Don't forget to revise your characters too
To everyone who completed NaNoWriMo, and to everyone who has finished a manuscript in any timeframe, congratulations!
Now begins revision, strengthening the parts of your book you weren’t happy with when you wrote them, or that readers have told you don’t work very well. But as you revise your story’s weak plot points, as you iron out geographic inconsistencies in street names, historical details of clothing and social customs, don’t forget to revise your characters, too.
Plots are important, sure, but the heart of any story is its characters. They deserve to be every bit as polished and well-crafted as your plot. There are plenty of great writing blogs with advice on fixing plot issues, building tension, raising the stakes, and all of that. I won’t cover any of that.
Instead, this article is the first in series on techniques for strengthening your characters during revision. Over the next several days, I’ll cover these areas where revision can greatly improve your characters:
I’ve said it before on this blog, but dialogue is a marvelously powerful tool for exhibiting your characters’ inner workings to the reader. But with that power comes danger: get the dialogue wrong, and the characters fall flat. In revision, your goal is to create consistent, distinctive voices for each character. Each character should be immediately recognizable through the way they speak. What they say and how they say it should reveal a lot about them. Click here to read how to revise your dialogue
I touched on these a little bit in an earlier article about habits. Much as with dialogue, mannerisms are also wonderful windows into your characters’ souls. In revision, your goal is to display consistent patterns of mannerisms, but also to find ways to use those behaviors to display your characters’ mental states. Click here to read how to revise your characters’ mannerisms
This isn’t an area I have covered in much depth on this blog—not yet, anyway—except possibly for this article about stealing a character’s shoes. I apologize for that; it would be helpful to have some good background reading to point you at before talking about revision techniques, but it’ll have to wait. Suffice it to say that a character’s mind and body come in a single package, and I’ll be talking about ways to link physical traits to the attitudes you need the character to have as well as to the personal growth they may undergo. Click here to read how to revise your characters’ physical attributes
Attitudes—our complete sets of opinions, beliefs, prejudices, and values—govern how we interact with others and guide the choices we make in any given situation. The same is true for your characters. In this installment, I’ll be covering ways to ensure that your characters’ attitudes are as complex as a real person’s (not cardboard-cutout characters), as well as strategies for using the attitudes of individual characters and your whole cast to enhance the drama in your story. Click here to read how to revise your characters’ attitudes
Last of all is the big one: character arc. Mainstream thrillers can, and often do, get away with plots in which the protagonists don’t learn and grow at all over the course of the book. They leave the final chapter no wiser about life or about themselves than they were on page one. That’s an enormous missed opportunity to elevate a book from merely entertaining to moving and meaningful. You may still elect to have a laser-straight character arc in your book, but I at least aim to give you some tools you can use to put some juicy bends in that arc. Click here to read how to revise your character arcs
Don’t think of these as four discrete items to add to your must-fix-in-editing list. They don’t work in pure isolation from each other. Physical attributes, for example, can have a bearing on a character’s mannerisms and attitudes. Rather, treat these areas and the techniques I’ll be covering as a mental framework for evaluating your characters, for teaching yourself how to see what needs to be fixed. Expect to go back and forth with them, moving from one area to another as you see opportunities where they can build on one another.
I hope you’ll stay tuned to the rest of this series, in which I’ll give you practical, in-depth and hands-on tips for addressing those four areas. If you apply them diligently, then when you are done revising you will have characters who are every bit the equal of your plot.
December 02, 2009 19:14 UTC
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