Writing Basics Chat - char. dev.

HOST WRTR SPKLD1: WELCOME TO WRITING BASICS
HOST WRTR SPKLD1: .
HOST WRTR SPKLD1: Our topic tonight is Character
HOST WRTR SPKLD1: Development.
Kathcolo: ?
HOST WRTR SPKLD1: .
HOST WRTR SPKLD1: We will be using protocol tonight, so
HOST WRTR SPKLD1: type in a ? if you wish to ask a
HOST WRTR SPKLD1: question and a ! to make a comment. You
HOST WRTR SPKLD1: will be called upon as your turn comes
HOST WRTR SPKLD1: up in the queue.
HOST WRTR SPKLD1: Kathcolo: did you have a question?
Kathcolo: yes I did. \
HOST WRTR SPKLD1: go ahead please...
Kathcolo: Do any of y'all ever get do involved in a character that the core
of the character is lost?
Kathcolo: How do you deal with it?
Kathcolo: thats all
HOST WRTR SPKLD1: One of the tricks in that is the Bio Sheet method...
HOST WRTR SPKLD1: we'll be discussing that in a moment.
Kathcolo: ok thank you
HOST WRTR SPKLD1: I tend to run a more formal session
HOST WRTR SPKLD1: folks, more like a classroom, so I have
HOST WRTR SPKLD1: a lot of prepared material here. We may
HOST WRTR SPKLD1: not get through all of it, but we can
HOST WRTR SPKLD1: do our best...
HOST WRTR SPKLD1: .
HOST WRTR SPKLD1: I hope you enjoy the session!
HOST WRTR SPKLD1: As we all know, plausible, complex
HOST WRTR SPKLD1: characters are crucial to successful
HOST WRTR SPKLD1: storytelling.
HOST WRTR SPKLD1: They are at the heart of every tale.
HOST WRTR SPKLD1: But sometimes, keeping them both
HOST WRTR SPKLD1: interesting and on-track is difficult.
HOST WRTR SPKLD1: So you have your characters...
HOST WRTR SPKLD1: you have your plot.
HOST WRTR SPKLD1: You have begun your story, only to
HOST WRTR SPKLD1: find that the middle is sagging.
HOST WRTR SPKLD1: Your characters are becoming flat,
HOST WRTR SPKLD1: and it's time for a change.
HOST WRTR SPKLD1: What do you do?
HOST WRTR SPKLD1: Anyone?
Kathi Smith 116: !
HOST WRTR SPKLD1: go kathi.
Kathi Smith 116: Playact, put myself in the characters position, see what I
would do
HOST WRTR SPKLD1: good!
Kathi Smith 116: Or kill someone off...<G> ga
HOST WRTR SPKLD1: anyone else?
SeabornDan: !
HOST WRTR SPKLD1: Seaborn.
Ruth Sil: find another problem. 
SeabornDan: Go for drama... something that's totally against what character
is about
Shiloh Shaman: !
LMBRUN5: !
HOST WRTR SPKLD1: Are you through Seaborn?
SeabornDan: GA   sorry
HOST WRTR SPKLD1: please everyone use /ga at the end...
HOST WRTR SPKLD1: Shiloh, ga.
Shiloh Shaman: review everything I have on the character so far and remind
myself where I want
Shiloh Shaman: the story line to go  ga
HOST WRTR SPKLD1: LM, ga..
LMBRUN5: When my characters start to "sag" it's generally because I got too
carried away with the 
LMBRUN5: story and forgot what my character profile was.
LMBRUN5: like Shiloh said,
LMBRUN5: time to review the profile sheet.  ga
HOST WRTR SPKLD1: :-) good point!
HOST WRTR SPKLD1: To cover this, we're going to start
HOST WRTR SPKLD1: with a little review on creating and
HOST WRTR SPKLD1: using characters...
HOST WRTR SPKLD1: Then go into some of the problem areas,
HOST WRTR SPKLD1: and finally some tips on how to correct
HOST WRTR SPKLD1: a difficult section.
HOST WRTR SPKLD1: For the purposes of discussion we will
HOST WRTR SPKLD1: assume a novel length work is the one
HOST WRTR SPKLD1: in progress, without any limitations to
HOST WRTR SPKLD1: a specific genre or age group.
HOST WRTR SPKLD1: Characters can be created with two
HOST WRTR SPKLD1: primary points of view, each of which
HOST WRTR SPKLD1: will determine how your character
HOST WRTR SPKLD1: appears. How the characters are
HOST WRTR SPKLD1: displayed will begin from this basis,
HOST WRTR SPKLD1: so selecting the method is no small
HOST WRTR SPKLD1: matter.
HOST WRTR SPKLD1: Can anyone guess what these view points
HOST WRTR SPKLD1: are of creating characters?
HOST WRTR SPKLD1: have I lost you?
Host Wrtr RGugat: !
HOST WRTR SPKLD1: Host RG, Go...
Ruth Sil: !
Host Wrtr RGugat: internal  (self) or external (other)
HOST WRTR SPKLD1: can you give us more RG?
Host Wrtr RGugat: as seen by self  as seen by someone else
Host Wrtr RGugat: ga
HOST WRTR SPKLD1: I'm not sure that helps... Ruth Sil, go ahead.
Ruth Sil: the mean and kind sides/ga
Kathcolo: !
HOST WRTR SPKLD1: Ok... though I was speaking more broadly.
HOST WRTR SPKLD1: The first method is commonly called
HOST WRTR SPKLD1: "Concrete-ness," where each of your
HOST WRTR SPKLD1: characters have specific homes,
HOST WRTR SPKLD1: possessions, medical and personal
HOST WRTR SPKLD1: histories, tastes in furniture,
HOST WRTR SPKLD1: political opinions and so on.
HOST WRTR SPKLD1: In this is the method you create a "Bio
HOST WRTR SPKLD1: Sheet" on your character, where you
HOST WRTR SPKLD1: establish a firm background on them as
HOST WRTR SPKLD1: you go along or begin your tale.
HOST WRTR SPKLD1: Such a Biographical Outline Sheet was
HOST WRTR SPKLD1: included in the memo recently, does
HOST WRTR SPKLD1: anyone still need a copy?
Kathcolo: yes please
Kackiey: yes
HOST WRTR SPKLD1: I'll sed you one ater the chat...
HOST WRTR SPKLD1: The Bio Sheet is similar to the entries
HOST WRTR SPKLD1: you might find upon a credit report or
HOST WRTR SPKLD1: an obit., the character's name,
HOST WRTR SPKLD1: occupation, age, sex and other details
HOST WRTR SPKLD1: are filled by your opening scene, then
HOST WRTR SPKLD1: you slowly expand the range of
HOST WRTR SPKLD1: information to bring out that
HOST WRTR SPKLD1: character's attributes.
HOST WRTR SPKLD1: Each of these points adds a dimension
HOST WRTR SPKLD1: of personality to the character, one
HOST WRTR SPKLD1: that you know, can refer to, and
HOST WRTR SPKLD1: develop in writing your tale.
HOST WRTR SPKLD1: Another way to can express a
HOST WRTR SPKLD1: character's nature is metaphorically,
HOST WRTR SPKLD1: using the objects or settings around
HOST WRTR SPKLD1: him or her to express the character's
HOST WRTR SPKLD1: personality.
HOST WRTR SPKLD1: Some examples are bent or damaged
HOST WRTR SPKLD1: armor, a neatly pressed suit or shabby
HOST WRTR SPKLD1: clothing, an apple orchard in bloom, a
HOST WRTR SPKLD1: violent thunderstorm in their presence,
HOST WRTR SPKLD1: etc.
HOST WRTR SPKLD1: Symbolic representations may or may not
HOST WRTR SPKLD1: be completely understandable to the
HOST WRTR SPKLD1: reader at first, (or even to the writer
HOST WRTR SPKLD1: at times) but they do seem to be
HOST WRTR SPKLD1: subconsciously correct.
HOST WRTR SPKLD1: These symbolic associations can be
HOST WRTR SPKLD1: consciously "archetypal"' (see Northrop
HOST WRTR SPKLD1: Frye or even Jung), links to other
HOST WRTR SPKLD1: characters in similar literature, or
HOST WRTR SPKLD1: you can use the symbols of a private
HOST WRTR SPKLD1: system which the reader may or may not
HOST WRTR SPKLD1: consciously grasp.
HOST WRTR SPKLD1: Can anyone think of an example of
HOST WRTR SPKLD1: Symbolic Representation?
LMBRUN5: !
HOST WRTR SPKLD1: go Lm!
Kathi Smith 116: !
LMBRUN5: the wrinkled raincoat of a detective, brings to mind...
HOST WRTR SPKLD1: Oh Columbo!  :-)
Ruth Sil: !
LMBRUN5: hmmm, what is his name?  Better yet, the cocaine and the violin of
Sherlock.  ga
HOST WRTR SPKLD1: good one...
HOST WRTR SPKLD1: Kathi, your turn...
Kathi Smith 116: The scarlett 'A' Hester wears in "The Scarlet Letter" by
Hawthorne
Kathi Smith 116: to represent her emotional branding /ga
HOST WRTR SPKLD1: very good!
HOST WRTR SPKLD1: Ruth, go ahead.
Ruth Sil: the strong hands of a farmer.
HOST WRTR SPKLD1: marvelous Ruth...
HOST WRTR SPKLD1: tells a bit of personal history as well...
HOST WRTR SPKLD1: A very clear (and hilarious,) example I
HOST WRTR SPKLD1: can recall of Symbolic Representation
HOST WRTR SPKLD1: comes from the underground comic book
HOST WRTR SPKLD1: "Cerebus the Aardvark."
HOST WRTR SPKLD1: In one of the early editions Cerebus
HOST WRTR SPKLD1: meets the character "Elrod the
HOST WRTR SPKLD1: Magnificent," who proudly carries a
HOST WRTR SPKLD1: "black sword" to which the aardvark
HOST WRTR SPKLD1: comments;
HOST WRTR SPKLD1: "Cerebus would not have believed a
HOST WRTR SPKLD1: sword could rust until it is black."
HOST WRTR SPKLD1: What do you think this says about the
HOST WRTR SPKLD1: character of Elrod?
Host Wrtr RGugat: !
HOST WRTR SPKLD1: Go Rg!
Kathi Smith 116: !
Host Wrtr RGugat: not very active  ga
HOST WRTR SPKLD1: Kathi, go ahead..
Kathi Smith 116: Elrod is riding on a past reputation
Kathi Smith 116: ga
Ruth Sil: !
HOST WRTR SPKLD1: Ruth, your turn.
Ruth Sil: He has tunnel vision./ga
HOST WRTR SPKLD1: yep...
HOST WRTR SPKLD1: A more recent example of the Elrod type
HOST WRTR SPKLD1: of character is Joxer "The Mighty", the
HOST WRTR SPKLD1: well-meaning maladroit in the
HOST WRTR SPKLD1: television series Xena: Warrior
HOST WRTR SPKLD1: Princess.
HOST WRTR SPKLD1: Like Elrod, Joxer has no idea of his
HOST WRTR SPKLD1: incapacity, living instead in a fantasy
HOST WRTR SPKLD1: world of his own self-importance. Yet
HOST WRTR SPKLD1: this has not stopped either character
HOST WRTR SPKLD1: from becoming a popular, well rounded
HOST WRTR SPKLD1: individual over the course of the
HOST WRTR SPKLD1: stories in both series.
HOST WRTR SPKLD1: And what do you think the aardvark's
HOST WRTR SPKLD1: speaking of himself in third person
HOST WRTR SPKLD1: says?
Kathi Smith 116: !
HOST WRTR SPKLD1: go Kathi!
Kathi Smith 116: High opinion of himself?
Kathi Smith 116: fa
Kathi Smith 116: er...ga
HOST WRTR SPKLD1: yep! he's sees himself as outside the world....
HOST WRTR SPKLD1: an observer more than a participant.
HOST WRTR SPKLD1: So by using these methods of character
HOST WRTR SPKLD1: creation and expression we can
HOST WRTR SPKLD1: establish the foundation needed for our
HOST WRTR SPKLD1: story, getting the character through
HOST WRTR SPKLD1: the first couple of chapters on the way
HOST WRTR SPKLD1: to the climax.
HOST WRTR SPKLD1: This establishes a viewpoint of the
HOST WRTR SPKLD1: character, the manner in which they
HOST WRTR SPKLD1: will be addressed, and often, the range
HOST WRTR SPKLD1: of the character's "normal life."
HOST WRTR SPKLD1: However, since most stories tend to
HOST WRTR SPKLD1: deal with the outer fringes of a
HOST WRTR SPKLD1: person's life; from finding that great
HOST WRTR SPKLD1: love to managing severe tragedy, the
HOST WRTR SPKLD1: characters should respond to what is
HOST WRTR SPKLD1: happening by changing their views--or
HOST WRTR SPKLD1: by working hard to avoid the changes
HOST WRTR SPKLD1: inflicted.
HOST WRTR SPKLD1: So, can anyone tell me what can go
HOST WRTR SPKLD1: wrong with this process?
LMBRUN5: !
HOST WRTR SPKLD1: (There are 3 main points)
HOST WRTR SPKLD1: LM, go ahead.
Kathi Smith 116: !
LMBRUN5: A character stays EXACTLY the same, no growth at all.  ga
HOST WRTR SPKLD1: good! Go Kathi.
Kathi Smith 116: It's only the superficial character shown, not the inner
person
Kathi Smith 116: ga
HOST WRTR SPKLD1: great answer!
HOST WRTR SPKLD1: As our characters seek to carry out
HOST WRTR SPKLD1: their agendas, they run into conflicts,
HOST WRTR SPKLD1: fail or succeed, and confront
HOST WRTR SPKLD1: situations. They will not remain the
HOST WRTR SPKLD1: same people by the climax.
HOST WRTR SPKLD1: It is at this point where both plot and
HOST WRTR SPKLD1: character fuse into one, steering and
HOST WRTR SPKLD1: modifying each other as they themselves
HOST WRTR SPKLD1: are changed.
HOST WRTR SPKLD1: These changes or attempts to remain the
HOST WRTR SPKLD1: same reveal the character's
HOST WRTR SPKLD1: personality, how solidly they adhere to
HOST WRTR SPKLD1: their views or their willingness to
HOST WRTR SPKLD1: accept growth and new experiences.
HOST WRTR SPKLD1: So, does anyone know how to prevent this?
Kathi Smith 116: ?
HOST WRTR SPKLD1: Go Kathi.
Kathi Smith 116: I'm not sure what we're trying to prevent.../ga
HOST WRTR SPKLD1: oops..
HOST WRTR SPKLD1: wrong button..
HOST WRTR SPKLD1: (you caught me!)
HOST WRTR SPKLD1: One problem Character Failure, which
HOST WRTR SPKLD1: can arise when the character is asked
HOST WRTR SPKLD1: to do something out of his nature.
HOST WRTR SPKLD1: (Such as a pacifist picking up a weapon
HOST WRTR SPKLD1: and shooting up some place.)
HOST WRTR SPKLD1: That's the "what we're preventing.."
Kathi Smith 116: !
HOST WRTR SPKLD1: go Kathi.
Kathi Smith 116: That's where the profile comes in...giving characters
deepest concerns
Kathi Smith 116: and an idea of his/her reactions in times of stress
Kathi Smith 116: the better we know our characters, the less likely this
will happen
Kathi Smith 116: So a profile should be very in-depth
Kathi Smith 116: /ga
Ruth Sil: ?
Kathcolo: ?
HOST WRTR SPKLD1: Go ahead Ruth...
Ruth Sil: Under pressure, can the character do soming out of character?/
HOST WRTR SPKLD1: Yes... "Going Postal" and attacking everyone
HOST WRTR SPKLD1: in sight can occur but there better be
HOST WRTR SPKLD1: a good reason, or your character is
HOST WRTR SPKLD1: going to become a wire frame that moves
HOST WRTR SPKLD1: in jumps and lurches.
HOST WRTR SPKLD1: go ahead Kathcolo
Kathcolo: What about having physical pictures of the characters? Would that
help in physical
Kathcolo: development?
Kathcolo: ga
HOST WRTR SPKLD1: hmm, I've never taken that approach myself,
HOST WRTR SPKLD1: because I'm lousy at drawing...
HOST WRTR SPKLD1: but it sounds good if you can do it!
Kathcolo: ?
HOST WRTR SPKLD1: Go Kathcolo.
Kathcolo: I'm talking more about magazine pictures...
Kathcolo: ga
Briagha: !
HOST WRTR SPKLD1: oh... that's a good idea!
HOST WRTR SPKLD1: Briagha, go ahead.
Briagha: There's a really good character/bio sheet in a book called What If
by Bernays and Painter..
SeabornDan: !
Briagha: that I have found very helpful, both in physical and scene setting
/ga
HOST WRTR SPKLD1: if you have the one sent with the memo, how does it differ
Briagha?
Briagha: I actually don't have the one sent with the memo, can I get it
after the chat?
HOST WRTR SPKLD1: yep, I've added you to this list...
HOST WRTR SPKLD1: Go Ahead Seaborn.
SeabornDan: In the comics field we are given bio sheets of all characters
that include pics  of
SeabornDan: the characters in 3 angles... pics do help
SeabornDan: /
HOST WRTR SPKLD1: excellent! I'll have to give that one a shot myself...
HOST WRTR SPKLD1: I usually keep mental pictures myself.
HOST WRTR SPKLD1: anyone else? (before i go back to canned text..)
HOST WRTR SPKLD1: One of the common difficulties I see
HOST WRTR SPKLD1: from people who ask me to review their
HOST WRTR SPKLD1: text is Bad Timing, where they often
HOST WRTR SPKLD1: create prologs or elaborate
HOST WRTR SPKLD1: introductions to their character, the
HOST WRTR SPKLD1: setting, conditions or political state
HOST WRTR SPKLD1: around them, their birth-right or other
HOST WRTR SPKLD1: material to "fill in the reader" to
HOST WRTR SPKLD1: their character's background.
HOST WRTR SPKLD1: They have in effect spent all of their
HOST WRTR SPKLD1: effort on the opening page, with little
HOST WRTR SPKLD1: left in the manner of expression for
HOST WRTR SPKLD1: the rest of the tale.
HOST WRTR SPKLD1: As the story unfolds the character
HOST WRTR SPKLD1: should gradually reveal more and more
HOST WRTR SPKLD1: of their personality, expressing their
HOST WRTR SPKLD1: opinions, desires, foibles, moral
HOST WRTR SPKLD1: judgments, abilities and thought
HOST WRTR SPKLD1: processes.
HOST WRTR SPKLD1: Another problem is Plot Failure, as in
HOST WRTR SPKLD1: having a plot that is too simplistic or
HOST WRTR SPKLD1: overly complex.
HOST WRTR SPKLD1: This can seriously impair a story,
HOST WRTR SPKLD1: because the character can find the
HOST WRTR SPKLD1: problem too easy or too complex.
HOST WRTR SPKLD1: So, does anyone have a suggestion of
HOST WRTR SPKLD1: how to avoid these problem areas?
Kathi Smith 116: !
HOST WRTR SPKLD1: go Kathi!
Kathi Smith 116: Outlines? /ga
HOST WRTR SPKLD1: hehe, yeah, if you like them...
HOST WRTR SPKLD1: a healthy balance of plot and
HOST WRTR SPKLD1: character is essential to maintain
HOST WRTR SPKLD1: tension, allowing room for the
HOST WRTR SPKLD1: character's personality in all its
HOST WRTR SPKLD1: aspects.
HOST WRTR SPKLD1: The Layers of an Onion,
HOST WRTR SPKLD1: or the Fray of the Yarn.
HOST WRTR SPKLD1: These images represent the levels of
HOST WRTR SPKLD1: everyone's development, as old scars,
HOST WRTR SPKLD1: praise and pride become parts of our
HOST WRTR SPKLD1: being.
HOST WRTR SPKLD1: "A mass of conflicting impulses..." as
HOST WRTR SPKLD1: the computer being Nomad of Star Trek
HOST WRTR SPKLD1: would say, each of us are the summation
HOST WRTR SPKLD1: of these various parts.
HOST WRTR SPKLD1: The same takes place within our story
HOST WRTR SPKLD1: for each character, especially those
HOST WRTR SPKLD1: who appear more than once and are given
HOST WRTR SPKLD1: speaking roles.
HOST WRTR SPKLD1: How these traits are displayed is the
HOST WRTR SPKLD1: first place to correct the tale, so can
HOST WRTR SPKLD1: anyone tell us how we display these
HOST WRTR SPKLD1: traits in writing?
HOST WRTR SPKLD1: (again, there are 3 primary ones..)
MudderGG: !
HOST WRTR SPKLD1: Go ahead MudderGG
MudderGG: Dialogue, actions of the character and inner thoughts.
MudderGG: ga
HOST WRTR SPKLD1: hehe. right on!
HOST WRTR SPKLD1: We display the traits of a character
HOST WRTR SPKLD1: through three common functions; Speech,
HOST WRTR SPKLD1: Behavior and Motivation.
HOST WRTR SPKLD1: Each of these traits changes as the story
HOST WRTR SPKLD1: progresses.
HOST WRTR SPKLD1: The first quality is the character's
HOST WRTR SPKLD1: speaking within your story, which helps
HOST WRTR SPKLD1: to evoke a personality within the
HOST WRTR SPKLD1: reader's mind.
HOST WRTR SPKLD1: Either shy and reticent, aggressive and
HOST WRTR SPKLD1: frank, coy, humorous, etc., both
HOST WRTR SPKLD1: content and manner of speech should
HOST WRTR SPKLD1: accurately reflect the character's
HOST WRTR SPKLD1: social and ethnic background without
HOST WRTR SPKLD1: stereotyping.
HOST WRTR SPKLD1: However, over the course of your tale
HOST WRTR SPKLD1: the character's speech can change, as
HOST WRTR SPKLD1: they learn new expressions and gather
HOST WRTR SPKLD1: new knowledge. They may learn a new
HOST WRTR SPKLD1: slang terms, or start to use an
HOST WRTR SPKLD1: expression of disgust or anger that
HOST WRTR SPKLD1: they never considered before.
HOST WRTR SPKLD1: can anyone think of an example here?
Kathi Smith 116: !
HOST WRTR SPKLD1: go kathi!
Kathi Smith 116: Scarlett O'Hara using her father's expression..."God's
Nightgown"
Kathi Smith 116: ga
HOST WRTR SPKLD1: hehe. you're on the ball tonight Kathi!
HOST WRTR SPKLD1: They may to start to speak boldly or to
HOST WRTR SPKLD1: hold their tongue. They may find the
HOST WRTR SPKLD1: folly in words to change their
HOST WRTR SPKLD1: conditions, or may find that the
Kathcolo: ?
HOST WRTR SPKLD1: "squeaky wheel" really does get the
HOST WRTR SPKLD1: grease.
HOST WRTR SPKLD1: Go ahead kathcolo.
Kathcolo: Do y'all think a character can become too free in her speech. A
girl who was once a "good"
Kathcolo: girl using the "f" word after she has a changing experience?
Kathcolo: ga
HOST WRTR SPKLD1: I accept that Kathi, for change can occur in many ways.
HOST WRTR SPKLD1: Another quality is the character's
Kathcolo: how do you mean?
HOST WRTR SPKLD1: Behavior, from their table manners to
HOST WRTR SPKLD1: their ability and style of hand-to-hand
HOST WRTR SPKLD1: combat.
HOST WRTR SPKLD1: How they dress, how they move, each
HOST WRTR SPKLD1: example of behavior should be
HOST WRTR SPKLD1: consistent with what we already know of
HOST WRTR SPKLD1: the character, yet it should reveal
HOST WRTR SPKLD1: some new aspect of personality.
HOST WRTR SPKLD1: Behavior under different forms of
HOST WRTR SPKLD1: stress should be especially revealing,
HOST WRTR SPKLD1: for these are the times when people
HOST WRTR SPKLD1: reveal themselves the most.
HOST WRTR SPKLD1: Like speech, Behavior too changes over
HOST WRTR SPKLD1: the course time, as the character grows
HOST WRTR SPKLD1: and finds themselves in new situation.
HOST WRTR SPKLD1: They may become more shy, more bold,
HOST WRTR SPKLD1: suddenly aggressive or collapse in
HOST WRTR SPKLD1: tears.
HOST WRTR SPKLD1: Even the "trigger event" of what causes
HOST WRTR SPKLD1: this change should say something about
HOST WRTR SPKLD1: how the character is changing.
HOST WRTR SPKLD1: The last quality I mentioned is that of
HOST WRTR SPKLD1: Motivation, or what drives the
HOST WRTR SPKLD1: character from one point to another.
HOST WRTR SPKLD1: What do they expect to gain? What could
HOST WRTR SPKLD1: they lose? And what qualities of
HOST WRTR SPKLD1: themselves can they apply to achieving
HOST WRTR SPKLD1: this?
HOST WRTR SPKLD1: Motivation is the most slippery of
HOST WRTR SPKLD1: character qualities, as the character
HOST WRTR SPKLD1: reacts, compounds or understands his
HOST WRTR SPKLD1: place in the scheme of events.
HOST WRTR SPKLD1: Okay, now we know the basis of
HOST WRTR SPKLD1: expressing characters, and the flaws
HOST WRTR SPKLD1: that occur was we write, can anyone
HOST WRTR SPKLD1: guess from all this how we solve a
HOST WRTR SPKLD1: sagging story?
HOST WRTR SPKLD1: (again, three possibles..)
MudderGG: !
HOST WRTR SPKLD1: Go MudderGG!
MudderGG: Throw a mondey wrench into the hero's plans.
HOST WRTR SPKLD1: good one!
MudderGG: ga
HOST WRTR SPKLD1: you guessed the "Fate attribute."
HOST WRTR SPKLD1: anyone got another?
Ruth Sil: !
HOST WRTR SPKLD1: Go Ahead Ruth.
Ruth Sil: Natures wrath changes things.
HOST WRTR SPKLD1: I would place that under fate as well...
HOST WRTR SPKLD1: so here's the other two;
HOST WRTR SPKLD1: Another Character, and Another Plot.
HOST WRTR SPKLD1: Sub-plotting, or the development of
HOST WRTR SPKLD1: plots within plots, is a common method
HOST WRTR SPKLD1: used to round a character--and the
HOST WRTR SPKLD1: story of course.
HOST WRTR SPKLD1: Like the layers mentioned each brings
HOST WRTR SPKLD1: with it a life of their own, as the
HOST WRTR SPKLD1: character's central focus wavers and
HOST WRTR SPKLD1: shifts.
HOST WRTR SPKLD1: This draws out the character's attempt
HOST WRTR SPKLD1: to understand his or her situation, and
HOST WRTR SPKLD1: having done this the character drives
HOST WRTR SPKLD1: their way through these encounters.
HOST WRTR SPKLD1: Can anyone think of an example of this?
SeabornDan: !
HOST WRTR SPKLD1: Seaborn, ga.
SeabornDan: I usually have 3 events going on at a time in my books...
something continuous to keep my
SeabornDan: primary character going and making his/her final objective just
out of reach... for a while.
SeabornDan: /
HOST WRTR SPKLD1: good point!
MudderGG: !
HOST WRTR SPKLD1: Having the "red herring" sub-plot to just to confuse is an
example.
HOST WRTR SPKLD1: Go ahead Mudder.
MudderGG: Rebecca...the heroine is unsure of her husband's
MudderGG: love until she discovers that his first wife was a meanie...then
Host Wrtr RGugat: !
MudderGG: she becomes more confident. GA
HOST WRTR SPKLD1: Host RG, ga.
Host Wrtr RGugat: Thank you for your participation tonight and please
Host Wrtr RGugat: come back next week when HOST WRTR Linda
Host Wrtr RGugat: leads our discussion on Concrete Words.
Host Wrtr RGugat: ga
Host Wrtr RGugat: good night all
HOST WRTR SPKLD1: oh you're reminding me we've run over-time...
LMBRUN5: Good Chat SPKLD1, thank you!
MudderGG: This has been great.  Thanks so much!
Shiloh Shaman: thank you greatly
Kathcolo: thanks!
Kathi Smith 116: Wait, I'm still waiting for examples!
MudderGG: Learned a lot
Kathcolo: this was fabulously helpful
Ruth Sil: Thank yu for a great chat. Nite all<><><><>>>>
SeabornDan: Are y'all locked into a time frame or something?!
HOST WRTR SPKLD1: if anyone would care to have the final tips sent to them,
let me know...
Kathi Smith 116: I would like that, Spkld
HOST WRTR SPKLD1: yes we are Seaborn. 1 hour..
Ruth Sil: Yes, please
Shiloh Shaman: I would like the entire chat plue tips sent to me
Kathcolo: I would like the bio sheet
Kathcolo: please
HOST WRTR SPKLD1: making up the list....
HOST WRTR SPKLD1: will do!
Kathcolo: thanks
SeabornDan: Kathi Smith, examples of what?
Kathi Smith 116: Great job, Spkld!
HOST WRTR SPKLD1: thanks kathi...
HOST WRTR SPKLD1: and thanks everyone for attending!
Kathcolo: you're welcome
Kathi Smith 116: Night all!
HOST WRTR SPKLD1: I'd also like to thank my Greeter, Host Wrtr Rgugat.
HOST WRTR SPKLD1: see you all next week!
HOST WRTR SPKLD1: ::LOGOFF::
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Final Tip List (originally mailed to chatters)

     The first quality to correct a sagging tale is sub-plotting, or the development of plots within plots, is a common method used to round a character--and the story of course. Like the layers mentioned each brings with it a life of their own, as the character's central focus wavers and shifts.
     This can be from an event that doesn't seem to make sense to the protagonist, or seems to make too much sense and so sends them on a path that may, or may not, be fruitful. This draws out the character's attempt to understand his or her situation, and having done this the character drives their way through these encounters and situations.

     The second quality to correcting a tale is adding characters, which is as equally important as the plotting itself, or the full depth of your protagonist will not be reached. Each additional character is living their own plot and story within our tale, which gives the protagonist a field upon which to react and guess their place within the scheme of things. This exposes the protagonist's personality by showing their reactions to the "slippery ice" of reality, as they attempt to propel themselves forward.
     Therefore, if the protagonist is not living up to your expectations, the addition of another character and their subplot can shift the course of the story and the resulting depth. Such an example may be the finding of someone in a similar or worse situation, which causes the character to exhibit their altruistic side by attempting to solve both problems at once. Though this may require a bit of rewriting, it is an easy way to correct a sagging middle.

     The final quality to correct a sagging tale is Fate and Timing, or those events that take place of their own accord. It has been said for example that Evil cannot afford a single mistake, because that detail will bring about its undoing. The protagonist on the other hand can often stumble around and still find the path to the end, because thwarting an evil plan can be as simple as a delay, or as complex as a direct assault. Even the quality of self-sacrifice falls into this category, as the protagonist judges the plans of the nemesis and weighs the outcome of inaction on their part. So this becomes the final quality to be used to correct a sagging middle.
     The reason I say this should be the last quality you should look at is that Fate must avoid the "god in a box" complex, where a form divine intervention takes place, a superior race suddenly appears and solves all problems, or the protagonist suddenly comprehends a situation beyond their limits. I've seen this take place in a variety of stories, and have been disappointed with each occurrence. (And some by highly respected authors as well.)

So to review;
--As your characters progress to the end they must change themselves or their conditions, learning new things or new ways to remain the same.

--Adding other characters or subplots brings in new life to a tale, changing and developing the story as each brings their own history and goals into play.

--Timing and Fate should never be forgotten, as the universe around your characters unfolds by a will of its own.

--And finally, each change of your character modifies how they react, speak, and what drives them through the story, such change exposing a new depth of their personality. All such changes should be noted on your Character Biographical Sheet or outline.