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@fantaasik
Considering the Irrationality of Your Characters
In honor of The Hunger Games movies finishing up this last year, I re-read the trilogy (again), and realized (again) that when it comes to Katniss Everdeen, Suzanne Collins doesn’t forget to consider Katniss’s irrational side.
Often when we deal with characters, we spend a lot of time building their rational side. We look at their rational motives and try to make sure they are thinking logically for the story line. I know I have spent hours trying to brainstorm and pin down the logical thoughts in some of my characters’ heads. But considering how your character can be irrational can provide plenty of ideas for you to play with.
Throughout the series, Collins lets us in on Katniss’s irrational thoughts and feelings. Katniss sometimes even realizes they are irrational herself. As vital as logical thoughts and feelings are, sometimes it’s the irrational that can kick our story up a notch and escalate the suspense.
One of the examples that leapse to mind is in the first book, The Hunger Games, when Katniss first gets into the arena. Haymitch specifically tells her not to run to the cornucopia, but when Katniss sees the bow and arrows, she’s extremely tempted to go for them. Peeta sees this and shakes his head at her, which leads Katniss to hesitate. She misses her chance to get the bow and arrows and is angry at Peeta.
We get how she’s angry at Peeta, but from a strictly logical point of view, it’s irrational. Peeta was just trying to discourage Katniss, in order to keep her alive. Katniss wasn’t supposed to go for the bow anyway. And Katniss is mad at him?
That’s a simple example, but there are plenty of others. Sometimes it’s Katniss’s irrational emotions and decisions (especially coupled with her impulsiveness and borderline hysteria) that really amplify the tension in the story. It keeps the story and Katniss interesting. And at least for me, it make Katniss feel more real.
Now a bit of warning, usually (not always) the reader needs to understand where the irrationality is coming from, on some level. If it’s out of the blue and out of character, this can hurt rather than help your scene. Katniss being mad at Peeta might not be the most logical thing, but we understand her on a human level. She’s really upset about not getting the bow, and the secondary emotion–anger–is being directed at him.
Like in my post about the emotional range of your character, how irrational your character is and in what why he is, depends on his personality. Katniss tends to be very angry or in breakdown mode when she becomes irrational. Other people get irrational when they are extremely happy (irrationally optimistic, for example) or when they are jealous. Some characters are irrational more often than others.
Powerful emotions are a great path to irrational behavior, but flawed reasoning can lead your character there as well.
So don’t forget to consider irrationality in your story.
My advice when folks are struggling with writing in the third-person omniscient is to Lemony Snicket it up. Give your omniscient narrator strong opinions about what’s going on. Don’t fall into the trap of assuming that the third-person omniscient perspective must also use the objective voice; those are two separate things, and many of the most popular and successful writers who’ve written in the third-person omniscient do not, in fact, use the objective voice.
“Willingness to admit the narrative has a voice” is, I think, a big part of what makes young adult literature so much more engaging than a lot of books marketed at adults, particularly adult men.
“Lemony Snicket it up” is a very good phrase and very good advice
I just appreciate seeing third-person omniscient recognized as an actual POV, because people are often dismissive of it (and yes, this is good)
CALLOUT POST @ ALL WRITERS
write
logical brain: it’s just fanfiction… you’re writing this for fun… it’s okay if it’s not perfect as long as you enjoyed creating it
monkey brain: everything I write must be groundbreaking
The two types of fantasy writers
1. Feverishly calculating the body mass of your dragon species, spent 5 hours last night researching the origins of steel, losing sleep over horseshoes, 20 tabs open, should a cockatrice be warm-blooded?, will die if they don’t immediately figure out when honeybees were first domesticated
2.
Writing good romance is so difficult because the entire plot is based on character interactions and producing chemistry. The readers need to believe in the love, whether the hero and heroine have known one another for a week or for years. We need to believe.
So often I see ppl criticize the romance in books and it comes off as them hating romance and I’m like no no no no no, a well done romance is an exquisite piece of writing. It’s not romance in general that sucks, it’s bad romance that sucks. Insta love with no chemistry. Relationships with no conflict. Badly written heroes. Those romances suck.
But romance books? Written by masters of the genre? Those are amazing.
THIS RIGHT HERE
It’s easy to write bad romance, because good romance requires a near-doctorate level understanding of human psychology and motivations.
Here’s the thing… certain emotions are easy to evoke and others are very hard to master and write.
Anger. Hate. Rage. Fear. <– negative emotions are the easiest to write because they rely on primal instinct programmed into the human brain by thousands of years of evolution. Within cultures there are certain things that will always evoke rage (and this is why not all books translate well to other cultures). Certain fears are universal.
Every bestseller every written has a Universal Fear driving at least the opening act of the book if not the whole book itself. Most bestsellers use “I fear I am worthless.” or “I fear death.” as their driving focus. Everything from PRIDE AND PREJUDICE to HARRY POTTER has used this and it’s why it sells so well.
It’s also why Romance isn’t taken seriously at times.
Romance promises as a happy romantic ending. Which means the two most common universal fears are utterly erased by the genre requirements alone. No one is going to die. The characters are going to be loved and feel worthwhile by the end of the book.
Since readers are programmed by society to instinctively fear those things some people have trouble relating to a romance story where they must latch onto something other than fear to get through a book.
Joy. Humor. Laughter. Happiness. <— positive emotions are really hard to write because they are complex emotions. There is nothing that makes people universally happy. I know, it’s shocking. Not kittens. Not puppies. Not a mother’s love. That thing you love, adore, and can’t live without? Yeah, someone hates it.
This is why writing satire or humor is so difficult. It’s why happy books are dismissed as fluffy or silly. They have a much narrower audience. The author has to reach into the reader’s head and manipulate their emotions so that they can feel soaring triumph. There isn’t a shortcut to writing happiness.
LOVE. <– Such a complex thing. Little understood. Hard to define. Ever roving about. Love, especially sexual and romantic love, are so individual that there will never be a One Size Fits All.
When an author sets out to write a romance they have to convince the reader not only to abandon fear but they have to write humans who are complex, convincing, and through storytelling explain the psychology of these individuals so the reader goes, “Yes, yes! I see it! I see why these two are perfect together and could never be with anyone else!”
It’s at once something many people have an innate talent for (hello, shippers!) and that many people don’t understand. Understanding love requires a very unselfish, un-egocentric view of the world. You have to think like someone else. And then, as the author, you have to create a way for a reader to easily step into the mind of someone else and understand this attraction without using shortcuts like “I saw her and got a boner. It’s love!” Because that isn’t.
It’s easy to write bad romance. It’s easy to use shortcuts and script the book like a film. But where films can rely on music and facial expressions to convey the complexity of emotion a writer only has words. There is no soundtrack for Chapter 7. There is no set of words in the English language that properly express the depth of feeling, the longing and desire, of seeing someone you treasure turn and smile at someone else and knowing from the depths of your soul that you would give up everything just to keep them smiling.
Writing a good romance means balancing internal and external conflict, knowing a person’s weaknesses and strengths, and pairing them with someone(s) who fill in their gaps, boost their strengths, and make them happy at the same time. And then, after all of that, you have to find readers who will understand and appreciate the characters you’ve written. You have to make the reader fall in love too.
Done well Romance is the most complex literary form.
Done poorly it’s just bad writing.
What people think writing is like: careful planning and thought out plotlines
What writing is actually like: being possessed by an idea that you are constantly arguing with
I have never seen such an accurate description of writing in my life
This post came into my home, unannounced, and disrespected me in in front of my mother, my dog, and my fish.
Writing advice: don’t use adverbs ever or everything you do is terrible
Best selling author and scriptwriter Neil Gaiman:
I think a very important part of learning to write is realizing you don’t have to learn everything all at once
It’s okay to write a story and Not Even Bother with description because you’re working on getting the knack for dialogue or whatever
It’s okay to write a story that goes absolutely nowhere because you just wanna practice setting up scenes
It’s okay to reach for a “lazy” plot because you want to put your effort towards mastering characterization
And on a more fundamental level — it’s okay to throw grammar to the wind if you really just wanna practice the bare bones of piecing together a story
trying to Get Everything Right from the start is very overwhelming, but if you focus on practicing one thing at a time, even writing that comes out “bad” will feel like a success because dangit you set out to learn a thing And You Did
You don’t have to master everything at once, and not every piece has be masterful
Its okay to fill your toolbox piece by piece
What being drunk is like, for fic writers who have never been drunk before
Nothing wrong with never being drunk (in fact, it’s probs a good thing) but it can be hard to write convincingly about alcohol if you’re not familiar with it, and I’ve read enough fics where 5 secs into reading I’m already cringing sooooo
1. It takes more than 1 beer to get drunk
Personally, it takes me (a small female occasional-drinker) either around 3 shots of any spirit, 2 large glasses of wine or 2.5 beer-like drinks within a short space of time to get over tipsy into drunk territory, and to be really drunk-drunk, a bottle of wine (3 or 4 glasses), or 5 shots should do it. BUT IT VARIES FROM PERSON TO PERSON
2. Lime and salt is literally only for tequila
and I know like less than 3 people who actually enjoy the taste of any alcohol
3. Your vision isn’t “blurry” or “foggy”
Alcohol affects your balance not your eyes, so the room defo can seem like it’s spinning but you’ll still have your 20/20. Sometimes it’s hard to focus, but it’s not constant - just every so often your eyes miss their mark.
4. Speech is less “slurred”, more in the wrong order
A great thread on writing drunk dialogue here: https://www.quora.com/How-can-I-write-dialogue-for-a-drunk-character
5. Not everyone gets hyper-sexual when drunk
It’s less a state of horniness and more a state of lowered inhibitions and social pressure
6. Coffee doesn’t sober you up like magic
Alcohol dissipates from the body at a rate of about .015% of BAC per hour, and drinking coffee doesn’t alter that rate
7. Alcohol rarely sends you into a deep and heavy sleep
You’re more likely to sleep fitfully and keep waking (sometimes to be sick, more likely to piss/drink water - sometimes just bcos being drunk is uncomfortable), unless you’re an alcoholic who depends on drink for sleep
8. You don’t *hic* in the middle of every sentence!!
If the drink is carbonated, then maybe, but you’re way more likely to have a problem with bloating etc with alcohol
9. You don’t go straight to black-out, speech-slurring drunk
It takes a lot of units and likely a couple of hours to work up to this stage - for different kinds of drunk this webpage is good: http://krisnoel.com/post/40871345058/my-character-is-drunk
10. Having drunk sex is difficult, awkward and rarely sexy
And you’re more likely to make-out with your friends than any strangers at a club, just because
11. Hangovers are rarely pounding, light-aversion torture
The younger/more tolerant you are, the better. Generally, for a night of heavy but not black-out drinking, you’ll be thirsty, probs nauseous and tired. The room may still be spinning but in an annoying, not painful way, and this’ll go away after a couple of hours and eating something, getting fresh air or having a shower (whatever works for you)
12. People talk nonsense when drunk
You are less likely to get a love confession and more likely to hear about all the rules for a complicated game they just invented, right that second
13. Everyone is different
Don’t make all your characters hyper, or depressive, or angry. For most of the night they won’t get to that stage anyway. Also, remember this whole list is based on my experiences, so feel free to ignore it all and do your own thing.
Happy drunk writing!
i can’t believe all it took to convince tony stark to literally invent time travel and save the fucking universe was looking at 1 (one) picture of peter parker
Enjoy this meme I made instead of writing
Reblog this meme instead of writing.
Trauma survivors on tv: (beautifully broken, delivers tearful speech on their traumas, hug it out)
Me: (describes abusive event and laughs) BOY THAT SURE WAS FUCKED UP
(making an oc) ok! this oc will not have any Sad Things in their backstory!
(me, several hours later) i lied
Writer’s advice that I've never seen anybody disagree with
If you feel that striking one specific word from the text won’t make the text any less nice and/or well-written, then you must strike that word.
On a related note, don’t use two words if you feel that one single word can replace them with no loss of text quality. (Unless you’re writing for NaNoWriMo, haha.)
Don’t use the same dialogue tag twice in a row. it stands out. Always. (Except for “said,” of course.)
If you’re including a long flashback, make sure that the readers don’t mind the main plot being stopped.
Your friends and your family can’t give objective advice on your writing. No. Listen to me. They can’t.
If your novel includes SF or fantasy elements, make sure that the occurrence of fantastical elements is made clear reasonably early in the story.
It’s not true that adverbs are inherently bad, but it is true that “he yelled” is better than “he said loudly.”
When you’re using other dialogue tags than the usual “said” or “asked,” make sure that there’s a need for the specific dialogue tag you’re using. Don’t have characters mutter their lines unless muttering is required specifically.
Most importantly: Never, e v e r follow writing advice until you understand what the thought behind it is.