Inkabout L. Darby Gibbs

Science Fiction & Fantasy author

characterization

Recursive layering as I write ~ my 3 steps

by

Photo by rawpixel on Unsplash
When I write, it is the voice of the character that comes
first. I hear the dialogue, and it generates setting, conflict and motivation
for me. So when I write, dialogue is first. Sure, there will be tags and
description that comes with it, but it is minimalistic. 
After a run of dialogue, I will head back over the scene and
start layering characterization, reaction and action. I return again to
consider setting. And then again, I return to add sensory details, behaviorisms
and determine what backstory contributed to how the scene went, how it will
affect future plot issues and did any subconscious writing take place that dug
into the story deeper (which is always a hallelujah moment). Sometimes a
character will say something or do something, and I’ll just sit there and
think, whoa, that explains a lot or that is going to be a bugger to get over.
For example, in At Any
Given Time (Students of Jump, a standalone CES novel), Samantha worries about how she’ll react to the sight of blood, hers or someone else’s. She knows it makes her nauseous and dizzy, a complication that worries her. This is not a major issue
for a time traveler under normal conditions, and she has lots of time jumping
experience. But this time with an injured search and retrieval jumper, it turns
out to be a real issue she has to manage through. That’s not the main conflict,
but it sure added dimension to an already bad situation for Sam. The fact that
she is fully aware of her problem with blood and is self-reflective and
determined to get the situation rectified provides humor and stress to the
story that the little aspect of character helped to create.
I suppose it sounds rather clinical to
say I tuck in more details later, but it is not like that at all. The initial run of
dialogue flows out as if I’m eavesdropping from behind something and can’t see
or hear anything but what they are saying. It sets the stage for the whole
scene. The layering is another me standing there in the room, cave, whatever the
setting is and looking around, smelling, touching things, asking the character
questions and really just being a peeping Tom for my reader (and me, too).
Every writer has their own process. This is mine most of the time. Some writers edit like mad as they go and other writers don’t go back over their work until the complete draft is done. And there are numerous variations in between. If you’re a writer, what do you do? If not, have you thought about how writers build their stories? 
#writing
#character
#dialogue
#layering

A Stab at a Self-interview: Question 5 ~ Students of Jump favorite character

by

Who is one of your favorite characters from the Students of Jump series?

That depends on what you mean by character. Human character: I would say Mick Jenkins from books 1, 2 and 3. Non-human character: Puff from book 4.

Mick Jenkins: I really like Mick because he is a good mix of the tough old bird that won’t take anything from anybody and the kind fellow with a soft spot for those he cares about. (I always imagined he looked like Brian Dennehy. His face always came to mind when I thought of Mick.)

Image result for brian dennehy movies
Brian Dennehy was the inspiration  f or Mick Jenkins

Mick is used to being the boss, running the show, the guy with the last say. At the same time, he pays attention to people, and he has serious limitations that keep him from doing the things he wants to do, so when someone else is facing terrible loss or feeling frozen with uncertainty, Mick can sympathize. But he doesn’t approach the issue soft. He hits you where it hurts so that you know where the pain is coming from and can begin to figure out what will get you through it. And he’s not gentle with his own flaws either. He faces them head on. Mick and his better half, Emily, are the main characters in book 3, No-Time like the Present.

Puff – Book 4 ~ That’s the Trouble with Time

 
Puff: Well, that’s a critter of an entirely different type. Doesn’t everyone want that secret weapon, the seemingly innocuous thingamajig that in a tough moment can turn Doberman Pinscher on trouble when you most need it. That’s Puff. He’s a soft white frothy furred thing that can fly, squeak, cuddle and when needed tear the eyes and brain matter out of something with claws, high speed reflexes and no interest in asking questions.

In a sense, Puff is Mick in miniature and on split-second steroid injections. And he can hold your hair back in a mean French braid, which is what he does for his best human friend Sarrah Marsh.

The 10 problems that will make me giveup reading a book

by

Poorly written stories make for a blurry book, lacking color

Lately, due to my lighter teaching schedule, I have been reading a book a week, minimum. (Last year, a book every two months was my average.) Usually I will read a book to the end, waiting for it to redeem itself if it is less than engaging. “Maybe the writer needed more practice and the end will show improvement,” I tell myself.

Often even a book that starts off rough will, over time, gain its feet. The adage the act of writing improves writing and every writer gets better as they continue to produce often applies. But some problems will bother me so much that I will have to remind myself that redemption might yet flower if I keep reading. But I have given up on a few books.

These are the top ten which will, if enough appear, convince me to give up on a book.

  1. Unnecessary sex – though it isn’t presented this way, it will have the effect of a quickie with a prostitute. I can ignore it once. But if it repeats, I will probably drop reading the book.
  2. Unnecessary swearing – and even worse, if the swearing is the same word and everybody who swears in the book uses it and only that one word.  I recently read a really great book that had this one flaw. It was as if the characters kept saying “um” or “like” every few words. Made me cringe every time, but it did not make me stop reading because it was an excellent story and thankfully, the swearing was not a constant, just consistently repetitive and frequently unnecessary.
  3. Introductions that tell how bad things are now without providing any real imagery, characterization or depth of story. Sort of a “by the way, first you have to know this.” Now you can read my story.
  4. Too many characters with different color eyes and hair or stripes or accents, and that’s all I get to tell them apart. Everyone sounds the same.
  5. One woman and every guy wants her or vice versa. And I don’t even like the character, so how am I going to be convinced every Tom, Dick and Harry will?
  6. The story plods along, I realize I have been reading for half the book and nothing has happened, and I still don’t know the characters well enough to want to continue the journey with them.
  7. The characters are really tense, but there was nothing to make them tense. Everybody is grumping along or sparks are flying every time they touch, but nothing led up to it.
  8. Really poor punctuation and sentence structure. I can deal with an occasional missing word, an unnecessary fragment, etc. A good story is a good story. And many a time I and others will trip over our words while we tell about something interesting. We don’t lose our listeners and the writer won’t lose this reader for an occasional writing issue. The story is everything. But really bad grammar and punctuation skills can kill even the best story.
  9. I put the book down (voluntarily) to go have lunch or chat with a friend and I can’t remember what I was reading. That is a really bad sign. I am about twenty pages into a book right now and have put it down twice. Both times I had to think a bit about what was happening before I opened it up to read more. Nothing is happening yet that is keeping my interest which is funny as the White House has just blown up, people are fleeing and a crazy man is on the loose. No real tension. The main characters are just walking away from the burning building.
  10. Using known characters and relying on the reader’s knowledge of them to carry the characterization. That is not the way to create memorable characters the reader is going to care about.

#reading
#books

6 Ways Writers Bring Verisimilitude to a Character’s Experience

by

We fiction writers attempt to create authentic character experience, largely from events we have never experienced. Of course, we often draw from memories to bring verisimilitude to our writing, but just as often, if not more so, we write of things we have never seen, touched, emotionally felt or responded to.

Writers attempt to create the familiar and unfamiliar daily. If we
are true in our creation, our readers will believe in the moment we
depict.

Writers attempt to make readers sympathetic. We
turn them into partners who can feel what our characters are feeling to such a
degree that, however momentarily, they are in the same emotional instant
of being as the character we painstakingly created.

In other words, our
readers laugh, cry, wince, tremble, and smile just where we want them
to as they read. Either the reader never experienced the situation or
they have. In either case, they deepen the connection through
imagination and through their own personal experience.

With
the desire to develop our characters so our readers commiserate and
celebrate with them comes the need to grasp the nuances of these unique
and often powerful incidents.

There are six main ways writers do this:

  1. We talk to friends, family and professionals who can provide the needed information
  2. We research by reading texts, maps, and internet sources, etc.
  3. We seek the experience
  4. We keep copious notes about what naturally occurs in our lives
  5. We observe closely when others go through events around us
  6. We draw from our imagination, using all of the above to produce something that has yet to be experienced by anyone

Consider the following list:

  1. getting married/divorced/widowed
  2. childbirth
  3. being burned
  4. breaking a bone
  5. being hit by a car
  6. falling a great height
  7. sneaking/breaking into a home/business/institution
  8. stealing
  9. lying for the sake of survival
  10. flying a plane
  11. grave illness
  12. flying in space
  13. crashing a car/plane/motorcycle/boat
  14. losing a limb
  15. fighting a monster
  16. being shot at
  17. shooting someone
  18. making a movie
  19. abusing
  20. being abused
  21. building a house
  22. crafting a work of art or necessity
  23. fixing a machine
  24. programming a computer
  25. building a computer
  26. running a country
  27. taking over a country
  28. assassination
  29. jumping on/off a train
  30. falling in love
  31. hate
  32. raising a child
  33. teaching a skill or knowledge
  34. running a plant/warehouse, business
  35. running from an enemy/attacker
  36. running any complicated machinery
  37. running a marathon/extreme sports
  38. climbing a mountain
  39. hunting
  40. dressing a deer/pig/cow/etc. (I don’t mean with clothes; however, that might be something a character might have to do, so perhaps that should be on the list)
  41. cooking a complete meal
  42. painting a picture
  43. losing one’s mind/memory
  44. caring for the elderly
  45. raising a child with a disability
  46. training a horse/dog/monkey/donkey/etc.
  47. sculpting
  48. treating an injury
  49. designing clothes/interiors/architecture/etc.
  50. drowning 
  51. miscarriage of a pregnancy

Key:
red – events I acquired information about or observed from family, friends or professionals so I could use it in something I’ve written
purple – what I have personally experienced and may have used
orange – what I had no experience in but I did use in my writing and augmented through additional research
white – have not needed to know yet

Obviously, the list is incomplete and infinite in potential length.

We writers are busy creating characters who go through believable experiences. If you are a writer, what unusual or challenging experience did you have to craft for your work? If you are a reader, what experience did a character go through that captured an emotional and physical connection from you, that made you respond because it felt that real?

#writing
#research
#characterization

Use these 11 “nations” of the US to create depth in the characters you build

by

I read an article about the various distinct cultural nations within the United States and found it very useful for determining the underlying influences of characters in fiction. In this article which made use of the work of Colin Woodard, Matthew Speizer provides (This map shows the US really has 11 separate ‘nations’ with entirely different cultures) descriptions of the type of people who live in specific areas in the US and what their political/cultural viewpoints are built on.


At first while reading it, I was focusing on identifying where I fit in the demographics described. It wasn’t hard to figure out. I’ll give you hints and let you pick my niche: born below the Mason Dickson line, but raised into my teens in northern New England, I then lived several years in Oregon after finishing high school in California. My adult life was largely in the Northwest, with southern influences. 

Now that I’ve written it down, all I can say is good luck with locating my cultural position within these described “nations.” I might be harder to label than I first thought.  Blame my dad who never seemed to be able to stay in one place very long.


But my point is how great is this for determining the underlining influences for character building and interaction. Imagine a “Yankeedom” having to rebuild a demolished world with a “Greater Appalacian.”  Utopian leanings vs very constrained. The conflicts are built into the individuals and the “cultures” they bring with them.


How about a (space)ship’s captain with “el Norte” sympathies with a first officer who’s a “Left Coaster.” Plenty of room for common ground and still areas where the two would argue specific issues of “expression,” “exploration” and regulation.


In my SF time travel novel (book 3 of Students of Jump), Next Time We Meet, Mick Jenkins is largely Greater Appalacian. But the society he is now trying to make a home in is New Netherland in many respects. He wants order where they encourage a general “go with the flow attitude.”


I can see these “culture” breakdowns of political viewpoints as one more useful tool for building individual character behavior and interactive conflict between characters. As you design characters, consider where they fall in these niches. Support the influences with attitudes, heritage, and biases that add depth to the individuality of your characters.  

Follow the link to the article and take a look at it yourself.  11 Nations of the United States.


Do you see any of your characters falling under these cultural labels? If so, which character, which story, and what qualities most standout?


#culture
#characterization
#writing

Regional word choice: would you rather a frappe or a cabinet?

by

Not just plants are regional: words, too.

I moved all over the place when I was a kid, and I collected words and differences in pronunciation of words like most kids collected bubble gum trading cards.

Milkshake, cabinet, frappe

Even though these words reference the same thing, each brings a different feel to the image. When I think of a frappe being served at my table, the imagined tall glass of white is full of lumpy froth at the top with condensation on the glass so thick it is opaque, and the only places where I can see the milky fluid is where the fingertips of the waitress touched.  And the container is cold, and I cannot view it as any color other than white, with the smell of vanilla beans thick in the breath I take before slurping in the first taste of half air half tantalizing sponginess that sounds like distant firecrackers as the tiny bubbles pop against my lips. 

Tennis shoe, sneaker

I wore sneakers into my teens.  When I first heard there were shoes called tennis shoes, I thought I had to play tennis to wear them.

route: route (root) or route (rout)

Don’t ask me for directions unless you are prepared to hear me switch back and forth in my pronunciation of this word and not even know I am doing it.

aunt: aunt (ant) or aunt (awnt) or aunt (tante)

I only used the first two of this one.  I had two aunts, one on each coast.  I met them when I was a child.  I thought saying Aunt (ant) Sue and Aunt (awnt) Peg was just a case of that being their names, similar to Sally Ann or Jim Bob. Later I understood that they resided on different coasts and geography made all the difference.

submarine sandwich, hoagie, grinder, sub, Italian, hero, wedge

I can still remember when my family was moving from Massachusetts to New Jersey.  We had been traveling for what seemed like all day, and we went into one shop to get something to eat.  I looked at the menu and had no idea what they were offering.  I wanted a submarine sandwich, but there were none listed.  Would a hoagie taste good?  I was about 12 years old and thought this was probably the only place in the US silly enough to call them hoagies.

purse, pocketbook, bag, handbag

This one still gets me in trouble.  I say pocketbook and my students give me blank looks. They trust that I know what I am talking about, but they don’t know what I am talking about.

toilet, john, head, loo, porcelain pony, commode

I only came across the first three of these in my travels.  Toilet is my word of choice, but recently my husband was explaining what a room in the house we are building was and said “commode.”  My daughter looked at me unsure of what we were putting in the house. So I had to explain.

The second one I am very familiar with, but “john” is one I just can’t use.  Both my grandfathers were named John, my brother and my father.  But my mom thought it was quite funny to say things like, “John is in the john” or “We have several johns, are you looking to talk or use?”  My dad was a Navy man, and when out on the ocean fishing, he always said “head” but never in the house.  And he never referred to a toilet as a john.

What makes word choice so important? It adds characterization and settings if you are picking a specific region for your story. What regional words have you noted?  Do you know the reason behind their use?