Showing posts with label Character creation. Show all posts
Showing posts with label Character creation. Show all posts

Tuesday, January 22, 2013

3 Lovecraftian Character Archetypes



"The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents."


The Cthulhu Mythos connoisseur created a little clutter of characters in his lifetime which became constant features in much of his fiction. A casual reading of Lovecraft's works would inform the mind of the recurrence of three character archetypes the master of horror employed as his protagonists. At least, it's what I believe, you might harbor a different opinion. It's allowed.


Photo: david-j-west.blogspot.com

1. The Explorer
Probably, the most consistent character in Lovecraft's tales, this character usually sets off on a quest for the unknown driven by a whiff of information. A character who exhibits an investigative disposition and is fully aware and  understands the consequences of such hideous adventure but decides to go ahead  anyway.

The profile of this fictional character is summed up by the words of a peculiar Lovecraftian character who appears in the story, The Lurking Fear. In the story, this personality declares,
"I am a connoisseur in horrors."
Such characters take it as their responsibility to explore the unknown, to find the source of the terror and if possible, destroy it. There is a pervading sense of obligation to things of the macabre. The primary inclination of these fictional people is best explained by the words of another Lovecraft character;
"Burning curiosity began to displace all other feelings and I enlarged my investigations as best I could."
Lovecraft,


"It is for this latter reason that I urge, with all the force of my being, final abandonment of all the attempts at unearthing those fragments of unknown, primordial masonry which my expedition set out to investigate. Assuming that I was sane and awake, my experience on that night was such as has befallen no man before. It was, moreover, a frightful confirmation of all I had sought to dismiss as myth and dream."
Lovecraft,




2. The Victim
There is a prototype of this character portrayed in the Lovecraft story, Pickman's Model where the protagonist comes in contact with an artist bearing the titular name and his painting. Pickman is in the process of painting a monster that the main character misinterprets as the artist's imagination until he discovers the awful truth.

The Victims are secondary hosts who experience horror only through their association with a primary host who has made contact with some sort of paranormal activity.

"No, I don't know what's become of Pickman, and I don't like to guess. You might have surmised I had some inside information when I dropped him — and that's why I don't want to think where he's gone. Let the police find what they can — it won't be much, judging from the fact that they don't know yet of the old North End place he hired under the name of Peters."
Lovecraft,
Pickman's Model

Another example is one of Lovecraft's most famous works, The Call of Cthulhu. A character comes in contact with the papers of his great-uncle. Said papers seem to be possessed by the spirit which haunted a young artist and ultimately led to his death. It also led to the death of the main character's great-uncle and has likely rearranged the psyche of this character by the time the story turns for home. The displaced wanderer/traveler who finds haunted lodging also comes under this point.


"That was the document I read, and now I have placed it in the tin box beside the bas-relief and the papers of Professor Angell. With it shall go this record of mine - this test of my own sanity, wherein is pieced together that which I hope may never be pieced together again. I have looked upon all that the universe has to hold of horror, and even the skies of spring and the flowers of summer must ever afterward be poison to me. But I do not think my life will be long."
Lovecraft,
The Call of Cthulhu



3. The Inventor

"He no longer treated me so much like a friend as like an implement in his skilled and greedy fingers. I found him possessed of unexpected traits - little examples of baseness and cruelty, apparent even to the hardened Simes, which disturbed me in a most unusual manner. Often he would display extraordinary cruelty to live specimens in his laboratory, for he was constantly carrying on various hidden projects in glandular and muscular transplantation on guinea-pigs and rabbits."
Lovecraft,
The Disinterment

Lovecraftian tales like The Disinterment portray characters who are desperate inventors. The mad scientist persona is another popular feature in Lovecraft's tales. These inventors include alchemists and as a matter of fact, there's a Lovecraft work that goes by that name.
These set of Lovecraftian characters are usually involved in inventions bordering on insanity. These would stop at nothing to achieve their goals and often, perform experiments to alter natural processes like death.

Lovecraft's fictional people could possibly be classified under broader terms. This is just a personal shot at understanding the works of a master of the craft.
Hope you were inspired.

Keep your pen bleeding!



Akpan




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Sunday, September 30, 2012

Your VILLAIN is Someone's HERO

Photo credit: Flickr

Yeah, and why not?

They all seem to be fighting for a cause.
Here’s a striking example from personal experience:

From a different P.O.V, Thomas Harris’ famous character, Hannibal Lecter would have been a formidable villain.

I had the misfortune, or whatever you might call it of reading ‘Hannibal’ first before any of the other books in the series. I ended up disappointed when Dr. Hannibal was not caught or gutted (not necessarily in that order) at the end of the story.

I was rooting for Clarice Starling and completely ignorant the whole time of the fact that Dr. Hannibal was the main character of the book while Agent Starling was tagging along for the ride! Imagine the surprise when Hannibal annihilated everything in his path and successfully kidnapped the FBI agent (Starling) assigned to his case.

The most fearful villains are the ones amped up with a reason for their actions. Morality issues are added boosts for these ‘bad guys’. Most of them believe their actions are for the good of humanity.

When you arm a villain with feelings and concrete emotions and throw in a bit of history in the mix, the reader either despairs for the hero of the story or falls in love with the bad guy(s)’.

Villains do not understand why people hate or fear them. Many are driven beyond the lip of sanity because of the way people react(ed) toward them. You might need to remember this when you create villains for your story.

Making your villain(s) formidable and lovable involves giving them:
1. A history
2. A cause to live or die for
3. Concrete emotions–may involve making them fall in love, probably with somebody who doesn’t know who they really are. (This makes your reader see them as humans and as people going through rough times.)

Of course, your heroes do not always have human or superhuman enemies but when they do have ‘em remember your villain is the next guy’s hero.

Love them or lose your readers!

Keep your pen bleeding!

Akpan


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Thursday, September 27, 2012

How to Make your Story Compelling

If anything’s 100% guaranteed to put the kick in your story, it’s your fictional people–your characters.

Story is important, yes. But somebody once said, Plot is character. I believe him/her. And you will as well once you see what this post has to offer.

Your story is bound to move your readers if it’s populated with compelling characters

Will Smith and son in Pursuit of Happyness
Photo credit: Flickr
Readers want characters they can identify with.

The protagonist of your story does not necessarily have to be superhuman. They don’t even have to fit into the prototype Rambo-style hero niche. The single ingredient which shoves a reader beyond the edge of reality and sends them scrambling into your fictional world (and if I may add, with great pleasure) is how much you make your characters partakers in the fellowship of your reader’s sufferings.

Compelling characters are often than not, ordinary people going through the motions, having the blues. And especially, characters who attain the goal of their dreams when they come through. That goal could be anything from something as other-worldly as superpowers to one as ordinary as a job. (I’m thinking of Will Smith in the Pursuit of Happyness, here.)

What are the things that strike you about your favorite stories? Who are your favorite characters? There might be a story there.

Plot is what your characters do. The bottom line is who your characters are and what your characters do should be interesting or you end up with a blunt tale in your hands.

Without compelling characters, there can be no compelling story.

Let your pen bleed!

Akpan



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Saturday, August 18, 2012

Should Fictional Characters Be Drawn Directly From Life?


We are told repeatedly in creative writing classes, our instructors try their best to stick it up to us in matter of fact that we ought to create believable and realistic characters. In other words, characters that ain’t different from us; people that have something in common with our readers’ personalities.


But Are Fictional Characters Drawn Directly From Life?


“If they ain’t drawn from life ain’t they bound to be flat out, stiff and uninteresting puppets filling up the plot?” Someone might wonder.
And I reply, “Yes, definitely.” You’ll get no argument from me there. The issue I present is whether we should presume to recreate real personalities (famous or otherwise) in our work.

Not so long ago, I read someplace (possibly, on Wikipedia) that the creator of Dracula, Bram Stoker, while writing his book borrowed all the personality traits of his best pal and dumped ‘em into his fictional character’s (Dracula’s) profile.

Ian Fleming worked for the British intelligence agency and started writing his James Bond series after he retired from service. During his service period, he worked with two people who used Bond as surnames (as far as I know, both men were not related).


Fleming himself has owned up to using the personality traits and personal escapades of the British spies he worked with in creating his famous character. James Bond is actually not one singular spy’s makeup but many.


The king of horror, Stephen King mentioned in the introduction to his novel, Lisey’s Story that his wife and her sisters were the inspiration for the novel’s main character (Lisey) and her sisters.
            King was quick to note that Lisey and her sisters were not Tabby (his wife) and her sisters. He just studied them for a better understanding of his own fictional characters.

These writers probably had the blessings of the real counterparts of their fictional creations. I want to believe it’s one reason Bram Stoker’s pal didn’t sue him for every penny his novel made for recreating him as a blood sucking count.

And maybe, it’s the only probable exception. It’s okay to use real people if they don’t veto your decision.
So back to our question:


Should Fictional Characters Be Drawn Directly From Life?

I’ll answer that question with something Stephen King once said in his book, On Writing;


Obviously not, at least on a one-to-one basis-you better not, unless you want to get sued or shot on your way to the mailbox some fine morning.


Pay attention to how real people behave and then improvise when adding the details into your writing. That’s one certified way to write fiction and not get shot!

Bleed your pen!

Akpan



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