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> Your Writing Process, And/Or Problems with Same
Olen
post Jul 23 2010, 10:23 PM
Post #81


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Yet again I'm going to commit threadromancy on this to ask on opinions on a couple of topics which are bothering me in the planning for my next write.

The first is on planning. How much to plan? The last ones I wrote were planned utterly before I began them and had notes on everything so I knew what was going to happen before I wrote it (during which somethings changed of course), I'm not sure how this came through but it makes the writing easier having a map to follow. But it's possibly less fun and if things are going to change is it better not to fix them to begin with. Going forth blindly (I'm not really sure where the one I'm planning will go after the first phase of it) is all very well but I always worry it's really compensating for a blind (or more likely denied) spot where things won't come together. Or a weakness in character planning that I don't know what will happen.

Which brings me to the second point - where do people get characters from? I've come up with a couple but they're still cardboard and other than writing with them I can't seem to get them to flesh out and so I don't know exactly what I've got. Does anyone have any tricks?

I sort of had a point or two there... maybe... or I might just be struggling with the initial phases of planning.


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DarkZerker
post Jul 23 2010, 10:45 PM
Post #82


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From: Cheydinhal/Seattle



I'm a document/report writer. Therefore, I have little experience in writing fiction stuff. But here's what I do for fan fics or just plain writing in general.

First I just wing it or write a very ROUGH version of my story/report. It takes less than 10 minutes to write that. Then I go back and look at any mistakes I've made. Since I use the computer, spelling is no problem but Microsoft Word is annoyingly picky when it comes to grammar. I correct what needs to be corrected and then move on to step two.

If I'm writing reports, I check my information to see if it's up to date or accurate with the newest discoveries. For stories, I write more with lots of details and more parts of the story. It takes roughly 2 hours for reports and 20 minutes for stories.

Then if I'm lazy super busy, I publish it. If I'm not then I go back AGAIN and look to see if a couple lines are right in place. I usually call up my friends and e-mail the draft. They berate me and change a couple things around. All fun and good but most of the time, they just put this.

"Lol...what the [censored] are you doing?"

Then I publish.


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Acadian
post Jul 23 2010, 11:13 PM
Post #83


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From: Las Vegas



1. Planning. Disclaimer: I'm all about the character. Plot. . . er, not so much. Anyway, I tend to do what I call storyboard (sort of rough outlining) pretty far out. I then hold off on fleshing out the prose until I'm in pretty close. That does a couple things that help me. The storyboarding helps me avoid writing myself into a corner or overlooking something, but by not being 'prosed out' yet, encourages me to move pieces around as my ideas evolve. Dunno if that makes sense, but it helps me. 'Course my plotting is pretty simple (most of the time).

2. Character creation. My (one and only) character's nature is the spitting image of my late wife (the first Mrs Acadian). The character herself is the granddaughter we never had. That is why she speaks to me so clearly.




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Destri Melarg
post Jul 23 2010, 11:42 PM
Post #84


Mouth
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From: Rihad, Hammerfell



QUOTE(Olen @ Jul 23 2010, 02:23 PM) *

The first is on planning. How much to plan? . . . where do people get characters from?

I can’t give you any definitive answer. The needs of the story dictate the form it will take. I can share with you my process in writing Interregnum:

I started with a simple sentence that jumped out at me when reading the lore:
QUOTE
2E 854 – The Emperor was assassinated by a High Rock nightblade who also burned the Imperial Palace to the ground and attempted to kill General Talos.

From there I began to extrapolate everything that I felt must have led up to that event. I made copious notes about the leading players, the major events of the timeframe, and the political atmosphere that existed when these events were taking place. From the very beginning it was apparent that the assassination itself would form the climax of the story, but the lore gives us no indication of exactly when that event took place. Since I was eager to explore every aspect of this setting and place in time I decided that framing the story over the course of an entire year would serve my needs best. That meant that the assassination itself wouldn’t occur until somewhere near the end of the year. This gave me ample opportunity to really play with a large cast of characters.

From there I copied out a Tamrielic calendar to give me an idea of which days were considered sacred or profane by the various provinces. This calendar still serves as my outline. For each day that I wanted to explore in the story I gave myself only the most brief and non-specific prompts over the action that was to occur. For example my entry for the 3rd of Morning Star reads:
QUOTE
Amber Forest, E. of Mournhold – The Chevalier Renald is moved by the will of a pig.

I had no idea how that was going to occur, or even what it meant in the larger context of the story at the time. One of the great miracles of writing is how much your creative mind will supply if you only have the good sense to get out of the way.

After all that my advice to you is to immerse yourself in the world of your story. Know it to the point where it begins to invade your sleep. You will know when the story is ready to be written. When that happens get out of the way and let your creative mind work. Characters, scenes and descriptions work so much better when they haven’t been withered to death by the author’s best intentions.

I look forward to reading what you come up with.


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SubRosa
post Jul 23 2010, 11:52 PM
Post #85


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From: Between The Worlds



1- Planning. I plan very far ahead. For the TF, I have outlines going out as far as chapter 42. Then I have some basic ideas for things beyond that. When I outline a chapter, it can be very simple. Sometimes just two paragraphs stating what needs to happen, highlighting important points. The outline helps me keep the plotting tight, and tie things together over multiple chapters.

For example Vilverin started things that did not come to fruition until the last chapter. Teresa's armor was destroyed, so she needed a new set, and got a magic one from Morcant that would be just what she needed during the Daedra attack on the IC. Likewise, she got all that bandit gear which Jensine, Simplicia, and others were able to use in the battle. etc... Without thinking ahead, I would not be able to pull things together like that.

On the other hand I am not completely rigid in my execution. My outlines are just basic ideas. Directions I want to follow. When I actually sit down and write a chapter things often come out that I had not planned on. For example, Teresa having learned to read by Simplicia teaching her with the Black Horse Courier was completely off the cuff. Methredhel's comment about her, Teresa, and Adanrel being a gang is another. Teresa's pining over Dervera Romalen was another thing that was totally unplanned, as was her feelings of loneliness on the road afterward.

Here is an example of my outline for Chapter 11
QUOTE

Chapter 11 - Knight of Swords - June 28
Teresa enters the IC by the Market gate, carrying several bags filled with armor and weapons from Vilverin. She sees Simplicia in the street, and stops to talk with her. Martin and an entrouge of Blades including Julian, Baurus, and Jauffre enter on horses, making their way toward the Palace. There is a big hubub and Teresa and Simplica are part of the crowd that watches him pass. Simplicia remarks that Emperors do not mean anything to people like them. But Teresa is nearly ecstatic, as is the rest of the crowd. She notices that now he wears the amulet of kings, and realizes he had not worn it at Bruma.

Simplicia tells Teresa that the Best Defense has gotten in a bunch of new armor, so instead they go to Jensine's shop to sell off the loot. Inside are Jensine, Gelephor, and an unnamed Redguard. That is when the Daedra open gates all throughout the city, including one right outside the door. Before they realize what is going on the door flies open to a Deadroth ripping apart a passerby. As they all stand stunned, Volsinius storms in behind it and nearly lops its head off in a single blow from his sword. A desperate battle begins to stay alive in the shop as daedra continue to pour in from the gate. Teresa's newly enchanted armor protects her from the worst of it, but in the end is destroyed by lightning from a Spider Daedra and Dremora mage. They retreat to the second floor. Jensine is incapacitated and only saved by the last of Teresa's healing potions. Then Volsinius goes down, his helmet destroyed and face burned from a Flame Atronach. Dremora are now starting to surge in. Teresa's bow is destroyed when she uses it to block a dreomra sword. Simplicia then uses her Summon Grizzly scroll, and the bear rips the daedra apart.

Finally the tide of daedra stop and all goes quiet. Teresa creeps downstairs and looks outside to find the gate gone. A khajiit rides by saying that the daedra are defeated..


Note that things came out slightly different. There was never a Spider Daedra. Nor any mention of hearing Martin's voice. Nor making that healing potion for Vols. etc...


2- Characters. It is hard for me to really explain how I do it. I often start with a stereotype, because they are things people can identify with, and then add layers of depth on from there. Volsinius is a good example here. He is your stereotypical male hero. Physically strong and imposing, not showing much emotion or any signs of weakness or vulnerability, an excellent fighter, decisive in action. A staple character in sword/sorcery fiction. I have no doubt that one of the reasons he is so well loved by readers is precisely because he is a character people are so familiar with.

Once I have that basic concept from the stereotype, I start adding layers. First I look at their past and start adding a history. That in turn either changes some of my original ideas, or reinforces them. Back to Vols, he was a hick from Skyrim who went to the IC at 18. He had never seen the big city before, and was just blown away by it. Most especially by a prostitute named Simplicia, who did things to him he never imagined were possible. He fell in love with her, and when she was maimed it destroyed him as much as it did her. Because he could not protect the woman he loved. Because of that he has never allowed himself to love anyone again. He is too afraid of a repeat. So he became a very hard, closed-up person, afraid to feel anything. His only outlets were drink and violence. His violent tendencies increased because it alleviated his feelings of powerlessness over what happened to Simplicia. That is why he was so quick to knock Teresa's teeth out when she was a child. It is also why the other soldiers were so surprised to find out he had a girlfriend (well not really, but it looked that way). He still loves Simplicia too. That is why he took that firebolt in the face for her after all. But he is so tightly wound that he can never tell her.

So he is still a stereotype, but now one with a tremendous amount of backstory, all of which confirm who and what he is. I think that really makes him come alive as a real person, rather than just as the cardboard cutout he started as.

This post has been edited by SubRosa: Jul 23 2010, 11:58 PM


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Zalphon
post Jul 24 2010, 12:00 AM
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Edit: removed

This post has been edited by Zalphon: Jul 24 2010, 12:00 AM


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treydog
post Jul 24 2010, 01:20 PM
Post #87


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From: The Smoky Mountains



Planning- I won't have a lot to say about this, as I have tended to follow the Main Quest for each of my stories. That means the structure is somewhat ready-made. I change things as I feel the need- see discussion of characters which follows.

I still write the greater part of my material by hand, in whatever order it occurs to me. For my current story, I had the beginning and ending before anything else. So then the task became a matter of connecting the 2. Still, I keep a general concept in mind of the events that should occur, and an even more general sense of the order in which they will happen. However, I do not outline at all (not that there's anything wrong with people who do); nor do I stick slavishly to the concept with which I began.

Character- this is the heart of any story for me. If you have interesting and appealing characters, the plot can be almost anything- the fun comes in watching the characters work through it.

I am usually able to write about 2 or 3 fully-formed characters for any of my long pieces. Some people- minque, mALX1, Rumpleteasza, SubRosa- have entire populations of living, breathing 3D characters. Part of the reason I have fewer is because I write first-person narrative. Although that has not limited some of the other folks who also write first-person. For me it means, with few exceptions, that everything is seen through the prism of the narrator. And it also means that what we learn about the main character is based on what (s)he says and does.

So the narrator becomes the most important person in my story. Before I put pen to paper, I try to think about who this person is. What are his beliefs, his values, his biases? Since I already know what his world is like (Morrowind, Tamriel, Solstheim), I can begin to think about how he will interact with it. How does he feel about the gods? -the Khajiit? -the elves?

What is his background? Wealthy, poor? What about age? Writing fan-fiction about a game can give you some scope to describe the character's abilities in creative ways. Rather than simply giving a laundry list of skills, you can reveal them as the action dictates.

"Roaring, a troll burst from the brush beside the road. Fortunately, I had a natural affinity for fire spells."

I prefer to have things revealed gradually, rather than getting an "info dump" at the beginning. There are different kinds of suspense- all are based on unanswered questions. So the character can be somewhat of a mystery, without necessarily going all the way to being a "woman in black." It is useful, whenever possible, to fit "reveals" into the narrative, rather than just baldly stating them. For example look at the difference here-

"Juneipurr did not like guards. She thought they were bullies and thieves wearing city colors."

"A guard appeared at the end of the street, and Juneipurr pulled back into a shadowed doorway. She had memories of city guards- none of them good."

Both get the job done- I think the second one is better story-telling.

Last bit of advice- have fun with what you are doing.

ETA- A character's "voice" can also do a great deal for the story. Look at how Khajiit and Argonians speak in-game. Someone could have a character speaking in the Khajiiti fashion-

"Juniepurr is honored to meet you, noble lady. How may this one be of service?"

And go on in that vein for a while before revealing that she is not herself a Khajiit, but a Bosmer who was raised by Khajiit. Therefore, her cultural references and mannerisms are those of her upbringing, rather than her genetics....

Flexibility is key- one of my most succesful creations- Athynae- was only going to have a limited role in the story as I originally conceived it. But she is such a wonderful character that I had to give her more time on stage. And Athlain is less of a spoiled brat than I had planned.

Ideas for characters (for me) come from real life- Trey and Athlain are me, to a greater or lesser extent. They are braver than I, and tougher. Trey is certainly mouthier- he says the things I only think. On the other hand, I know what it is like to want to live up to a father who was respected and admired- even though we got along far better than Athlain does with Trey....

Baria is very much based on Mrs. Treydog- so is Athynae, with a sprinkling of my sister and a few ex-girlfriends....

My most successful characters are the ones that are based on real people- because that basis in reality makes the characters more real, more believable.

Give your main character(s) strengths, but also give them flaws. We may not always like what they do, but we should be able to understand it.

As you are playing the game (if your fiction is game-based), consider how your character will respond to situations- and think about why that might be....

If you are writing more general fiction, you can still "role-play" situations, conversations, etc.

This post has been edited by treydog: Jul 24 2010, 06:27 PM


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haute ecole rider
post Jul 24 2010, 05:37 PM
Post #88


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In the specific fan fic I'm currently writing, I'm like Trey - I use the MQ for the plot, so there goes my planning.

In original fiction, though, I start with a scene in my mind (not always a climactic scene, just one that illustrates the main conflict of the story and the interaction between the main characters), then I develop a time line (not an outline) that gets me from the beginning to this scene, then to the end. The timeline is much more vague than an outline, and it gives me a lot more flexibility. That's the extent of my planning. For example, in a story that I wrote years ago, it started with the vision of a woman falling down an elevator shaft in trying to escape. I started asking questions about the scene - who is this woman? why is she falling? from whom was she trying to escape? I ended up with quite a story, and that inspirational scene was the first in a series of escalating climaxes. That's how I 'plan' my stories - they're pretty organic and tend to grow on themselves. Plot is not really my strong point, sad to say.

Now, character development, that's something I really enjoy doing. It starts from the same point as the storyline - a scene that inspires the entire story. In asking these questions about who, what, why, where, and how, I end up with a good sense of my characters and how they interact. In the current fan fiction, as I was playing Oblivion the first time, I asked questions about my PC as she was moving through this world for the first time. Why was she in prison? How did she end up in this situation? What is she going to do to get out of it and put it all behind her? For me, as for many other writers here, it's the character(s) that drives the story.

And like Trey, I avoid info-dumping as well. I like the characters and situations reveal themselves to the reader bit by bit as in real life - I believe the mystery and questions are what keep the reader going. Not just what's going to happen next? but also how is the character going to react? why is the character in this sticky situation? did the character meet that person before? what's the history here? and so on.

And Trey, are we going to see Juneipurr in your fiction sometime?


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Ornamental Nonsense
post Jul 24 2010, 09:07 PM
Post #89


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The question of planning is an interesting one, because I often wonder about that myself. For the most part, I start writing with only a general idea in mind. I focus much more on the characters that I'm introducing, and sometimes I have to write 3-4 chapters before I really know where I'm going with the plot. After that point, I keep a general plot outline in my head (and often several sub-plots as well), but nothing concrete, because I like room to make adjustments and add new ideas as well.

I also often find that the characters themselves will help direct the plot once it gets rolling, so I never commit myself to any one direction or idea prior to having a full grasp on my characters. I truly believe that the characters are the most important part of a story, and so long as I have a firm grasp and understanding of the different personalities that I've created, getting stuck or whatnot is pretty hard. My greatest joy in writing is actually the feeling of fashioning a new character at the beginning of a story. There's something wonderful about designing a new character, and the thing that I find the most difficult and enjoyable in that regard is voice. Deciding how a person will talk in terms of style and diction takes a lot of thought for me.

One aspect that I truly enjoy is adding details to my characters from the very beginning. Sometimes they'll always be seen wearing a certain thing, or some other such quirk. Later in the story, I'll suddenly realize that I can use that detail for something significant, but I often don't realize that until the moment arrives. Before that, the detail is merely seen as something to make the character more realistic and distinct, but you never know where these things will come in handy plot-wise. That's something that I've always enjoyed.

This post has been edited by Ornamental Nonsense: Jul 25 2010, 12:21 AM
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Cardboard Box
post Jul 25 2010, 09:21 AM
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With regards to mine, all the planning I did was that I simply decided to set myself a challenge: Complete the Mage's Guild questline, and nothing but. With a suitable alternate start mod getting the blimmin' MQ out of the way, away I went.

Ra'jirra's voice came from asking where this Khajiit had come from, and his motivations for coming to Cyrodiil, at ruinous expense. General impressions raised by Bethesda's writers and voice actors helped create a loom to weave whole cloth about this unprepossessing framework.

Currently I want to start a new character to launch into the Fighter's Guild quests, except there's a gimmick I associate with the dope that I'm uncertain about because it could dominate other aspects of his personality.

QUOTE("Ra'jirra")
Don't you bloody dare! I've managed to avoid even mentioning him all this time - hey! Are you listening to me?



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Jacki Dice
post Aug 7 2010, 12:12 AM
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Planning- For me, it depends on who is in the chapter. If it's one with Wrothken, then all I do is follow the quest and ask a few questions: What does the quest need to be completed? Who does it involve and what is their relationship to Wrothken? Does it conflict with his morals? How? What can he do avoid that? Does it bring up a part of his past? Is he so busy that his heartbreak can be momentarily forgotten? Are the people acting too normal? How can I play on their insanity?

If the chapter is set in Kvatch there's a whole new set of questions: Is it Kirsty, Lilitu, or Awour that we're getting to know? What are we learning about them that will show up in later chapters? How are they developing? Where will they be by the end of the chapter?

Once I know the answers, then I begin writing.

Characters- First thing I do when I make a new character, is have a character sheet
QUOTE

Name: Lilitu Serano
Race: Dark Elf
Sign: Lover
Hair: Dark Red (naturally dark brown)
Eyes: Red
Height: 5'7
Weight: 123
Class: Thief
Favored Attributes:
-Strength
-Personality
Favored Skills:
-Security
-Sneak
-Blade (dagger)
-Speechcraft
-Mercantile
-Light Armor
-Acrobatics


Now, a lot of the characters have their looks based on people I know. For example, one of my best friends is very short, with dark brown hair, brown eyes, she's got a beauty mark above her lips, and the lucky duck has perfect, envious curves... Anyone who reads Champion of Madness might recognize Kirsty's looks.

Next is their biography. Why are they the way they are? How did they get to where they are now? Are their parents alive? Do they have siblings? Any romantic relationships? Where did they come from?

Lastly, what's their alignment? Once I figure out the black and white, I add several shades of gray. Then that's it. I've got my character down.

This post has been edited by Jacki Dice: Aug 7 2010, 12:13 AM


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ureniashtram
post Nov 1 2010, 04:02 PM
Post #92


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I hereby invoke the spell of Threadnomancy and- bah. I'll get to the point.

Sometimes, like right now, I have problems involving the introduction of the story itself, and the introduction of characters.

For example, I can't introduce Bob without info-dumping you that he's the bloody Incarnate and how he defeated Ur. I plan to tell the audience that he's the Nerevarine in a later chapter, but sometimes I just find myself staring at long, jarring text wall five minutes later. Just look at my newbie story 'The Mourning Stars'.

So, I have problems with introductions and I'n stricken with the disease of info-dumping.

Since Chorrol is home for pro writers, can this not-so humble kid ask you guys for advice? Please?


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Djinn: What wish would you like to have, young master?
Random dude: SUPA POWAZ!
--
Djinn: Is there anything I could make true, lord?
Old guy: .. Youth and charisma.
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Djinn: Your heart speaks of wanting. I could make it true, milord.
Me: Hmmm. I wish to know what I want. Then you could hook me up in some insidious deal, spirit.
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mALX
post Nov 1 2010, 04:30 PM
Post #93


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From: Cyrodiil, the Wastelands, and BFE TN



QUOTE(ureniashtram @ Nov 1 2010, 11:02 AM) *

I hereby invoke the spell of Threadnomancy and- bah. I'll get to the point.

Sometimes, like right now, I have problems involving the introduction of the story itself, and the introduction of characters.

For example, I can't introduce Bob without info-dumping you that he's the bloody Incarnate and how he defeated Ur. I plan to tell the audience that he's the Nerevarine in a later chapter, but sometimes I just find myself staring at long, jarring text wall five minutes later. Just look at my newbie story 'The Mourning Stars'.

So, I have problems with introductions and I'n stricken with the disease of info-dumping.

Since Chorrol is home for pro writers, can this not-so humble kid ask you guys for advice? Please?



I have to disagree with you Ureniashtram, 'The Mourning Stars' first chapter was AWESOME !!! It ran 3000 words, which is a little larger than a lot of people like to read, but I enjoyed every bit of it. I am terrible for having chapters so long no one wants to read them, even long time followers of my story - mine usually run between 2000-2200 words.

I would just break it into smaller chapters so readers don't think they are seeing a "wall of text" - your content and writing is great! My fave line was the one about the Emperor sleeping - I may never forget that, and spew every time I think of it, lol.


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Acadian
post Nov 1 2010, 04:32 PM
Post #94


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I'm speaking just in generalities here about doing an early info dump on a character. Not specifically regarding your writing or story at all. In my humble opionion, introducing your lead character is different than introducing a supporting character. In either case, it boils down to limiting info to that which is relevant and pertains to the moment. I'll assume you are talking about introducing a lead character and you are doing so from within his/her perspective.

He is likely not thinking about the facts that (just for example) he is a Nord living in Bruma with blue eyes dressed in sack cloth pants who was chosen by Azura to slay dragons and save the world and.... Rather, he might be thinking about the fact that he is hungry or thirsty or his head hurts from a hangover. I know you fairly soon want to give your readers a 'picture' of enough to hang onto (like name, race, sex and location) regarding your character, but that should be woven into the story.

In this case, your character hears a knock at the door. Upon opening the door, snow flurries surround his visitor who states, "By the Nine, Bob, it's morning and you look like you just got home from Olav's Tap & Tuck. I thought you Skyrim fellows could hold your drink!"

Ah. Now we know the name, race and sex of the character and that we're in Bruma. That is enough for now. The rest can be doled out naturally as events allow via actions, conversations and judicious use of internal dialogue.

This post has been edited by Acadian: Nov 1 2010, 04:40 PM


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haute ecole rider
post Nov 1 2010, 04:41 PM
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Character introduction. That's the fun part of writing, I think. The most common trap most writers fall into is failing to see their characters as real people. Look at yourself. As you go through your day, do you constantly think about yourself like this: I'm eighteen years old, but look sixteen. I'm medium height, with average looks. I dress average - for a modern-day student, that is. But I know things most eighteen-year old students don't know. I can swing a sword, face down a clannfear, and cast a Silence spell with a wide area of effect. I'm the Nerevarine. No one can beat me in a fair match. Of course you don't think of yourself like that. Your mind is on other things.

What I do is imagine that character going about his/her day-to-day business. I start by describing that character's actions, his thoughts, the environment that character is moving through. I hoard personal descriptions and dole it out very frugally.

How do you get to know someone in real life? If you're a student, what happens when you notice another student? Or how does your teacher introduce himself on the first day of class? If you're a working stiff, how does your first day on the job go? Or what happens when someone new starts working in your office/place of employment? When you see someone interesting on the street, what's the first thing you see? Wild hairdo? Crazy tats? Weird clothes? Or maybe it's strange behavior that attracts your attention.

Once you've done the initial introduction, what's next? I introduce bits and pieces of my characters' personalities and histories through action, through conversation (dialogue), and inner thoughts. I build them up slowly, layer by layer. That's how I avoid an info-dump.

Here's how I introduced a character in a story I wrote some time ago:

QUOTE
Lauren Montague handed her holo-passport to the customs official. He swiped the card through the reader, then glanced at the screen. Although she could not see the display, Lauren knew it showed her hologram, the retinal scan and voice print.

“Please state your name, your employment, your citizenship and your destination,” the official said in German. Lauren’s lips twitched.

“Lauren Montague, Corporate Security, Nuevo Star Trading Corporation, Pan American Union, the Province of Arkady,” she replied in English. “Would you like me to repeat that in Spanish, sir?”


Right off the bat, we know the protagonist is a woman, who works security for a corporation, and she speaks at least three languages - English, German, and Spanish. There is also a hint of impatience with people who don't pay attention to details, such as this official speaking German to an American/Latin national. Her character is developed pretty much over the next several chapters, as she travels to her destination and her purpose for going there. That's pretty much how I write my characters, as if I'm getting to know them in real life.

Introductions. That's the hard part -where to start? Sometimes I start right in with the action:
QUOTE
The four assault teams gathered at the stern of the cargo ship, crouching behind the stacked containers. Three of the team leaders watched Bogart, who as Alpha Prime ran the mission. He surveyed the rear of the bridge forward of their position. All clear. He glanced at Charlie and Delta leaders and gave them the nod. Delta Team, Davison and Cutler, moved forward, using the ranks of stacked containers as cover. They swiftly located the top deck guard and took him out. Their gunfire, though quiet, attracted the attention of three other guards, two of whom appeared along the gangways on either side of the bridge, the third appearing from within the structure. Before they could locate the interlopers, they fell before Delta Team’s accurate fire. After a few moments’ wait, during which no additional guards appeared, Delta Team moved to the starboard gangway, sweeping along the side of the ship. As their forms disappeared around the front of the bridge, Davison’s voice crackled over the comm. “All clear forward,” he reported. Pappas and Gibson, comprising Charlie Team, moved to the stairs leading up to the bridge deck from the rear.
That was the first paragraph of a different story I wrote about nine or ten years ago. The story starts with the mission. Character development is going on concurrently with the action, and by the time the mission is finished, we have a sense of who some of these people are.

Other times, I start with something a little more low-key:
QUOTE
The subtle change in the earth’s song roused Saná from a dreamless slumber. She huddled within the furs, hiding from the cold air. Strong arms tightened around her, drawing her into the warmth along her back. His face nuzzled into her loose hair, stirring the fine strands at the nape of her neck with his warm breath. With a smile, she squirmed her way out of Chigan’s embrace and emerged from the furs. Shivering beneath the thin woolen tunic, she moved to the chest where her felted gown lay draped across its carved surface. She slipped it over her head and secured the worn braided leather belt around her waist. She slipped her stockinged feet into leather-soled suede boots. Her fingers quickly braided her smooth hair into a single plait that fell down her back to her waist.

The furs shifted with a grumble as Chigan searched sleepily for her. He gave up without wakening and drew the pelts up over his head. Saná drew back the curtain that separated their sleeping quarters from the rest of the yurt and stepped into the common room. Near the brazier, its coals dark, two small children huddled under their own covers. She knelt beside them, her gaze on their faces. Sturdy, chubby-cheeked, they seemed serene in their slumber. But Saná knew all too well once they woke, they would be little dervishes. Let them sleep a little longer. It’s going to be a long day.
This is the story I'm writing for NaNoWriMo (see my post on the General Discussion). I just started it this morning and already I'm nearly halfway toward my daily goal of 2000 words. So here we have two things going on: I've created a setting - it's cold, and they live in a yurt heated by a brazier. Today is going to be a long day. We'll find out why in a few paragraphs. I've also introduced four characters, a woman, her man, and two children. We don't know much about them yet, but we know we're looking at a family unit.

And that's how I work! Do you have a book you absolutely love? Pick it up and look at the first page. Does it grab you right away? Why and how does it do so? Or if you're more a movie person, put your favorite movie in the VCR or DVD player and watch the first five minutes. Ask yourself the same questions. That's how you work on your introductions and character development. It takes practice to read or watch actively, instead of passively. But it's possible to learn from your favorites.


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SubRosa
post Nov 1 2010, 05:34 PM
Post #96


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I am not sure how much more I can add that has not already been said. Except to think of the background you work up for your characters and setting as an iceberg. The reader only needs to see the tip of it, so that is all you have to show them to start with. Reveal the rest when the character somehow experiences those things. That way it flows naturally from the story.

For example, in the TF I did not reveal that my main character was a lesbian until chapter 5. I did it then because she saw an attractive woman and reacted. She did not stop to think "Oh, btw. I'm a lesbian." She just saw the other woman and started day dreaming about sleeping with her. The reader could fill in the rest.

Likewise, I did not reveal that she was an archer until chapter 3, when she saw a bow and thought "Hey, I can use that!". Before then when she was talking to the Emperor it did not matter, so there was no point revealing it.

For an example of showing setting information: I always knew that in the TF, there were miles and miles of farmland and villages surrounding all the major cities in Cyrodiil, enough that you would travels for days and see nothing but farms. But I did not show that until my main character was actually walking down the main road outside a city, and all these farms were rolling by.



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ureniashtram
post Nov 1 2010, 05:47 PM
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No words can express my gratitude, really. So I say this to all of you; Thanks!

Now, only thing for me left to do is learn, reflect and (hopefully) create a story that'll encompass my previous ones!

Thanks, yet again! Whoo!


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Djinn: What wish would you like to have, young master?
Random dude: SUPA POWAZ!
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Djinn: Is there anything I could make true, lord?
Old guy: .. Youth and charisma.
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Djinn: Your heart speaks of wanting. I could make it true, milord.
Me: Hmmm. I wish to know what I want. Then you could hook me up in some insidious deal, spirit.
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haute ecole rider
post Nov 1 2010, 06:20 PM
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You're welcome! Good luck! goodjob.gif


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SubRosa
post Nov 1 2010, 06:31 PM
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Here is an idea that just came to me. For a good exercise, try writing a protagonist who has amnesia. Linara is doing that here. It is a great way to avoid info-dumping, because the character literally has no info!


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ureniashtram
post Nov 1 2010, 06:37 PM
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Aha! Nice suggestion, dear Sage! Hmm... an amnesiac protagonist.. That's going to be challenge. Thanks, again!


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Djinn: What wish would you like to have, young master?
Random dude: SUPA POWAZ!
--
Djinn: Is there anything I could make true, lord?
Old guy: .. Youth and charisma.
--
Djinn: Your heart speaks of wanting. I could make it true, milord.
Me: Hmmm. I wish to know what I want. Then you could hook me up in some insidious deal, spirit.
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