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Coaching Craft Productivity

A Pyramid to Help Your Character Development and Your Writing Life

Maslow’s Hierarchy of Needs has been used for quite a while (since 1947, anyway), to help people figure out how to prioritise their needs. While I’ve not been using it for quite so long, I find it incredibly helpful for both my writing life and my character development, too.

Let’s dig in:

Using it for character development:

So, how can Maslow’s Hierarchy of Needs teach us about and help us develop our characters? It’s all about their motivation. Motivation is the thing that drives your character and story forward.

As you can see from the pyramid, we begin at the bottom with physiological needs. So, what physiological needs could be driving your character forward?

In my novel The Birth of Ida, my main character finds herself in an inhospitable land that she has never dealt with. That means that a lot of her development takes place at the bottom rung on this pyramid. She is cold, hungry, and a little desperate. Therefore, she learns to hunt, build fires in snow, and become an all-round badass outdoorswoman. This is a part of her character development.

The next level is safety needs. Let’s look at Ida again. If I consider her motivation in this section, she is driven to protect herself and reclaim her property. That is another level of her motivation. Remember that characters, like people, are complex. They won’t just have one level of motivation because all of us have these levels. Usually, we need to satiate hunger before we can move up a level, for example.

The next level is love and belonging. Ida is a bit of a lone wolf in this category, but she does have her horse, who fulfils her need for belonging. It might be that you are writing a romance, and so your character’s motivation in this section is more substantial than Ida’s. That’s down to each character and person.

Now we’re onto esteem. This level is about respect and freedom. Ida’s motivation at this level is strong – she is striving to be respected as a woman in a patriarchal world, and after being locked up for many years, she values freedom above all else. That goes some way to explaining why her belongingness category is not so important to her – her values are different.

The highest level is self-actualisation. This level is all about achieving your highest potential – it’s the highest goal. Of course, this is most likely your main character’s most easily spotted motivation, because the big goal is what we usually consider. But remember that a character or person cannot reach this level unless the other levels have been considered. After all, one needs a full belly, some support, and at least a little respect to slay a dragon.

A well-rounded character will include all of these things, so try this with your main character and see how they develop according to Maslow’s Hierarchy of Needs.

Using it in your writing life:

For your writing life, Maslow’s Hierarchy of Needs can help you figure out when to rest and when to work. When you’re feeling like you don’t want to write, you’re struggling to prioritise your day, or even if, like me, you have ADHD, and so everything that comes across your desk feels like an urgent issue, looking at the pyramid can help.

If my physiological needs, my safety needs, and my belongingness (doesn’t sound like a real world but apparently it is) needs are met, but I still don’t want to write, or I’m struggling to do so, I check in with the next level. The esteem needs are an interesting one, because writing is actually a real mix of craft work and mindset work. If that’s where I’m falling down, I know that I’ve got some mindset work to do. If I’m struggling with imposter syndrome, for example, I’ll write down five things that I am proud of achieving. Once I’m feeling more accomplished, I often feel in a better position to create and move up a level.

However, if an alert in my diary tells me to write and I find I am struggling to because I am hungry, the answer is not writing, but flexibility. That helps me understand that, actually, not all times are correct for writing, whatever the diary says.

Any questions about this? Get in touch and ask.

If you need a hand with your writing craft, I can help. As a lecturer in Creative Writing for over six years, and with a PhD, MA and BA in the subject, I am well poised to answer any writing issues you have been facing.

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Craft

Do Your Secondary Characters Deserve More than You’re Offering?

Ah, the secondary character (or deuteragonist). Sometimes I feel for them, pushed aside for the protagonist, but the main character of their own lives. Hang on…they are the main characters of their own lives, aren’t they? If you’re thinking about your secondary character(s) now and answering ‘Well, I don’t know…’ then we have some work to do.

Your protagonist needs to have a supportive team of characters around them. In this context, I don’t mean supportive emotionally, but rather, characters who seem just as real and well thought through. There are some wonderful examples of this in fiction. The most obvious? Probably Samwise Gamgee. Tolkien even considered Samwise the hero of the story, and if we’re talking about well fleshed out deuteragonists, you can’t get better praise than that.

But how do we do this? Let’s see.

1) As I’ve said, consider each of your secondary characters as the main character in their story. After all, we are all the main characters in our lives, aren’t we? Take Samwise, for example, who wants different things than Frodo (a good meal, for starters), or Lizzie’s sisters in Pride & Prejudice. Lydia’s desires are so different from Lizzie’s, her life goals so at odds, that she drives herself right into a rushed wedding to a soldier and changes the plot of the story. Your secondary characters need their own goals in life. Make a list, and consider what they each want, and how that impacts the journey your protagonist is on.

2) To help you do this, consider making them a character arc. A character arc is like a plotline for an individual character, and it focuses on how they develop as a person. Let’s look at Lizzie and Lydia again for this. Lydia runs off and marries Mr Wickham. This brings to light everything from Wickham’s history to Mr Darcy’s generosity. It allows Darcy to step into the role of hero. Lydia’s character arc, therefore, impacts the story, and her development as a person impacts our protagonist, Lizzie.

3) Focus on something unique to your secondary characters. For example, in Witchborne, Saskia smells so strongly of honey to the main character, Agnes, that everything becomes poisoned with the scent. As the story develops, Agnes even begins to taste honey and bans it from the house. This means that whenever Saskia is near, the reader only needs a faint whiff to pass their nose to know what is happening. In fact, we humans even process scents we associate with danger earlier than those that have a positive connection with! If that isn’t a sign to tie a scent to an antagonist or secondary character in your work, I don’t know what is.So, as you see, it’s not just the characters that will benefit from having their own lives, but your plotline and story, too.

Found this useful?

Check these similar reads out for more craft help:

What Does It Mean to Edit for Genre?
Plot-Driven Novels vs Character-Driven Novels: Which Is Right For You?

Categories
Craft

Is Your Character Comfortable with Their Status?

Are You Comfortable with Your Status?

Oh, sorry, not you. Your character.

Let’s chat about it. Your character’s comfort in their status can say a lot about them. It can be a window into their mindset, confidence, and more.

Let’s explore this for just a moment (with an excellent example from How To Own The Room by Viv Groskop):

Your character is at a cocktail party. It’s a fancy, black-tie affair, and everyone is dressed up. Your character is wearing a suit, bowtie, and, it turns out, exactly the same attire as the waiting staff at the party. A peer walks into the room, looks around, and catches eye with your character. They go over, and instead of introducing themselves, they ask for a martini.

Now, pause for a moment…

What does your character do?

If your answer is that your character makes the martini, gives it to their peer, and laughs about it later with a friend, your character is happy with their status.

If your answer is that your character tells this person exactly who they are and that they should check themselves, getting irate, your character is unhappy with their status.

And so, if they’re unhappy with their status in society, in life, with their friends, what does this do to your novel? It creates a storyview* in which your character is prone to be the victim, ready to take offence, and quick to rise in temper. This, in turn, changes how you might introduce your character and what might drive your plot forward. Think of how they speak to other people (or dragons, depending on what you’re writing), how they dress, who they strive to be and where they want to go.

Could your character’s comfort level in their status be their sacred flaw? (Not sure what I’m talking about? Check out last month’s blog post!).

*Not a typo! Storyview vs Worldview is a concept explained by Jeff Vandermeer in Wonderbook – The Illustrated Guide to Creating Imaginative Fiction, chapter 6. 

 

Categories
Craft

How to Create a Realistic Character

A realistic character can make all the difference to a reader. It can keep them engaged, draw them into a story, and even make them fall in love. Think of it, even when Mr Darcy (Pride & Prejudice) was being just plain rude, we all cared what would happen next. That’s because he was realistic, as was Lizzy, and we wanted them to have a satisfactory outcome despite the fact that they didn’t exist.

Realistic characters are the bread and butter of your novel. So how do you make them realistic enough to step off the page? Let’s take a look.

Hotseat Them

Ah, one of my all-time favourite things to do with a character. Hot seating a character means asking them a series of questions that reveal them as a person. Sometimes it can create an entirely new and surprising direction that you hadn’t even thought of! For questions to ask your character, take a look at the two free books you get when you subscribe to my newsletter. You can also look up Proust’s questionnaire, which is full of fabulous and profound questions.

Pull from real life 

While it’s not recommended to write about your ex precisely as they are, that’s not to say that you shouldn’t pull from real life and real people you have known, in your creative work. Using characters from our own world can add a natural flair to a novel, and no one needs to know where you came up with the idea…

Give them flaws, quirks, and strengths 

People are complicated, and no one is wholly good. Your characters should have strengths, yes, but they should also be flawed, with individual quirks. Think about Batman for a moment – why is that character so interesting? It’s because of his flaws. He wasn’t born with the strength of a superhero; he created that reality for himself. He is also selfish, complicated and challenging to know. This kind of character pulls your reader in – they want to read more because they are intrigued by the person.

Create their motivation

What motivates your character? Everyone is motivated by something, and that motivation should be legitimate. Even a baddy should be a baddy for a reason. Take Scrooge (A Christmas Carol), for example, and his story. We know that he behaves the way he does because of his childhood. The things that happened in his life when he was young taught him to put too high a value on money, and because of that, he loses what is really important in his adult life.

Give them their own dialogue and mannerisms 

Even two people from the same place and era speak differently, and even identical twins have individual mannerisms. Show the reader how your character is different through action tags, dialogue, and movement.

Develop them as the novel continues 

No one remains the same throughout a time period, and even those determined to may become more entrenched in their points of view. Develop your character throughout the plot, and show that the actions around them impact who they are as a person. You can learn more about this in my novel writing masterclass, where I teach plotting, character arcs, and characterisation.

What else do you think a realistic character includes? Let me know! 

Looking for more information on the craft of writing? Check out this page here!