[Writerpreneur] Compelling Characters 07

CREATING COMPELLING CHARACTERS PART 2: Tags and Tools make fill out your characters. Who they are and how they perform their actions are reminders to the readers. And build on their traits...

IDENTIFICATION TAGS. To make your characters stand out, add unique identifying labels or tags besides character traits. A good tag is unmistakable and identifies the character at once.

Tags are of four principal kinds: appearance, expression, gesture or mannerism, habit of thought. Always include at least one of these tags upon introducing a character. Otherwise the reader cannot identify him.

Tag of Appearance. We can use any sense impression to show a character to the reader; this is called a tag of appearance.

This tag of appearance may be some physical deformity or peculiarity, something which sets off one character from the others in a story. For example: cross-eyes or bowlegs; buck teeth or wide, blue eyes; honey-colored hair or a bald spot; anything that goes into a police description might come under this heading. Besides visible tags there may be appeals to other senses.

One may identify a skunk by its odor. A ghost may be identified by a chill wind or the touch of icy fingers; the sound of a tapping cane may be the tag of a blind man. In short, a tag of appearance includes any sensory impression which makes the character real to the reader and distinguishes one character from others. Most people in the public eye are known by some tag of appearance.

Thus Adolph Hitler’s tag is his mustache. Caricaturists use such tags, and they are essential for any public figure.

Tag of Expression. The tag of expression is some word or phrase or peculiarity of speech which enables the reader to identify the character who uses it. Sometimes this tag expresses one trait of mind or character belonging to the person uttering it.

It may be the phrase most commonly associated with the character in the reader’s mind. Thus Sherlock Holmes is recalled to our memory by the phrase, “Elementary, Watson”; Franklin D. Roosevelt, by his phrase, “My friends.”In fact, such characteristic expressions are very desirable to create vivid characterization, and where the character concerned is flat.

The works of Charles Dickens form a mine of such tags; Shakespeare considerably uses them, The aptness of tags is proved because they are widely quoted and parodied.

Even in history we find tags of expression associated with certain persons. For example, Cato said, “Carthage must be destroyed.” Often the tag accords with the trait, or else appears to be in strong contrast to it.

We can see tags, but traits we cannot see. Hence the advantage in using tags as the outward and visible signs of traits.

Tag of Gesture or Mannerism. A mannerism or tag of gesture may help to bring a character alive and identify him as often as he appears. Thus in Dickens we find Uriah Heep rubbing his hands. With this bit of pantomime he is forever associated. Such mannerisms also help us identify and remember figures in the public eye. The Duke of Windsor has a habit of tweaking his tie. It is often convenient in fiction to make this tag of gesture, this small mannerism, express an inner trait and sometimes tie up with the plot of the story. Therefore, a writer might portray a man too poor to buy tobacco with the characteristic gesture of fumbling in his pocket for nonexistent cigarettes.

Tag of Habit of Thought. We may use a fourth tag for a habit of thought or quirk of mental action, distinct from trait or motive.

Speech tags or other methods can express this. Other characters may convey it sometimes in conversation about the one who exhibits it. For example, a man may be slow-witted or distracted or have some other ‘mental peculiarity which serves as a tag.

Of course, not all characters require all four kinds of tags, but those which are most vivid will have more tags than others.

Using all four kinds of character tags offers an advantage because the writer can introduce the character more often, choosing some tags and ignoring others to distribute them throughout the story.

A frequently appearing character risks becoming ridiculous if only one tag is used. The cuckoo which appears from the cuckoo clock to announce the hour may seem startlingly individual the first time it appears, but after a bit becomes absurd from the very monotony of its behavior.

Characters which must pop in every few minutes should have more than one tag, unless it is your intention to make them appear ridiculous, or unless you can contrive to alter the circumstances for each entry. Poe used this last device in his “The Raven.” The Raven’s expression ‘‘Nevermore’’ would have become ridiculous had the poet not given the word a different meaning each time it was uttered by making it the answer to a different question.

It is through tags that we remember people in real life and in fiction. For example, Theodore Roosevelt had a tag of appearance: his teeth and his glasses; a tag of mannerism: the strenuous shaking of his fist; a tag of expression: “Bully!’’; a tag of habit of thought: vigor, determination. You can easily find similar identifying characteristics for any well-known public figure—a star actor, a star athlete, a political leader, a social lion, or anyone else.

Once you have learned to recognize these tags, you will do well to form a habit of tagging everyone you meet. Practice until you instinctively view people through the lens of tags, similar to how a doctor sees symptoms in the people he encounters.

Functions. By the character’s function, we may mean the part he plays in the plot, but more particularly we mean the exact ability or capacity which he possesses. Every character who takes part in the action has something to do; he must have the ability or capacity to do it. This is his function in the technical sense.

Thus, if your hero is to shoot the bad man, he must be a marksman, lightning quick on the draw. Otherwise his performance may not seem plausible. To win the millionaire, the girl needs winning qualities and techniques.

This holds true for all fictional characters. If he has anything to do in the story, he must have the ability to do it. Unnecessary characters should be omitted — cut him out.

There are, of course, some characters who have no function to perform—as, for example, minor suspects in a short detective story, or nameless victims of gunfire in a short adventure story.

But these are straw men, set up to be knocked down, mere supers.

You should consider the characters in your story as a producer considers the actors in a Broadway production. He hires only those needed for the play. Pre-plan each character’s single role and give them only the needed skills. Plant this ability early in the story. The reader will then find the character’s actions believable.

TOOLS OR WEAPONS.

An ability or capacity to act is useless without a tool or weapon to take action with.

A Western adventure hero fighting a villain requires a firearm. A boxer must have fists; a siren must have charm; Cinderella must have an evening dress; D’Artagnan must have his sword. This weapon, intangible sometimes, remains real: an attribute, not a motive, trait, ability, or tag. It enables the character to function within the tale.

Plant this tool or weapon, like the ability or capacity, early enough in the story to ensure the reader accepts it when used. If your hero shoots the villain with a pistol from his office desk drawer, the reader must know beforehand that the pistol is loaded and waiting there.

Otherwise he will feel that the author has defrauded him by creating false suspense. Forewarn the reader; reveal more than the characters themselves know. Newbies frequently withhold information from readers, yet characters remain informed. This is the. very reverse of the proper method.

Obviously, traits, tags, functions and weapons are all of the utmost value for interest and plausibility. in remedying unreal, incredible, dull, or stale characterizations, reconsider and equip each character in your story with these traits, tags, functions, and weapons. Ensure this equipment is both plausible and interesting.

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Our characters have now taken on a life of their own. We can identify them readily where they show up.

Now – choosing only those characters to populate your world – who will move your story forward...

(This text was based on works by Walter S. Campbell, founder of the OU Professional Writing course.)

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