Creative Writing 101

Lesson 5: Character Building.

Protagonists.

PROTAGONIST.

Your protagonist is the main, viewpoint character of your story. Protagonists vary, but genre specifics make some more likely than others. Below is a selection of protagonist-types, together with suggestions for particularising them. Among these you will find observations on character-drawing in general.

The suggested traits should be an organic part of the characters, affecting the way they deal with life and also impinging on plots.

ROMANCE PROTAGONIST - HEROINE.

The category romance protagonist is usually female (though there are occasional male-viewpoint or dual viewpoint novels). She is likely to be aged between 21 and 35 - probably under 30. She will almost always be attractive, even if she doesn't think so. Any "faults" in her appearance will be attractive ones. Thus, she might have wildly curling hair or a wide mouth, but she won't have thin, lifeless hair or thin lips.

She will probably have at least average education, and may have more than average. She will probably be employed, and is more likely to be a PA or executive than a checkout girl or cleaner, unless she has an ulterior motive. If she works in a shop, she will probably be the owner, manager or close friend of the manager. She may well work in a small business that doesn't keep her chained to an office; e.g. florist or gourmet cook. She could also be a PI or a designer, a pilot or a doctor.

If she is a historical heroine, she will be occupied in an appropriate position. She may be a governess, or a widow managing her husband's business. She may be a socialite, or a vicar's daughter, but won't be a servant.

She is more likely to be assertive and feisty than meek. She should not be perfect, and she should have some lack in her life that her hero will fill.

Why is she single? She might be a widow, or value her independence. She might have been hurt in the past. She might be in a relationship that is unsatisfactory in some way, but she is very unlikely to be married unless her husband is the hero.

When she and her hero decide to be together, this should not be shown as giving in or stepping down. She values her independence? Then show that she will keep it, despite her commitment. She may have a child, whose welfare will be very important to her.

To make her individual, you should give her one or two traits that readers will relate to. These should be endearing or understandable. If she is hasty tempered, she should be warm-hearted as well. Perhaps she is prone to daydreaming. She might have a penchant for hats, or maybe she collects china ducks.

HERO.

The romance hero is attractive, although he may be craggy-faced or rough-hewn. He is probably above average height, and more likely to be dark than blond. If redheaded, he will be auburn rather than carrots. He is usually in his late 20s to late 30s, a few years older than his heroine.

He may be imperious or impatient, but he won't be vicious or bullying. He might be nurturing and protective. He will be confident, at least on the surface, and probably have leadership qualities.

He will be employed as an executive, doctor, lawyer, rancher or in some other responsible position. He is unlikely to be a teacher or mechanic, or work as a shop assistant. He might be a vet or a journalist, but actors, authors and artists are rare. He will be able to take time off from his work when necessary, and is probably well off.

The single hero could have been hurt in the past, or he may be wary of commitment. Perhaps he's been too busy to think much about romance. He might have a child or two, and be unexpectedly in charge of them.

To make him individual, you could give him an unexpected talent for plumbing or music. He might grow cacti. Maybe he dreams of breeding Siamese cats.

The hero might have a scar or so, but neither he nor the heroine will have any chronic illness or condition.

THE RELATIONSHIP.

When characterising your hero and heroine, you should consider their relationship dynamics. They will obviously find one another attractive, but you should make sure they have enough traits in common to ensure compatibility beyond the bedroom. They should have at least one shared or complementary interest; a hero who loves antiques is a good match for a history professor or a bookseller. A heroine with a green thumb is a good match for a hero who owns property. On the other hand, a hero who lives for yachting is a poor match for a seasick heroine, just as a heroine who loves luxury is not the best match for a rugged backpacking hero with one spare pair of socks.

To avoid making the hero and heroine seem like siblings, and to allow for drama and conflict, you should give them at least one opposite trait. You might match an owl with a lark, a traditionalist with a new ager or a driven businessperson with a partner who likes to stop and smell the roses. These opposite traits should never be so far apart that the conflict can never be resolved, so don't try to match a confirmed cat hater with a cat lover or an environmentalist with a capitalist. Your hero and heroine must be able to live with the differences, or they might even find them endearing - in the end.

HERO AND HEROINE OF THE ROMANTIC OR STRAIGHT NOVEL.

This couple can be less idealised than the romance hero and heroine. Ages can vary more, so can appearance and occupation. The heroine could be a waitress or a pianist. She could be a married woman with children. The main thing to remember is that a hero or heroine (not necessarily the same thing as a protagonist!) should have some attractive qualities. They should also have some obvious traits that draw them to one another.

NON-HEROIC PROTAGONIST.

The non-heroic protagonist can be anything from an ordinary Joe (or Joanna) to a victim to a very flawed personality or an anti-hero. These warts-and-all characters are fascinating to create, and they can seem very real. When drawing a character in one of these modes, you must always consider the impact on the reader. A too-ordinary Joe can seem dull, and so readers will lose interest. A victim can seem weak, and a deeply flawed character can be so unlikeable that readers will turn away. An anti-hero will probably be a character who makes wickedness seem charming or appealing, or at least excusable.

It is quite possible to have an unlikable protagonist or co-protagonist. If you choose this route, you need to decide whether your character is evil, misguided, distasteful or wickedly charming. If s/he has redeeming features, they must be believable.

Sari Roberts, in 'Translations in Celadon' is amoral and evil. How much of this is her "fault" is not really addressed, but she is not a character for whom anyone could find sympathy or fellow feeling. Her goals (power and domination over everyone else) are not sympathetic.

VILLAINS.

The way you depict a villain depends on the genre and the villain's part in the story. Some villains are wicked, others, which might better be called "Antagonists", simply have goals that don't match the protagonist's.

It is almost always better to try to show a villain or antagonist in context. For example, a harsh parent might be motivated by the desire to keep his child out of danger or trouble, while a harsh teacher may fear for her job. Political antagonists obviously mean well from their own perspective. And what about the "other woman" in a romance? She wants the hero just as the heroine does. How does her desire differ from the heroine's? If she's the hero's ex-wife or ex-lover, she must have some attractive qualities, even if these are spurious. Otherwise the hero seems stupid.

LOVABLE ROGUES.

Lovable rogues make interesting protagonists, but again, they must be believable. To keep them sympathetic they must be seen to operate without malice and they should do no real harm.

PI / AMATEUR DETECTIVE PROTAGONIST.

The PI or Amateur Detective protagonist, male or female, will have an independent nature. S/he is likely to be single, and, if a series hero(ine) may collect a new love interest in every book. The exceptions meet their match at some point of the series, and either share detective duties or rely on the lover for moral support. Age is fairly elastic, but it's not a good idea to make hero/heroines too old, as you may want them for several sequels.

Most PI/Detective characters have a few strong quirks that make them memorable.

Kinsey Millhone - California. Aged in her 30s, twice divorced. Runs every morning, undomesticated. For much of her series she has no living relatives, but eventually discovers some cousins. Romances tend to be short-lived as she is attracted at commitment-phobic or married men.

Phryne Fisher - Melbourne. Jazz Age. Wealthy, independent, promiscuous, mid to late 20s. Has devoted friends/servants. Flies her own plane. Her lovers include a circus clown, a wealthy Chinese heir, and an anarchist. Although amoral in many ways, Phryne has a keen sense of justice.

Penelope Warren - Arizona. Ex-marine, now bookshop owner. Devoted to her cat (and co-detective) and her horse. Enjoys matchmaking, and has a journalist as her long-term lover.

Charles Paris - England. Permanently unsuccessful actor. Middle aged, divorced, but in touch with his ex-wife. Drinks too much, and makes frequent efforts to reform.

(Dr) Vicky Bliss - Munich based, but travels a lot. Art historian, tall, blonde and statuesque. Employed at a museum by "Papa Schmidt", a rotund German who fancies himself as a sleuth. Vicky's cases are always full of humour and intrigue, and she has an occasional lover who is an art thief.

Obviously, your imagination can have free rein when characterising a PI or Detective. Your protagonist need not be beautiful or wealthy, nor any particular age. However, s/he should have a good reason to be on the site of murders and other crimes. A contact in the police force is useful. PIs may be easier to "set up". Amateur detectives are fun, but you need considerable ingenuity to get them embroiled in cases. If they are based in one location it can be difficult to account for several murders in one small area over a few fictional months. Characters who travel in their work allow more flexibility.

ACTION PROTAGONISTS.

Action protagonists are usually male, aged 30+ and tend to be tall and well-built. They are fit, but may also be hard-drinking and have other self-destructive habits. Most of them are loners, because it is difficult to equate the risk-taker with a placid family life. They may be confident go-getters, or simply accident prone. Most have an achilles heel. Maybe they can't resist a fight, or maybe they attract lame dogs or enemies. Beware of making them indestructible, unless you are aiming for the comic-book market.

  1  2  3  4  5  6