How to Develop Your Writing Skills - Part Nine

Don't think that this topic only applies to fiction writers. It does not. Although it's easier to see clear examples with characters in the fiction genre, it's equally important when producing non-fiction. Unfortunately manuscripts have gone the way of the majority of movies nowadays, and that is to sensationalize, shock, unnerve, and often make the reader (or viewer) cringe in horror. Okay, okay, we need to get the reader's attention and hold it, but it's so easy to cross over the line and use the aforementioned devices as the sole source of clinging to our audience.

Although some books and movies have done very well with the action-to-action approach in their scripts, few of them will fall into the category of literary or artistic masterpiece and endure through the ages, being read over and over again for their timeless lessons and values, their contributions to thought and expanding the human mind. (One moment while I climb down from my soapbox.)

As writers, one thing that we must continue to do is develop the personalities of our characters. What do they like? Are they boisterous? Are they shy? Are they obnoxious? What does it matter, you may ask? Plenty!

If your protagonist strikes out physically or verbally at another character when previous descriptions and encounters with him show nothing of that trait, then won't his actions seem out of place at that time in your story? Why would he or should he do such a thing?

Unless . . . we all know of his childhood, growing up with a nagging mother who's high-pitched voice drove all in the house mad. And then there was his father who just seemed to put up with her complaining day after day, minute after minute, until he blew his cork in thirty seconds of uncontrolled rage, clenching his fists and backing his wife into a corner. His tantrums, though few and far between, were nearly violent and usually ended up with him slamming the front door on his way to the local bar, then stumbling in at one or two in the morning, drunk and apologetic.

That would explain our character's sudden outburst. He would only be acting out his life as he had been taught by his parents. It would not seem strange to the reader, nor out of place. The details could be woven into the story in bits and pieces, referenced during moments of action or anxiety or heightened emotion to press them into the unconscious mind of our reader.

The personality of his mother could easily be brought up during his encounter behind a customer in a slow moving ticket line. His memories of her in similar situations pop into his mind. She complained tirelessly that she wasn't getting fair treatment, or didn't get the seating she wanted for a show, hammering home her point from a half a dozen angles and approaches . . . . just like she used to cajole his father night after night.

His father's influence could be approached while our central character deals with customers in his own business. One after another coming in the door claiming that the sale ad in the newspaper was misleading and demanding satisfaction. Hour after hour of smiling and making things right with each patron would take it's toll on him. On such days, he wondered if this was how his father felt just before going on a verbal tirade against his mother. The difference being that there was no one to blame except the copy editor for the ad. He pounds his fists on the filing cabinet. It's flimsy metallic wall reverberates and vibrates loudly from the loose drawer tracks and worn pop-rivets.

Don't forget that this same type of approach to defining your character(s) can also be used with your your non-fiction works. As you talk about how Joe Businessman was ruthless in handling employee layoffs and strikes, it would help to know some of his history. Was this just a way he learned to manage business in the old school style with such mentors as Hardknocks Hanks, Mary Muckemup, and Stan Topdown? Or was it a result of watching his meek father get fired from job after job until he drowned himself in cheap bourbon and hangovers from hell with over the hill hookers?

Don't let your story suffer just because you are writing fact instead of fiction. People are what make stories memorable, not action or inaction. Personalities are what great relationships are built on. Family quirks are what make characters unique, even though they are wearing the same uniform as 10,000 others in a conformist society, on an isolated planet, in a galaxy far, far away.

Make them come to life with their experiences, good and bad. Bring to light the influences that molded them into the people they are today. Know when to be subtle, know when to be bold. Don't overstate the issues, but make certain that they under-gird the actions and approaches your character reveals when you tell his story.