Showing posts with label character development. Show all posts
Showing posts with label character development. Show all posts

11 August 2009

Men: Writing the Historical Hero

By Anna C. Bowling

What is it that makes the historical hero special? Yes, you in the front. He lives in another time? Well, yes, that is important to the definition. Let's get some other opinions on that. Over there in the frock coat? A sense of honor? Very good. Someone else? Yes, there in the ah, what sort of fur is that loincloth? That is a loincloth, isn't it? Survival instinct and a pioneering spirit? Yes, those are very useful. Third row, in the cravat? No, no, the one with the emerald stickpin. Manners and breeding? Yes, sometimes, or a self-made man with rougher edges. Hush, hush, please, or we could be here all day listing heroic qualities.

Why ask this sort of question at all, some might wonder? Isn't a historical hero merely a hero who lived in a previous time? Couldn't any of the above qualities reflect in contemporary gentlemen as well? Of course they do, and apart from time travels, all historical heroes do their derring-do in previous eras, but strip them down and put them beside their contemporary counterparts and there's still something different.

The German word for it is "zeitgeist" In short, the spirit of the age and society. The time in which a hero lives will shape him and what he views as heroic. True, the inspirations for our fictional heroes can come from sources as diverse as the latest blockbuster film, a favorite soap opera, the new trainer at the gym, a dusty history tome or a random thought that meandered through the daily chores, but heroes, whatever their era, are not interchangeable. Knowing what a potential hero looks like is only the beginning.

Imagine taking a Victorian nobleman and swapping him with a Viking jarl or a Spanish grandee from the seventeenth century. For that matter, an Iroquois warrior or Moorish scholar. Not only would each gentleman find the costume and social climate strange compared to what he's lived with all his life, but imagine the gents filling out the same questionnaire regarding heroic attributes. Education, tastes in food and leisure activities, even what they would find attractive in a potential mate, all vary vastly across the years and the globe.

For those wondering why the gentlemen in the opening paragraph are gathered together in the first place, other than to beautify the scenery, take a good look at the heroes depicted by Unusual Historicals authors. They come from places as diverse as Africa and Germany, France and the New World. Hm, yes, even England in various eras. They stretch from the ancient world to the modern day, and perhaps a tad beyond. We have alphas, betas, and the elusive gamma (who may or may not exist, depending on whom one asks, but if he does, he combines the qualities of the other two) and a few who refuse to be categorized at all.

Were we to collect the above-mentioned questionnaires, the variety of responses on most questions would astound us, but the answers to the most important questions would be the same. What would they give for their beloved? Everything. Certainly, there would be disagreements on exactly how one might best accomplish that, and I can't guarantee there wouldn't be a few fisticuffs, but when it absolutely, positively has to be happily ever after, there are no odds over which a historical hero can't triumph with his beloved by his side.

10 June 2007

Quirks

I still have two hours before my day to post is lost! Wacky weekend - posting completely slipped my mind. Saw Pirates 3 last night (yum and yes, it was good. I loved it), then today we celebrated Christmas with one side of my family. Yes, I said Christmas. We tried in January, but no go. February, March, April, May there was always something to do or someone couldn't make it. June it was. There were Christmas wrapped presents, we had a tree (with lights!) and Christmas cookies. No, we didn't sing, but may have completely confused the 5 and unders with our talk of Merry Christmas!

We've decided it might become a trend. You know start one now rather than jump on the bandwagon in a few years when it's so popular.

My original post was going to be on some historical thing, but now it's on character quirks. I once read a book (I'm terrible at titles and this was so long ago I couldn't tell you an author if you wrote it out for me) where the heroine never cursed. She had a potty mouth and bet someone that she could stop cursing anytime she wanted. Instead of even a simple 'damn,' she used wild terms to express her curses. It was a small point story-wise, but it obviously stuck out in a story that I otherwise couldn't tell you a word of.

Quirks go to characterization, to rounding out your plot. What are your favorites? What are so annoying that you couldn't even finish the story because of a trait? What are your character's idiosyncrasies?

14 May 2007

Hellyeah Moments

Note: I haven't caught up with any of this year's television -- now that the shows are winding down, we'll catch up in the summer, when it's too hot to do anything but sit in front of a fan and chug water!

My husband and I watch a lot of TV throughout the year. But we take full advantage of technology 'round our house, too, so we don't schedule around primetime TV. Between DVDs and downloads, wee able to watch whatever we want whenever we want it. Case in point: we watched the first 14 episodes of Lost, Season 3, in 2 days, while we were both too sick to do anything else.

Over the past six years of our marriage, we've collected and dropped TV shows to our repertoire. We like quirky comedies, intense dramas, great dialogue, action, and character development (we stuck with Alias even when it began to fizzle in season 3, then redeemed itself in season 5, only to make us roll our eyes so much we passed out during season 6...). We're not TV authorities because we don't like all TV, and we can close the book on a series (how's that for a mixed metaphor?) mid-season if we've gotten let down after a handful of episodes.

Last autumn, the new season rolled around and we started weeding through the new shows. One of these was The Nine. We only made it to episode two. The show has some great hooks and all, but I just don't care about it. I like the actors: I just adore the actress who plays Katherine, who played Audrey on 24, Chi McBride's great, and all the others were really good, too. I'm kind of disconcerted by seeing Scott Wolf looking older than Matthew Fox, but I can deal. But something was missing. I got to thinking about why I didn't care.

I realize that characters must have weaknesses. I don't like characters that don’t. Even Clive Cussler realizes that his superhero-like Dirk Pitt and offshoots need their share of weaknesses...even if they can swim a mile underwater with no air tanks uphill in the snow. But I don't like stories where all the characters are just plain weak, and that's the feeling I got with the close of The Nine, season 1, episode 2. It depressed me.

I think it could be rectified very easily, and maybe that's what frustrates me. You've got a cast of well-developed (if morally weak) characters, you've got great character hooks, and it's a mystery in the idea of "What happened inside the bank?" And you've got plenty of conflict: episode 2 dealt with everyone's work-related troubles, and work-related troubles are totally...well...relatable to the audience.

But the conflict didn't have any high points. I'm going to take the most conflict-driven, conflict-dependent show out there as an example here and talk about 24 for a moment. The show gives me ulcers. I worry and worry and cringe and cry and look away and, at the same time, can't force myself to quit. I love the exact characters I hate: I mean, come on, President Logan is the worst of the worst, a true devil, and I concede that he's probably the best villain in the history of television. But damn, is that guy interesting. I can see all sorts of connections between his badness and the badness of pre-Logan seasons. But amidst all the badness, the "good guys" get a win here or there, whether it's by a line or an action. And we're pulled along from win to win.

On Alias, Jack Bristow seemed to be responsible for most of the hellyeah moments. But they don't have to big, jaw-dropping turns of event, either. On Buffy, everyone got them in one form or another: remember when Dawn thought she was a Potential? There were some heavy slopes for that girl to slide down, but at the end, when she's at her lowest, Xander says the very right thing to her and boom, they both get their hellyeah moment.

I think it's the driving force behind American Idol, too. The Simon Phenomenon, I’ll call it. You meet all these different characters, and through the course of a few months the protagonists become clear. You know who you want to win, and every time they get a bad evaluation, you feel just a little bit of their disappointment or pain. The voters at home kill off the characters. And the show becomes more intense during the finals. For each harsh comment Simon has made to Your Favorite, each praise is more potent. And with each praise, you say to yourself, "Hell, yeah!"

I love writing conflict and angst, but I try to remember to write a hellyeah moment in every few chapters through my middle, to remind me why I like a character, and to keep me rooting for them. Toward the end, when things start to get very dark, readers will need to draw encouragement from the character's previous triumphs.

So what about you? Do you recall any hellyeah moments in film, TV or literature?