Guest Blogger Jeff Gerke: Cardboard Characters a Problem?

Welcome back, Jeff! Here's part II of Jeff's blog about plotting and character development. Last time, he helped writers with soundly developed characters find their story. Today, for those of you who are story-firsters, Jeff offers pointers on rounding out your characters. It seems Jeff understands your dilemma from a personal experience.
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For those who missed Jeff last Friday, you really must scroll down and read his post. He knows what he's talking about. He has experience as an editor for the biggest houses in CBA, writes fiction, & heads a publishing house. All that & a new papa too!



Character Creation for the Plot-First Novelist arose out of a crisis in my own fiction writing.

I had this sinking feeling that I didn't really know what I was doing with my characters. I felt that my characters ought to be more...something...than how they were coming out in my stories. But I didn't know what to do about it so I just let them be.

Guess what the #1 critical comment was on those early stories? Somewhat shallow characters. The reviewers were actually nicer than I thought I deserved. I thought I'd used stereotypes and cardboard cutouts.

So began my quest to figure out how to create richer, more realistic characters for my novels. I hit the bookstore and tried multiple books on character creation. They were all very hard for me--like the calculus I mentioned last time--and I never felt like I'd figured anything out about my story cast, even after all that work.

When it came time to decide what my next fiction trilogy should be, I decided to set a challenge before myself: Could I write a character-driven series with an ensemble cast?

In order to do that, I knew I needed to radically improve my character-creation abilities. But that was kind of the whole point. I wanted to make myself learn it, so I committed to doing this series. Since the writing books didn't help me, I decided I'd better create a system of my own.

In the absence of an innate understanding of characters and personalities, I turned to psychology books. I eventually discovered Please Understand Me II by David Keirsey. Keirsey is a proponent of the Myers-Briggs teachings on temperaments.

The premise is that there are only 16 main personality types on the earth. In his book he identifies them very well, in terms of what they're like, how they talk, what jobs they gravitate toward, how they are as spouses and parents, what temperament they tend to marry, etc.

It's the kind of hard facts that a plot guy like me could wrap his brain around.

But it instantly occurred to me that characters have to be more than just their temperament. Otherwise I would be a clone to the other 375 million people who shared my temperament, and I knew that wasn't true. So, what accounts for the differences in people beyond their core temperament?

I began thinking about the obvious: gender, age, physical appearance, ethnicity, educational background, intelligence, etc. Then the not so obvious: birth order, love language, spiritual gift, major life events, disabilities, and more.

By the time I was through, I'd created a system that began with a core temperament but then added layer after layer of specificity that further defined the character and made him or her different from every other person--even those with the same temperament.

The centerpiece of the system was the formation of the character's inner journey, or character arc. The best fiction, in my opinion, is that in which someone changes. Indeed, you might say that fiction is about change. I also liked the inner journey part of character creation because it felt a bit like plot creation. Familiar terrain.

The system culminates in a monologue scene in which the person is presented in the penultimate setting for that character, doing and saying things that reveal who this character is--and done and said in this character's characteristic way. Writing that monologue is like graduation. When it's done, the character is fully baked. And the monologue scene itself is actually something you can adapt to introduce the character the first time you bring him onstage.

After using that system for the new trilogy of novels--and no longer hearing from critics that my characters were flat (I heard the opposite, actually)--I realized I was onto something. Something that might help other writers who are character-challenged.

Character Creation for the Plot-First Novelist is exactly the system I use to create my own characters. It's a system of questions that you answer in the form provided. Then you summarize each section and synthesize the character as he or she exists so far.

At the end of taking a character through the system, you will utterly know this person, love (or love to despise) this person, and be champing at the bit to bring this person onstage.

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Changing gears now, let's look at how I created How To Find Your Story and what it entails.

Plot creation comes easily to me, as I've said. But I'm a teacher, which means I enjoy explaining to eager learners anything I happen to know about. I also realize that at least half the novelists out there (and I suspect it's more like two-thirds) are character-first novelists. They create amazing characters but have little for these interesting people to do.

If I could create a system that allowed character-first novelists to create gripping plots that featured their terrific characters, I might stand to help a lot of people.

So I sat down to design what I was originally calling Plot-Creation for the Character-First Novelist, but which eventually became How To Find Your Story.

The key discovery I made was that the best way to build a plot was to grow it out of character.

I mentioned earlier that the creation of a solid inner journey for a character feels like plot work. I realized that, in truth, a main character's inner journey actually is 75% of a good plot for a novel. When I realized I could do this plot creation system from a starting point of character, I knew I was onto something that all those character-firsters could understand.

So the main character's inner journey becomes the first major component of plot in How To Find Your Story. The major movements of this character arc constitute the internal plot, if you will. What was left was to form an external structure that amplified this inner journey and gave it a stage upon which to play.

How To Find Your Story includes interactive discussions of genre, era, theme, backdrop, antagonist, and more. But the major pieces are the inner journey and the outer journey, which I talk about in terms of three act structure.

I have been so gratified to hear comments like Jeannie Campbell's on last week's blog: "I'm character-driven...no doubt. Jeff's books are amazing... I had a plot developed out of my character's intrinsic goals before I even knew what I was looking at!"

That's what I'm after: plot developing out of character. With that kind of system, character-first novelists are on familiar ground from the word Go, and they come up with page-turning, character-driven plots that satisfy the reader, feature the characters beautifully, and are certain to achieve what the author wanted to do with the story.

Both How To Find Your Story and Character Creation for the Plot-First Novelist consist of two main files: instructions and template. The template is a Word document that is a color-coded table. On the left are questions and on the right are blanks for your answers. This is the key piece of each system, and you go through it once for each story or character you want to develop. The other piece is a PDF document that expounds upon what to think about as you fill out the template.

When I teach the continuing fiction track at writers' conferences, I now use this system. First I have the class go through an abbreviated version of Character Creation for the Plot-First Novelist--right there in class--and then we take that character and build a plot around her using a scaled-down version of How To Find Your Story. It's been very helpful for many novelists, both those who are still aspiring and those who are multiply published.


To purchase Jeff's ebooks go here: http://marcherlordpress.com/Store_Stand-In.htm

Guest Blogger Jeff Gerke: Plot-first or Character-first?

We invited Jeff to blog today and next Friday because he asked us to test drive a plotting tool he developed for fiction writers a while back. I like what Katy said about her experience with Jeff's book: "It's like having a brilliant editor at your elbow for the whole process." Curious? You should be. Jeff brings years of experience as an editor, novelist, and publisher to your elbow too.

I believe there are two kinds of novelists in our world. Of course every writer is an individual and no one writes entirely like anyone else. But when you break it all down into its simplest elements, I think you can put every novelist into one of two groups.

You're either a character-first novelist or a plot-first novelist.

A character-first novelist has character ideas all day long. Interesting people populate this writer's imagination. This writer is constantly coming up with cool issues and fears and backstory for fascinating story people. This kind of novelist will have more heroes and best friends and mysterious women in black than she has stories to put them in.

A plot-first novelist, on the other hand, gets story ideas like crazy. Ooh, this guy could totally be a double agent and that's why he's here with the bomb before the president makes his speech that starts the war! Plot-first novelists create fascinating stories and nail-biting plots that make their character-first brethren's minds spin.

The problem with being a plot-first novelist is that most of her characters are more like furniture than people. They don't have real personalities. Typical characters in these writers' books are "the girl" and "the friend" and "the bad guy," which is to say they're basically just more plot elements. They're in the story so that when the truck blows up and they're killed, it gives the hero a reason to go on his rampage.

The problem with being a character-first novelist is that her books are filled with beautifully drawn, realistic characters--who sit around doing nothing. We get manuscripts full of exquisite dialogue and unforgettable story people, but then we fall asleep because there is no story for these interesting people to live out.

A great novel has both strong characters and a strong plot. But how do you do both if you are, like most novelists, naturally better at the one and weaker at the other?

The solution is twofold. First, you have to dedicate yourself to doing the very hard and counterintuitive work it will take to produce excellence in the area you're not strong in.

Plot-first novelists draw shallow characters partially because they don't think they're important but also because it almost hurts mentally to put in that work. It's like making yourself do a semester of calculus if you're terrible at math. It's the same with character-first novelists trying to come up with good stories. It's so much easier just to do one more exploration of a relationship than it is to figure out three-act structure.

So the first thing needed is to agree with yourself to do the work to get better at what you're weak at. Until you decide that crafting a great character is just as important as writing the scene in which the plane crashes, you're never going to do it. Until you decide that it really is vital to give your story a satisfying structure, you'll simply skip it. Your novels will all remain lopsided and defective. And probably unpublishable.

The second thing you need to do is learn how to get better at the thing you're weak at. There are many books and electronic writer's helps tools that can help you. I have developed two myself: one for character creation and one for plot creation. These are the tools I use in my own writing, and I know they can help you.

Next Friday, I'll summarize Character Creation for the Plot-First Novelist and How To Find Your Story, but for now it's enough that you 1) recognize whether you're a plot-firster or a character-firster and 2) commit to doing what it will take to strengthen your skill in the area where you're naturally weak.

By the way, some writers say they are setting-first novelists. I know what they mean, but usually you find out that the setting is, to them, really more like a character. Like Narnia or Middle-Earth or Avonlea. These people are usually character-firsters. Others tell me they're murder-first novelists, but these are really plot-firsters who begin with that element of plot and build the story from there.

You can purchase Jeff's e-books mentioned in this blog at http://marcherlordpress.com/Store_Stand-In.htm

Upmarket Fiction: The Non-Genre Genre?

Latayne's post on Monday generated much enthusiasm in the writers among us, and not just the six of us at Novel Matters. It was an aha! moment for those of us who had never heard the term, but seem to fit the category with our writing. I had to laugh at Patti's comment (if you haven't read it, please do), because I find myself exactly in that position when someone asks, "What do you write?" Well, it's certainly not Seatbelt Suspense like the one and only Brandilyn Collins, or Legal Thriller, or Romance, or Futuristic. In fact, it's easier to say what it isn't than what it is. And when you try, it invariably loses in the translation. But Upmarket Fiction, well, that's something you can work with.

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As a refresher, Upmarket Fiction blends the line between commercial and literary novels. I Googled the term and found pages and pages of literary agencies looking for this genre that really isn't a genre, because genre is, well, more defined. And since we've brought up the "L" word -- which seems to be something we're supposed to avoid -- I'd like to pull back the curtain and talk about it. In the article Latayne highlighted, Chuck Sambuchino says literary fiction has a harder time selling than commercial (or genre) fiction, yet according to Judi Clark of Mostlyfiction.com,* literary fiction is a book "that really draw(s) you in with language, imagery, character insight and a sense of place." Call me crazy, but that's exactly the kind of book I want to read -- and certainly what I aspire to write.
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I often hear people say, "I prefer plot-driven stories to character-driven stories." Yet when they sink their teeth into a really good character-driven novel, they're easily won over. Not that there's anything wrong with plot-driven books. I like them as well as the next guy. But love? No, I don't love them. I want to know the protagonist from the inside out when I invest time in a book. I want to BE her. I want to ride the roller coaster of her life.
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Up until Monday I'd have considered the work of authors such as Jodi Picoult, Maeve Binchy, Sue Monk Kidd, Chaim Potok as literary fiction. Chuck categorizes it as Upmarket, in the case of Jodi Picoult at least. He says Upmarket books do well as book club selections and have the "ability to infiltrate lots of book clubs and start discussions..." In her comment to Monday's post, Judy Gann confirms this when she says, "Upmarket books are exactly the type of books we choose for our book club kits at the library." What writer among us isn't up for that?
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The term isn't new. I found articles written several years ago about Upmarket Fiction. But I can't help asking myself, is it a case of a rose by any other name perhaps? If so, I'll take it. Because literary fiction, whatever name you give it, is the mouth watering, creme de la creme of fiction. And this reader/writer longs for more.

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I'd very much like you to weigh in on this, particularly readers who are not also writers. Do you lean more toward genre fiction? If so, what type? Or do you prefer more literary books?

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Book club members, what are you reading this month?

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*Clark, J. (n.d.) a guided tour to mostlyfiction.com, retrieved July 2004, from http://mostlyfiction.com/index_more.htm