Needs?Remember, what he wants versus what he needs drives the internal conflict, and provides gasoline for the fire of the outer conflict.So, we have a lie, an untruth, that our character believes. Because of that, they want something. However, that's not what they need. So...As an exercise, take a look at a story with a positive character arc. Last time I asked you to identify the Lie that the character believes in this story. This time, add what the character wants, and what the character needs. See if you can pick those out and identify them in a short phrase or sentence. The lie the character believes, what the character wants, and what the character needs. Three pieces of information that shape the character arc. Watch for Part 4, where we'll talk about your character's ghost!
[identity profile] mbarker.livejournal.com
Original posting 5 October 2007

Let's see. It's Friday, October the Fifth, and the deadline is Monday? Monday is the eighth, fifteenth, twentyoneth? Eep, that's only a couple of weeks away?

Yipes! Let's consider what you might write about. Horrors and fears, right? But which ones?

Okay, pick a number from one to eight. Got it?

Here's what you picked:
  1. Fear of death and danger
  2. Fear of the unknown
  3. Fear of Animals
  4. Fear of School
  5. Fear of Medical
  6. Fear of Failure
  7. Fear of Criticism
  8. Fear of scary things
Now, given a fear, refine it. What exactly is the fear? Go ahead and make a list of between five and ten specific fears in that area. For example, death and danger - starvation, fire, drowning might come to mind. What else? Or maybe animals - do you dislike snakes, insects, spiders, bats, llamas? Medical - there must be enough diseases and such to fill volumes, just pick some that make the sweat run cold on your back.

Think about which ones you know something about. You might want to do a bit of googling to get some details, or just dig into your memory. Remember the time when . . . oh, does that make goosepimples rise? Good!

Or you can take a look at the phobias on the web! Over at http://www.realfears.com/ they will give you a random fear, or you can look around at some of them. Fear of demons?

Don't like that spin of the wheel? How about taking a look at the hierarchy of needs? You remember. Maslow. Physiological, breathing, food, water, sex, sleep, shelter. Safety: security, employment, resources, morals, family, health, property? Love/belonging: friends, family, sexual intimacy. Esteem: self-esteem, confidence, achievement, respect. And that self-actualization one up top, with creativity and such for all? Now flip it, and consider that the loss of these things is a kind of hierarchy of fears. Losing esteem, belonging, safety, and physiological needs will drive a person - well, that's your story!

Again, stretch it out and pick your details. Make a list, think about the alternatives, maybe consider how the dominoes fall. Losing your job may not seem like much, but when the house goes, and then . . .

Then quickly pick the worst possible thing for your character. Suppose that little itch really does turn into the creeping crud, and the best the doctors can come up with is repeated amputations? Choppity-chop, his scalpel went snickersnack?

Okay, let's get started here, there isn't a whole lot of time left to put together a story that makes stomachs clench and tears start, that makes people hold their breath to see how it all comes out, that makes them shiver when they finish!

But you can do it! Let the horrors roll!
tink
(where is fear of deadlines? That really should be in the list somewhere, shouldn't it?)

[Based on a couple of factor analyses of youthful fears, based on the Fear Survey Schedule. Citation? Okay, take a look at: Shaefer, B. A., Watkinds, M. W., and Burnham, J. J. (2003). Empirical fear profiles among American youth. Behaviour Research and Therapy 41: 1093-1103.
Available at http://www.public.asu.edu/~mwwatkin/Papers/EmpiricalFearProfiles(2003).pdf
Identified five factors:
  1. Fear of death and danger
  2. Fear of the unknown
  3. Fear of Animals
  4. Fear of School/Medical
  5. Fear of Failure/Criticism
There's another one by Burnham, Shaefer, and Giesen (2006) An empirical taxonomy of youths' fears: Cluster analysis of the American fear survey schedule that looks pretty good from the references. This one is a bit harder to get - have to dig through the reference libraries, and - Aha! Got it - six factors, separating school and medical, dropping failure/criticism, but adding fear of scary things. Not much help, actually.]
[identity profile] mbarker.livejournal.com
Headaches and meals and sleep, oh my!

Sometimes it can be interesting to include some of the mundane parts of life. Eating, sleeping, work, haircuts, clothes, toothaches, umbrellas in the rain (who can forget Dancing in the Rain?), and so forth. They may not be quite as exciting as saving the world, but every character probably has to deal with some of them sometimes. And it offers yet another opportunity for character interaction, a dash of characterization, and a few more words when you're trying to get that nanowrimo count pushed up, up, up and away. After all, even heroes and villains have to eat breakfast. And when you are racing across country, finding a restroom, getting a shave and a shower somewhere, and those other incidentals can be tougher than usual. Having your lawyer drop into a truck stop might be just the confrontation to let us know that he really does have the stuff we need.

You can take a look at Maslow's hierarchy of needs (psst? Try http://en.wikipedia.org/wiki/Maslow's_hierarchy_of_needs ) if you want a quick reminder of various possible pulls on your character.

Start with the physiological -- breathing, eating, drinking, sex, sleep, excretion (yo! Give those kids a bathroom break, okay?), and shelter (warmth, dryness, you know :-) Keep the body in shape. That probably includes health needs -- toothaches, ear aches, and all the other bruises and scrapes of the world?

Then think about safety needs. People like to feel safety -- predictable, orderly world. Protection from crime, financial security, health (oh, there are the ear aches), some kind of security against accidents, illness, and other problems. Security of body, employment, resources, morality, family, health, property? Your choice -- you can have the character worrying about this stuff and taking steps to protect themselves, or you can show problems and breakdowns, and then have your character dealing with those.

Next we've got love and belonging. Friendship, family, sexual intimacy. Social belonging. Or, you can have loneliness and social anxiety. Lots of possibilities for mixing up your characters here, and for conflicts between your character trying to deal with that big plot problem and other characters trying to get time and attention for friendship. You skipped the poker game with your friends, just because you had a werewolf infestation? What kind of a fair weather friend are you?

In the fourth level is esteem. Self-esteem, confidence, achievement, respect and trust -- how do your characters get recognition, gain a sense of contribution, build their own sense of acceptance and value? Are the external trappings of fame, respect, and glory reflected by internal self-image?

Finally, we get to the growth, aesthetic, and self-actualization drives. How about morality, creativity, spontaneity, problem solving, critical thinking, and other drives like that? Reading, study, and so forth? Does your banker have a secret ambition as a painter?

But the keynote is to think about what your characters need in your plot, your setting, and your scenes. And remember that stopping to eat, sleep, change clothes, and take care of the other practical needs can provide you with small character sketches that can be useful for pacing as well as to add a taste of reality to your story. We all know that the gun needs to run out of bullets and be reloaded -- characters do the same thing. Fill them up with food, give them rest stops, and your reader will believe it more. And you can always spend a few more words talking about what kind of food they found in the only 24-hour restaurant open in the small town off the interstate. Or just what kind of room the Double-6 motel had -- magic fingers?

And don't forget to let your character brush his teeth. It's a great time for realizations :-)

tink
(600 words, more or less)

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