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Creating Round Characters By Beth Fowler "The test of a round character is whether it is capable of surprising in a convincing way. If it never surprises, it is flat." E. M. Forster Stephen King describes writing as a form of self-hypnosis. Writers become entranced by the outpourings of their Muse, subconscious, Freda or whatever the name of that place is where stories originate. Readers in turn are entranced. Drawn in, they wonder, "What will the character do next?" Readers crave characters that are consistent enough to be recognizable and plausible, yet possess a potential for change. Characters like this compel readers to turn the page. Writers find it difficult to write sustainable plots with cardboard characters. They fall flat. And readers become bored with one-dimensional characters that are totally wonderful or totally awful. Writing character sketches before writing the story enhances an author's ability to invent rounded characters. Sketches aid in creating characters with personalities different from the author's own personality. Recite the writer's prayer, "I am one author. May I create many characters." Then answer these questions about your characters before you write. They will help you give characters depth when you write. Does the character: Open doors for others or let others open doors for him? Buy drinks for everybody or accept drinks bought for her? Say hello first or wait until he is greeted? Mingle and schmooze at parties or stay in one spot and let people come to her? Chat with waiters, clerks, strangers at the bus stop or bury his nose in a newspaper? Buy only what is on her shopping list or buy whatever strikes her fancy? Occupy a small space with legs crossed, arms close to his sides, head bowed or use a lot of space with legs open, arms out, head moving, fingers splayed? Initiate touching, kissing, lovemaking or wait passively until another character makes overtures? Tell other people's secrets or keep them in confidence? The importance of narrative is to show how your characters behave in normal situations. Without this, readers cannot interpret characters' behavior in stressful situations. Once you know how your characters respond to each of the situations listed, you have two more vital questions to answer: What situations cause the characters to behave "out of character?" And, what does your character dearly want that convinces him it is worth risking exposure to those situations? The answers to those key questions can drive your storyline and give you a climax to work toward. Placing characters in situations provoking them to act out of character is "showing, not telling." Readers deduce from a character's atypical reactions that she is experiencing strong, conflicting emotions - strong enough to pull her from her personality's magnetic north. Give your character physical "tags" that signal to readers what's occurring within the character. Remember Clement C. Moore's Santa Claus who "Lay his finger aside his nose . . ."? That tag signaled that Santa would be whooshing up the chimney soon. One of my characters rubs her stiff neck when she tells white lies. As her lies grow, her pain in the neck worsens. Another character tugs his earlobe when he feels emotionally cornered. Including snippets of nature can reveal character. A story about a farm girl wrestling with her conscience includes an unobtrusive, telling clue with " . . . two sparrows tussled in the dust." That image is more evocative than simply stating that the girl was in conflict with herself. Another example of nature revealing character: The male protagonist doesn't have the heart to tell his lover he wants to end their relationship. The author avoided a pathos-drenched passage and wrote, "A flock of crows creaked by, splotching shadows on Sonny's face." Of course, the build up prior to shadows on Sonny's face substantiates the symbolism of the relationship's demise. Otherwise the crows would be superfluous. Creating a cast of characters with discernible traits and habits, who then undergo believable change as a result of the plot requires a bit of planning . . . before inducing self-hypnosis.