The Three Dimensional Character in Novels

by C. Patrick Schulze

Listen to a PODCAST of this article.

Much is said about the mythical three dimensional character, yet there's a dearth of information about the concept. Sure, there's an overload of particulars on the subject, but it all seems a bit incomplete. Especially since I've received my manuscript back from the editor and she told me to add dimension to my hero.

So, I set out to find what it is that makes for a three dimensional character.

The wide breath of information on the subject follows this basic outline. One, your character must be believable. Two, your character must have flaws and, three, be relatable to your reader. Three dimensions, right? Though that's correct as far as it goes, I'd come to believe, something's missing from that formula.

Well, I think I've figured out what's missing. It's the levels, the depth, of their personality.

I've come to see it like this. The first dimension is that part of your character the world sees. It is their habits, their mannerisms, their dress, hairstyle and the like. It is those sensory clues he give the world.

The second dimension of your character is his backstory, his dark side, his past. What is it that compels your character to do the things he does? This backstory is what offers understanding of your character's persona, those parts of his life he hides from others.

Why does he hate woman, enjoy over-eating or fret over insignificant details? It's a character's backstory that gives him this part of his personality. It is this second dimension of "why" that draws empathy from your reader. And as we all know, empathy is what draws your reader into and empowers your novel.

The character's third dimension is comprised of his actions, behaviors and outlook on life. It's the reasons he makes the decisions he does. If truth be told, your character's moral fiber is defined by the actions he takes and his actions are defined by his outlook toward the world.

This outlook is the primary difference between your hero and villain. The hero suppresses his desire due to his outlook on life, what he considers right and wrong. In contrast, the villain fails to suppress those same urges as his concept of good and evil differs from the hero's.

It also seems to me these various levels of the three dimensional character need be unique and able to stand on their own. However, they should still coincide or mesh with each other. 

For an example as to how these three dimensions conjoin, imagine a character who exhibits an outward show of honesty. This is his first dimension, his noticeable appearance. He feels this way because his father used to take a belt to his backside when he lied as a child. This is his "why" or the second dimension to his personality. However, he lies to his wife when he has an affair. This is his third dimension, his actions.

The best authors are able to stir these three dimensions together to create a concoction that brews that elusive three dimensional character. In fact, the more I read, the more I'm convinced it is the art of characterization that lies at the heart of storytelling.

In my opinion, it you place more emphasis on your character's true three dimensions, your writing and your novel will rise to a new level.

Now, who among you have ever heard someone say your characters are not three dimensional and what did you do about it?

Until we speak again, know I wish for you only best-sellers.

C. Patrick Schulze

Author of the BACK-from-the-editors novel, "Born to be Brothers"

The Dark Side to Your Novel's Hero

The Dark Side of Your Novel's Hero

by C. Patrick Schulze

Listen to a PODCAST of this article.

We all know our HERO require a weakness. But did you also know he needs a dark side, a shadow if you will, and this part of him needs to come out? I didn't until I read my EDITOR's suggestions for my current manuscript. In one of her four hundred thirty-two suggestions, she recommended I needed to play up my hero's dark side a bit more.

The fact she mentioned this proved I didn't know enough about the concept, so I did some reading on the subject. I now feel I have a better handled on the idea and thought I'd pass along what I've come to know. After all, it is all about the sharing, isn't it?

To start, if your hero must have a dark side, what good is it if it doesn't come out of hiding? That was the editor's point. As I reevaluated my manuscript and the character in question, I realized my hero had a shadow, I'd simply not used it to effect.

So, what is this shadow and what might cause the good guy to turn to his dark side?

His dark side is the villain. Surprised? So was I until I thought it through.

The villain personifies those qualities opposite of your hero, right? He therefore possesses those characteristics your hero despises or those that may even frighten him. And why does the protagonist hate those qualities? It's because these aspects of his personality are his own shadow, a deeply subdued part of himself.

Whoa… Flashback to Psych 101.

In any case, how might the hero's dark side come to the fore? Most often it is the villain who draws it from him. It is he who pushes the hero's buttons and forces the good guy over the edge. In effect, he provokes your hero to his breaking point.

Consider "The Lord of the Rings." The master ring pulls from its owner their worst, does it not? How about "The Wizard of OZ?" Dorothy kills the witch who, in turn, wants to kill Dorothy for killing the witches' sister, all of which is contrary to Dorothy's basic personality. This all makes sense when we realize a villain must force the hero into some sort of obsession if the good guy is to complete his quest.

Think of it like this. Take your hero's finest characteristic and use it against him. Does he think himself a brave soldier? Them maybe he should run away when he first faces combat like in "The Red Badge of Courage." Does he believe marriage is sacred? Then have the villain force him into a divorce. Is he a happy-go-lucky guy? Then turn this characteristic into irresponsibility. The secret to this, is to ensure the motivation for this transformation is valid. Did Dorothy have a reason to kill the Wicked Witch? Yup.

What keeps the hero from becoming a bad guy himself? It's choice. He chooses not be become like his nemesis, thus again subduing his own dark appetites.

The good part of this whole shadow concept? It allows for character growth. It fills in his personality and gives you a more three-dimensional character. It overcomes the imbalance that kept your hero from his goal.

You can develop this dichotomy in your hero by way of a three-pronged technique. You first develop his high qualities. Then find the opposite of these. Finally, you assign a physical behavior to this contradictory characteristic.

For example, if your hero loves children, the opposite is to hate children. The activity that might brings this out is he causes a child's death.

So, a major aspect of a fully developed hero, is to give him a dark side, a shadow, then bring it out of him by way of a button-pushing villain who posses those same traits.

I don't know about you, but I found this interesting. Regardless, I've got work to do on "Born to be Brothers."

Have you brought out the dark side to your hero? How did you do it?

Until we speak again, know I wish for you only best-sellers.

C. Patrick Schulze

Author of the BACK-from-the-editors novel, "Born to be Brothers"

Don't Write a Novel, Write a Story

by C. Patrick Schulze

Listen to a PODCAST of this article.

A reader of this blog asked if I might help get her NOVEL started. She said she had the idea and the research completed, but was uncertain as to how to get on track. This article is for her.

When I first began to WRITE, I joined a writer's group and sat in on a few meetings. I hoped the group could tell me how to write a novel, but found I had my proverbial horse way ahead of my cart. I didn't need to learn how to write a novel. I needed to learn how to tell a story. That little piece of information changed my life.

The next thing I learned was the difference between a story and a novel. A story is the plot, that succession of incidents within the novel. It's what happens in your novel. The novel is the narrative by which the story is presented.

That means you first write a story, then convert it into your novel.

All you need to get your story started is a plan. And with novels, the classic plan is called The Hero's Journey. It's been around since the days of Mythology and is still used by the best writers today. The Hero's Journey is nothing more than a structured string of the events your hero needs to endure.

The Hero's Journey has twelve situations your hero must face. This generates a plot and forces a story to pop out as if by osmosis. The novel is much more difficult, but the story, well, that's easy.

Here are the twelve steps to the Hero's Journey.

1. Ordinary World: You show your hero's life at the start of your story.

2. Call to Adventure: Something, whether the hero realizes it or not, calls him toward some grand quest.

3. Refusal of the Call: The hero first says he can't undertake this quest.

4. Meeting the Mentor: Your hero meets someone important to help him on his quest.

5. Crossing the Threshold: This represents that event that ensures your hero can not go back to his Ordinary World until he finishes his quest.

6. Tests, Allies and Enemies: These are people or events that help or hinder the hero.

7. Approach to the Innermost Cave: He closes in on the big bad villain.

8. Ordeal: He fights the bad guy.

9. Seizing the Sword: Your hero takes what it is he needed to complete his quest. It's what he's gained by his Ordeal.

10. The Road Back: The trials he may face to get back to his Ordinary World.

11. Resurrection: This is the time when your hero proves he's gained the right to use the "sword" he's won.

12. Return with the Elixir: This is where your hero reaches his Ordinary World once again and shares his "sword" with others.

If you think about these twelve steps, it makes perfect sense a story will be the natural outcome. You've got good guys, bad guys, conflict, excitement, rewards and all the rest.

Better yet, it works regardless your genre. For example, think about a story of an abused wife. Her ordeal may be the beatings she underwent and her "sword" may be her freedom. In the same light, in a war story the ordeal may be a battle and the "sword" the death of the enemy general. There is no genre for which The Hero's Journey does not work.

Now, a short article cannot teach you everything you need to know about how to write a story. However, further information is all over the Web and in countless books at any library or bookstore. Take some time to study The Hero's Journey and if you take it to heart, your story will emerge.

Is this all there is to The Hero's Journey? Of course not. Entire literature courses cover each of these twelve aspects. However, it worked for authors then and it works for authors now. It will get you started. It's step one.

Are they other ways to write a story? Of course, but until you've got some work under your belt, use it. As they say on television, "It works!"

Now, some say The Hero's Journey is outdated or incomplete. Maybe, maybe not, but here's a clue. That little black dress and a string of pearls still work, don't they? They work because they're classic. That is, they brought out a woman's beauty then and they do so to this day. Here's another way to look at this idea. If they can write "Star Wars," "The Lion King," "Pulp Fiction" and even "The Full Monty" by way of The Hero's Journey, you and I can use it for our story, too.

Now, are there any specific articles I can write to assist you on your path to publication? If so, let me know.

Until we speak again, know I wish for you only best-sellers.

C. Patrick Schulze

Author of the emerging novel "Born to be Brothers"

How to Develop a Novel's Plot

by C. Patrick Schulze

Listen to a PODCAST of this article.

There are any number of required elements one must infuse into their novel to make it successful. However, few NOVELS will succeed if the authors does not know how to develop a novel's PLOT.

Plot is defined in many ways, but for the sake of this article, I'll say plot is those sequential events that transpire within your novel. You know what I mean. Boy meets girl, boy gets girl, girl tells boy they need a break, boy meets some young chippy at the copy store for a one-nighter and girl lords it over boy's head forever. (Sound familiar?)

So, how might one develop a novel's plot?

Allow me to present a formula, if you will, that may help with this task. If you follow the steps outlined here, you'll end up with a story, every time. Let's get started.

1. Begin with the proverbial hook. Make it so exciting they want to read more.

2. Show your main character's normal life. What is it he's about to lose?

3. Introduce your villain, even if he's not identified as such.

4. Introduce your third wheel and other lesser characters.

5. Introduce the hero's problem or desire. He wants something. What is it?

6. Show how the villain plans to thwart your hero. There's a reason they call him the villain.

7. Show your hero's flaws. What is it about him that will keep him from his goal?

8. Give your hero an irresistible shove and move him away from his normal life to face the required challenges that keep him from his want.

9. Get your hero moving on the path toward his goal.

10. Toss in a few unexpected obstacles or characters who try to deter him from his goal.

11. Have your hero fail in his attempts to move forward. He must realize he cannot reach his goal without assistance.

12. Have your protagonist meet any number or sort of allies and teachers. They give him the tools, whether physical, mental or emotional, to accomplish his goal.

13. It may be time to toss in some comic relief.

14. Your hero should progress toward his goal now that he's attained allies and experience.

15. Uh-oh! Your hero faces another terrible ordeal which he is unable to overcome.

16. More new skills are learned so the hero can move forward on his quest. This may mean new allies or old one who help in new ways.

17. Now, your protagonist must move forward on his own. In effect, his allies can help no more.

18. More comic relief? Maybe, maybe not.

19. Your hero comes to the conclusion he is unable to make his desires a reality. He feels he has failed.

20. But wait! There's more! Something or someone appears and helps your hero get back on track.

21. Your hero again moves forward on his quest.

22. The Big Bad Wolf appears in all his evil glory. Even though he'd been introduced earlier, his true wickedness now comes to light.

23. The hero is defeated, but not killed, by the Big Bad Wolf.

24. Some new and necessary tool or strength is found by your hero.

25. Your hero realizes he must lose something of value if he is to defeat his antagonist. Will he lose the girl if he continues on his quest?

26. Your hero grows in wisdom and realized what is important and what is not.

27. With this evolution, your hero determines to get back into the game.

28. Your hero faces the Big Bad Wolf once more and this time defeats the villain. 

29. But wait! There's still more! The hero doesn't realize it, but the villain is not really dead and the bad guy rises to attack once more.

30. The good guy finally kills the evil doer.

31. Everyone goes home and we find out who gets the girl, the jewels, the weapons, the knowledge or whatever.

32. Everyone lives happily ever after. Ah, except the villain, of course.

Keep in mind this outline is universal in nature. The formula works regardless the genre of your novel.

Must you follow this outline in perfect sequence? Not at all. You can mix up the order and even delete a couple steps if it works for you novel.

The secret, of course, is to create a scene from each of these points. If you do, you've got yourself a general storyline.

What questions to you have as to how to develop a novel's plot?

Until we meet again, know I wish for you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, "Born to be Brothers"

9 Essentials for Writing Your Climactic Scene

by C. Patrick Schulze

To listen to a podcast of this article, click HERE.

Every novel requires that final, explosive scene where the protagonist and his villain struggle with each other to the certain demise of one or the other. It matters not if you hero is a working mother trying to make ends meet, or the commander of the forces ready to invade Omaha Beach on D-Day. Every novel should have this climactic scene and you should consider certain criteria to make it as powerful as you can.

Here are nine tips to help you when writing that all-important scene.

This scene should be an epic confrontation with a clear winner and a clear loser. Someone gets the girl and someone goes home from the party by himself.

Your hero must confront his most worthy of adversaries. Secondary evil doers simply won’t do. Make this clash between the biggest and baddest.

Your reader expects your hero to win and so he should. However, his victory need not be what they expect. Regardless the sour taste of your hero’s success, a victory he should have.

Your hero should win something of value for his trials. It could be the realization that “The Girl” just ain’t worth the work, or it may be real estate garnered by an incredible battle. Whatever he learns or wins, it must make him a better person, or creature, as the case may be.

In this scene it is not the time for surprise arrivals of any sort. The cavalry, in any of its many forms, should not jump into the story at this point. All that should be set up earlier in your novel.

Have your hero save himself. Imagine if your hero is fighting the villain in hand-to-hand combat and just as the bad guy puts the sword to his throat, an unmentioned meteor streaks from the sky to obliterate the bad guy in a magnificent blaze of fire. Don’t you think your readers will be disappointed in that? Now, that’s not to say the beautiful model can’t Kung Fu in and save him earlier in the story, but at this time, he’s on his own.

There should be no flashbacks at this point in your novel. Flashbacks are tough anyway, but they break the tension and can kill the entire scene. Once the scene opens, focus on the conflict in that scene. Your readers’ interest should be at its peak and they deserve a healthy portion of suspense, action and conflict.

Speaking of action and conflict, this scene should be resolved with action and conflict. Let them duke it out, metaphorically, emotionally or physically, but get the tussle going. Make this thing as exciting as you can. (For more information on the difference between action and conflict, read this ARTICLE.)

Clarification of anything is death to this scene. This is the time for action and your readers should have already received any explanations they need, although mysteries might get away with this to a point.

And finally, this scene should end in a rational fashion. Make it suspenseful, but logical. You never want your readers to say, “Don’t buy it,” at the end of your story. If they do, they’ll tell their friends the same thing; “Don’t buy it.”

Now, are there any aspects to the climactic scene I’ve forgotten?

Until my next post, you knows I wish you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers”

Plot Tips for the Aspiring Author

By C. Patrick Schulze

To listen to a podcast of this article, click HERE.

Before we begin, it’s probably a good idea to define the concept of plot. In general terms, it’s the problems your hero confronts as he travels through the world you’ve created for him. Plot is what keeps your readers’ interest.

Your plot is comprised of three major components, the Complication, the Climax and the Resolution. The Complication involves those scenes that begin your major conflict or plot point. The Complication identifies for your reader what dramatic quest your hero must undergo. The Climax is that plot point where your premier character faces his Complication, the bad guy. The Resolution, of course, is that series of events that solve the conflict outlined in the Complication. It closes the story.

It may help to think of your plot as a three-act play. Your first act is the Complication, the second the Climax and the third, of course, the Resolution.

For some general tips on how to develop your plot, consider the following:

1. Make sure your hero suffers. His trials can be emotional, physical, mental, or best of all, a combination of the three. Keep in mind the more he suffers, the better is his exhilaration during the Resolution phase.

2. The conflict you create must have enough power to encompass the entirety of your story. A secret to this is to interweave subplots into your novel. (For more on subplots, read THIS article.)

3. Insure your hero and villain are evenly matched. It’s important for the story that your reader never knows if your hero will survive his ordeal. He will, and they know it, but you do need to create that sense of doubt for your plot to work with efficiency.

4. Each chapter of your story should hang on an issue. As a famous author whom I can’t quote at this time said, someone must want something in every chapter, even if it’s only a glass of water. This constant tension will keep your audience wanting to read more.

5. Make sure you couple the correct setting with your conflict and plot points. It’s more riveting for your hero to suffer thirst in the desert than a coffee shop. (For more on setting, read THIS article.)

6. At some time, your hero must grab the bull by the horns and get into it with the villain. Nobody wants to read about an indecisive hero. Get the man dirty.

7. It’s not nice to fool Mother Nature, but it’s just fine to fool your reader. Give your plot twists and turns to confuse and surprise them. I think they call this, "mystery."

8. Foreshadowing is a powerful tool when developing your plot. Let them know something ominous is coming, just don’t spill those proverbial beans too soon.

9. Try to stay away from stereotypes in fiction. The nun who works for the underground is more interesting than the soldier who does so. 

10. Let your plot develop as you move through your story. Don’t be afraid to allow your imagination to take your characters where it wants them to go.

11. The secret to your success as a writer of fiction is the good story. And the good story is all about plot. And plot is all about conflict.

What tips might you have to pass along as to how you develop your plot?

Best of luck with developing your plot, and know I wish for you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, "Born to be Brothers."

4 Steps to Character Development

We all realize one of the most critical components in the craft of writing any novel is its characters. Without effective characterization, the chance of penning a successful novel approaches zero. Therefore, I spend much of my writing time creating those people who will populate my manuscripts. Personally, I use a four-step process for developing my characters.

These four steps are:

1.     Summarize the type of character needed for the story

2.     Find a photo of that person

3.     Interview my main characters

4.     Review my character's reactions during the editing process

First, I jot down the basic characteristics I'll need for my hero, villain and any love interest. I focus more on their personality than physical characteristics and I try to envision how this person I'm creating will react to situations I already imagine will occur in the story.

I sort of feel this person out and makes notes as my mind wanders between the character and the story. Other writers fill in formal note cards or databases, many types of which you can find on the Internet. It matters not how you gather this information, but knowing my characters' personalities before I craft them helps me flesh them out as I write.

Next I locate, cut out and paste up photos of my characters. I physically mount their faces, and if necessary to the story, full body photos of my people. I pay very close attention to the look in their eyes, for I need specific personality types, and the eyes are the harbinger of this. I might take hours upon hours to find the perfect pictures, but when I have them, I paste these photos on a piece of poster board and keep it on my desk as I write. Early in the writing process, I refer to these photos often, especially when I write dialogue, which I think is one of the secrets to effective dialogue. As I become more familiar with the characters as individuals, I refer to their photos less and less, but still keep the mounting board on my desk as I write.  

Third, I interview my characters. Yes, it is a formal interview as if I'm speaking to someone for a magazine article. By now I've developed a basic storyline so I ask them questions that relate to my story. For example, in an early manuscript, my heroine learned her husband died in battle and she traveled to the field to find his remains. (It was common in the era in which I write.) So, I asked her, "Lorena, it's late at night and you've wandered over this horrid field with a lantern for hours. You've just found your husband, dead on the battlefield. How would you react to this?" I allow my instincts about this character to answer for me. If I don't get an answer that can translate into an effective scene, I consider altering the scene and/or characterization of this person. By the time I've reviewed most of my story's major plot points as they relate to my major characters, I've got a firm visualization of who my characters are and how I'll write about them in my manuscript.

Finally, as I edit my work I study how my characters reacted to the various situations in which I've placed them. Did they respond according to the  personality I've given them? Did they act as expected? If not, what has to change, the scene, the character or both? The situations in which my characters find themselves have often morphed into something quite different than I'd visualized in my first draft. I consider it imperative to insure my character's have adapted to these new situations in a fashion consistent with their personalities.

My manuscripts are character-driven and this four-step process insures those people I create mesh with my plot points and storyline without issue.

Are there other techniques or tips you use to create your characters? Let me know and I'll post them, with appropriate credit, of course.

Until then, I wish you only best-sellers.

C. Patrick Schulze

The Secrets of the Dreaded Synopsis

I’ve yet to meet an author who looked forward to writing their novel synopsis. In fact, many believe it’s more difficult to write than the novel itself. Not to say it’s easy, but a few simple tenets can get you started.

Let’s first ask if a synopsis is even necessary these days. From reading the submission guidelines of agents, I see many don’t request one and that leads me to believe it has lost much of its influence. However, some still do, and as an aspiring author never knows which agent will represent them, it’s a good idea to have it ready.

The second question is why would an agent would feel a synopsis necessary. The critical reason I found in researching this article is it can be THE pivotal item that gets an editor to read your manuscript. That’s enough for me right there. However, if you need more, consider the following. A well-crafted synopsis can assist the author in finding weak plot points and point you toward ways to polish your story arc. It also assists in improving characterization, plot and setting. Further, it is often utilized by various departments of a publishing house once they accept your novel.

We now know the if and why, but what about the what? What, after all, is a synopsis? Many confuse it with an outline which describes what occurs in the storyline, to whom it happens and when it happens. In contrast, a synopsis portrays the “why” of your story. The novel outline describes the action or what happens, whereas the synopsis offers the conflict or how your characters react to that action.

The essential components to a novel synopsis are:

1. The Opening Hook
2. Character Sketches
3. Plot Highlights
4. The Core Conflict
5. The Conclusion

If you think about what the synopsis is supposed to accomplish, these five aspects make perfect sense. It will give the various readers a good feel for everything they might need to know about your story. Let’s look at each of these components.

The Opening Hook: Start strong. Remember this is about conflict, how and why your characters react the way they do. It is not about action, what happens to them. For example, you would not open with the first line following for it speaks of the action in the story, whereas the second tells the reader about the characters’ REactions.

Two men fight over a woman.
Two brothers lose their friendship when a woman comes between them.

As with any reader, the agent looks for something that will engage them. If your story doesn’t’ sound interesting right away, they’ll probably not read further. You’ve got ninety seconds, so power your way through them.

Character Sketches: This does not mean you describe your characters but rather get to their individual core conflict and the conflict between your two or three main characters. What makes your hero undertake his great quest? Why is your villain working with such diligence to thwart your protagonist? Think motivation rather than descriptions.

Plot Highlights: Give some detail to the first and the climactic scenes and a couple of those in the middle of your story. Use only those scenes that highlight the emotional action and conflict within your story. Make sure whoever reads your synopsis knows just how much trouble befalls your hero.

Core Conflict: Your Opening Hook will probably introduce your core conflict, but make sure you enhance it here. Don’t allow anyone to misunderstand the “why” of your story. If you have multiple conflicts, highlight the premier point then maybe the next couple of levels.

The Conclusion: Show the agent your novel is worked to its completion and flesh out the ending. They want to know the entire story. If they don’t know the ending, they’ll assume it doesn’t work. Tie together any major loose strings and point to a sequel if your novel is one of a planned series.

That’s all there is to it. With things spelled out like this, it doesn’t seem quite so onerous, does it? Use your writer’s voice as you did with your novel and the agent will have a good idea of what it is you’re offering for him to sell.

Best of luck and know I wish you only best-sellers.

C. Patrick Schulze