Creating Characters: Motive

Every character, minor or major, needs a motive. It’s the driving force behind everything they do.
In other words, their reasons. That’s all good and fine, but what it really boils down to is that there are consequences to their actions.
I cannot stress how important motive is. If there’s no reason your character should be doing something, then why are they doing it? Unless there’s a motive, your book will end up as pointless as a kid’s menu maze.

Courtesy of Applebee's

Self Interest
Face it. The human race can be selfish. But there’s a fine line between selfish and smart.
One of the most overpowering motives for a character is death. Most characters desperately don’t want to die. Death is the reason they do things they know are wrong, because self-preservation kicks in.
It doesn't have to be that extreme. Lying and cheating are things we do because we're afraid of the consequences.
This includes personal goals.
Other People
If humans were entirely logical we’d never risk our lives for someone we love, get angry, or set off on quests with only faith to guide us. If Spock needed to find the Holy Grail, he’d make sure of its location and existence before he went after it.
For the sake of a good story, humans don’t think in pure logic. We think about others. We do so many crazy things, good and bad, because of other people.
Your main character might risk his life for the woman he loves. That’s good.
He might get angry at a minor bad guy and accidentally spill the beans. That’s bad.
But either way, his actions are affected by other characters. The reason he acts is because of someone else.
Even the villain can be affected by others. Take Voldemort. He is so intent on killing Harry Potter himse that he spends far too much energy preparing a secluded trap for Harry and not enough time protecting all his lovely horcruxes.

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How to Write Magic

Magic will make or break your book. There is no in-between. How you handle magic can mean the difference between an epic and just-another-fantasy-book.

Know Your Limits
Magic must have limits. Your characters can’t snap their fingers and have everything they want appear from thin air.
The other day I was critiquing a friend’s rough draft. A battle occurs between the magical bad guys and the relatively unarmed good guys. The bad guys were hurling everything they had; sending shockwaves through people, shaking the ground, uprooting slabs of cobblestone street and flinging it through the air, ect. Then, out of the blue, one of them turns a good guy into dust.
What?
If the antagonists had that power all along, why didn’t they use it? Turning your enemy into a pile of dust sounds a tad more effective than a shockwave.
Decide where your book’s magic is limited. J. K. Rowling created several rules for her own writing, such as “magic cannot bring dead people back to life” and “whatever you conjure out of thin air won’t last”.

Counteract
“But for heaven’s sake − you’re wizards! You can do magic! Surely you can sort out − well − anything!”
“…The trouble is, the other side can do magic too...”
- Harry Potter and the Half-Blood Prince

Where there is light, there is darkness. Your protag can’t be wandering around with invincible magical powers.
Either the villain has magic too, or the protag’s magic comes at a price. Or both.

Supernatural Villain
If you’ve got a magical antagonist on your hands, you’ll probably end up writing an epic final battle. The battle should never be won because of magic. It’s not about who’s got the stronger firepower, it’s about good triumphing over evil. The main character should win because of a clever plan or an oversight on the villain’s part.

Supernatural Problems
Nothing gets handed to your character with no strings attached, least of all magic. Your character should make mistakes and possibly get hurt because of it.
Take the classic example of Frodo and the ring of power. It’s not just a cool ring that can make you invisible, it’s an evil artifact that slowly poisons and manipulates you.
If your character has a power, it doesn’t have to kill them. But it should weaken them or occasionally backfire.


Believable Magic
I think I’ve mentioned this before, but your magic must be believable. If a modern day kid starts seeing fairies, he’s gonna think that he’s gone crazy. Normal people wouldn’t think, “I can see fairies! Magic is so cool!”
In Alice in Wonderland, Alice thinks the whole thing’s a dream from start to finish, which is exactly what a sane person would think.

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How to Write an Epic

At one point or another, we've all wanted to write something epic. One that encompasses the struggle between light and darkness, tells of a hero who saves the world, and makes people read them over and over again.
Luckily, there's a template for that. All epics (Lord of the Rings, The Odyssey, Les Miserables) share key elements.

The Hero
Most heroes fall into the same archetype. He/She;

• Performs feats (Frodo gets the ring to Mordor.)
• Is essentially noble (Frodo's unselfish.)
• Leaves behind temptations (He leaves behind the Shire and the enticings of the ring.)
• Is committed to heroic role (He volunteers to take the ring to Mordor.)
• Has a difficult goal; They suffer dangers and agonies (Frodo must destroy the ring in the center of the villain's territory. He is slowly being poisoned by the ring.)
• Acts alone/with very few people (Frodo tries to do it himself but is joined by Sam. These two hobbits are a small force in comparison to the other seven members of the fellowship.)
• Has something in common with ordinary people (Frodo is a simple hobbit with no training.)
• Functions as a role model (What we learn from Frodo; grit your teeth and do it.)
• Reassures the audience of potential ("Even the smallest person can change the course of the future".)

The Hero's Journey

• They are of obscure origin, free to move, or are detached from petty concerns (No mortgage, bills, or family)
• They are called upon to make a journey (The calling doesn't have to be subtle. The villain holding them at gunpoint is calling enough.)
• They realize that they are not invincible (The hero must stand to lose something.)
• They have a goal (Epic or not, a goal should be present in the story.)
• Their way is uncertain and unclear.
• They meet guides (servants, friends, or oracles provide them with information or assistance.)
• They are tempted.
• They leave their familar world.
• They descend into darkness.

Descent into Darkness
This is the ultimate test. This is the point when Frodo gives in to the ring, Oddyseus journeys to the underworld, and Jean Valjean must decide whether to let Marius die.
It can be either literal or figurative. In a literal sense, the character must journey somewhere hellish. Figuratively, they become evil or have inward turmoil. (Kudos to Frodo for doing both.)
Their suffering renews the vigor of society and cleanses them of their own sins.

After Descent
They change as a result. They discover something better than their original goal. In other words, they grow up.
But the hero must not escape unscathed. They sufffer a wound, such as Frodo's bitten-off finger or Jean Valjean's loss of Cosette.

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How to Create a Traitor

Traitor : A person who betrays another, a cause, or any trust. (Webster’s College Dictionary)

Betrayals are one of the most delightful plot twists. Not only does the traitor plunge everything into chaos, but can emotionally scar trusts and friendships.

True or False
The author knows thing that characters don’t. Is the traitor truly betraying their own side, or are they leading the enemy into a trap?

True Traitor
A cut-and-dry case; a traitor offers something of value to the enemy for selfish reasons.

False Traitor
Here’s where things get tricky. The “traitor” has not truly defected, but is trying to trick the enemy.
Back in 480 BC, the Persians attacked Greece. The Greeks had about 200 ships while the Persians had 700. A Greek general named Themistocles knew that unless they created a concentrated attack, the Persians would wipe them out. So he sent a trusted servant to the Persians. The servant played the role of a traitor, and he told the Persians that the Greeks were in disorder. He claimed that if the Persians attacked the Greek’s beachside camp by morning, they could take the Greeks by surprise. The Persians rushed to do battle and were ambushed by waiting Greeks.


The Offering
What is the traitor giving the enemy?
Knowledge is the first thing that comes to mind. The traitor often carries secrets to the enemy, such as locations or weaknesses. Let’s take World War II. Traitors provided information such as the whereabouts of Jews, the construction of new war technology, or the names of underground leaders.
Traitors can also provide prisoners. Oftentimes a traitor arranges to lead those who trust him into a trap. Then the enemy can swoop down and pick up his prisoners.


Motive
A character always has to have a reason for their actions. What motivates someone to commit treason?
Greed-They are basically bribed by the enemy. They are promised wealth or a high position of power. Sometimes they are threatened with death, or the deaths of those they love, so they concede.
Victory-They want to be on the winning side.
Revenge- They have a personal vendetta. In exchange for their betrayal, they ask for permission to kill so-and-so, to have what’s-his-face’s property, or to enslave that-one-guy.


Effects
Information given to the enemy can mean death for numerous people.
The traitor’s personal life is marred. Relationships are broken, their family can be torn apart, and most of the times the traitor is stabbed in the back by those he helped.
People who trusted the traitor can become bitter and angry. Some develop grudges while others only become deeply wounded and fall into depression. Those led into traps may find it hard to trust anyone ever again.

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Why People Are Bullied

I was recently asked to write a post about the reasons a character would be bullied.
Why are people bullied?

In grade school, I was teased, jabbed at, and generally unliked. Why? Frankly, I think I deserved it. I was a stuck-up little snitch, teacher's pet. I thought I was smarter. (Give me a break, I was in fourth grade.)
I become quite good at comebacks and snide comments. I was both the bullied and the bully. Needless to say, those were lonely years.

So, speaking from experience, bullies will find any excuse to tease. And sometimes we give them that excuse.

The Bully
It is said that people bully from low self-esteem. Yes, that can be true. But for people who have a specific target it's either because they hate that person for some reason (i.e. target's father fired bully's father) or the target gets is amusing to tease.
Occasionally though, bullies think it's cool. Everyone else is picking on a certain kid so they do it to be with the crowd.

The Bullied
Here's a little gem of wisdom for those being teased; if you make a big deal out of it, they will too.
Sometimes, people are picked on because they're obnoxious, stuck-up (like I was), or they're simply easy prey. If a person slouches as they walk down hallways, doesn't speak, avoids people, and thinks ill of themselves, that's just begging for trouble. You might as well paint a hang a sign on your back saying, "Tease Me!"
Have you ever wondered why the popular are popular? It's not because they have designer clothes and the perfect hair, though people would like to believe that. It's because they have an air of confidence that draws people to them like a magnet. Confidence is the most attractive trait.
So it stands to reason that if you have a bullied character, they will lack confidence.

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Elements of Fiction: Conflict

Conflict is what drives the plot.
One has to keep in mind though, that while problems create tension and drive, the conflicts are a result of your character's actions. Problems should never be inflicted for the sake of problems. Your character is not a leaf being blown from action scene to action scene. The situation must result from their own actions.
There are several ways to torture your character.

Man vs. Self
This is the internal struggle your character faces. I believe this should be prevalent in all stories. All of us have felt confusion, guilt, or hesitation. Your characters should too. However, conflict of this nature usually stems from other sources.

Man vs. Others
Most stories involve a human antagonist. They dislike/hate each other for various reasons. Usually, it comes from one trying to control the other. This is the frequent conflict found in books and can lead to other tension.

Man vs. Society
One of the toughest problems to face is the world's idea of what's right. Society and government try to force characters to conform to set standards. This includes, but isn't limited to, racism and sexism.

Man vs. Nature
Characters in this situation fight against animals, natural disasters, or the weather. This can include becoming stranded, lost, or a victim of a natural disaster. It can be anything as small as a simple inconvenience, such as getting caught it the rain.

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Arming your Character

Picture by YagaK.deviantart.com

Whether villain or hero, characters need the means to defend themselves.
Or attack.

Non-Violent
Who uses this: Physically weak people, cowards, those confident enough in their mental strength, characters not used to weapons.

Non-violent defenses are primarily based on wits. Rather than use weapons or brute strength, these characters rely on their intelligence and cunning to get themselves out of trouble.

Examples: Planning, lies, persuasion


Violent
Who uses this: Characters who are strong, bloodthirsty, skilled, or have no other choice.

These weapons are are used to cause physical damage. Often, the weapon your character prefers represents their personality.

Knife/Dagger: Sleek, careful people favor this. It's easily hidden and practical for small, quick attacks.

Sword: This usually brings to mind  a well-built, often noble, character. While the sword can do more damage, it's not as easily secreted as a knife. The thickness of the sword depends on th character. Are they one to use a heavy broadsword or a lithe rapier?

Axe: Only the strongest can weild this. Very obvious and dangerous. Tends to result in a bloody scene.

Bow/Crossbow: What better way to attack an enemy than from a distance? While the bow is easy to carry, It's effectiveness depends on the archer's skill. A crossbow is heavier, but can be used by the untrained to deliver heavy blows.
Quick, wiry characters are most often seen with a bow while the crossbow is more for the strong character.

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Creating Villains: Part 2

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Power
What makes the villain such a threat? Do they have an army at their command, magic powers, control of the entire city, or just their skills and wits?

Motivation
Why does the villain take action against the protagonist? For glory, money, fame?
One of the biggest mistakes people make in creating villains is through their motive. Villains don't sit around thinking, "How could I do more evil today?"
Realistically, villains usually don't recognize what they're doing as evil. They will rationalize, tell themselves that they deserve power, or feel that what they're doing is for a greater good.

Differentiating Villains
I tend to have more than one villain per book. Not only is there the main antagonist, but other secondary characters who make life hard for the hero.
With three different personalities to choose from, why don't all the villains end up the same?
I separate their personalities three ways. (Three times is a charm.)

Physique
One way is by determining the villains build.
A lightweight, quick villain will have different methods of fighting/striking fear than a large, powerfully-built one.
The small one will probably use subterfuge rather than brawn.
It's also good to take into note the gender of your villain. A female antagonist tends to use looks and lies to her advantage, whereas most male antagonists are classified by violence.

Quirks
Quirks also help to differentiate characters. It could be anything from a fondness for chess, being clumsy, or superstitious.
The smallest difference helps.

Speech
The way a character speak says a lot about them.
Long words mark their intelligence and upbringing.
Slang signifies that they're less likely to be from a posh family.
Anything from stuttering, whining, lilting, guttural, to deceptively sweet  tells us important character traits.

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Creating Villains Part 1

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Next to the protagonist, the antagonist is the most important force in your story. They are the one who prevents the hero from achieving his/her goal and causes problems.

Of course, while the main character's problems can be caused by anything from a natural disaster to their own internal battle, I'd like to focus on the human antagonist. (By 'human' I mean all intelligent creatures, mythical or otherwise.)

Personality
There are hundreds of different personalities you can pin on a villain. But I think there are three main ones that influence their dialogue and actions.

Eerily calm
This is the bad guy that's 'calm and calculating.'
They refrain from taking rash action and spend most of their time plotting and quietly forwarding their interests.
When faced with the protagonist, they tend to smile coldly and say lines like, "No last words? How disappointing." (Secrets of the Dragon Sanctuary by Brandon Mull)
Outwardly they feign indifference and confidence. Whether they feel the same on the inside is less certain.

Rough
This is the opposite of eerily calm. They jump into action and take pleasure in fighting their own fights. They're bold and rash with enemies and allies alike.
They anger easily and are prone to violence.

Balanced
This antagonist is a mixture of the two. While they can hide their feelings and tend to plan (eerily calm), they also believe in the power of fear, and will use violence to achieve their ends (rough).
They don't usually mask their displeasure (unlike the eerily calm), but will show it in other ways than immediately striking out.

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