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How Do You Research Characters and Settings So That They Feel Real?

Writing

Old Vermont barns like this one were part of my experience I wanted to use in the setting for my novel of curse-keeping in rural Vermont, Family Skulls (see left sidebar)

I try to limit the number of posts I make on the craft of fiction writing, because while I’ve been seeing some great success in my writing, it’s not as though I’ve written the Great American Novel and hit the bestseller lists, so advice on how to write a story seems like something I should be careful not to give out too much of. However, a reader recently wrote to me saying she was concerned that she might not be able to learn enough about her characters and settings to write a novel that feels real, and asking what kind of research I do when writing fiction to make sure that these elements work. Feeling that I had some useful information on the subject, I replied. Here’s what I wrote:

Based on my own experience and on many discussions with other writers, there seem to be a lot of different approaches to researching character and setting. Some of us just dive right in and either stop to do research as necessary or make notes about what we need to research and just keep writing around the blanks. Personally I’m not a fan of putting in a blank and expecting to fill in with research later, because I think good research can weave itself deeply into the story, but I can’t deny that it works for some good writers.

Using research to make a story work well and feel real isn’t especially difficult, but it does take time and effort.

Approaches for characters
I’d suggest taking different approaches for characters and setting. For characters, unless you’re the kind of person who (like me) likes to try to draw characters out while writing the story, I’d suggest putting down some key information about each major character first. Basic life facts and physical information are important, of course–What are their hair colors? How strong or weak, heavy or light are they? What kinds of medical problems have they had to go through? How tall or short are they? What were their families like as children, and who was in those families? What are their family or living situations like now? How do they get along with family members in the present? How far have they gotten in school? How did they do? What job, if any, do they have?

Even more importantly, though, you can delve into what drives them. I don’t think it’s necessarily important to know what a character’s favorite color is or what that character ate for breakfast unless that’s very meaningful to who they are or to the story–though some writers disagree and feel that this kind of extreme detail is worth gathering. For my money, though, what’s important is what the character desires, what they’re afraid of, what their doubts are, what kinds of situations get under their skin, and that kind of thing.

Strengths and schemas
I often use strengths and schemas, at least informally, to flesh out characters. The 36 strengths outlined by Marcus Buckingham, et al. (see http://www.strengthstest.com/theme_summary.php ) are one good way to find out what characters are good at. The 18 early maladaptive schemas from schema therapy (see http://www.lucreid.com/?page_id=1292 ) can be used to find at least one major personality flaw for each character. Real people have multiple strengths and usually multiple schemas, though some may be milder than others. Characters don’t necessarily have to be fleshed out with a cocktail of five strengths and three schemas, for instance, unless it’s really necessary to get that deep to figure out what they’ll do.

Have reasons for your choices
One piece of this process that seems essential to me (and that I forgot to mention to my correspondent on the first pass) is that I don’t see any point in coming up with arbitrary choices. I’d advise choosing character details because they grab you, because they make the character more interesting and complex, because they’ll drive the story, or because they make an interesting cocktail with other characteristics. If your character creation process contains steps like “I guess she’ll have been brought up by a single mom, because I know there are a lot of single moms,” then I suspect you won’t get much juice out of that fact of her upbringing. If you say, though, “I guess she’ll have been brought up by a single mom, and the mom was an alcoholic, so my character had to be the parent to her own mom as she was growing up,” or “I guess she’ll have been brought up by a single mom, being told her father was dead, and then in the story her father will show up at some crucial point when she can’t afford to spare any attention to connect with him.” … well, then maybe you’ve got something.

Personally, I tend to try to let characters emerge organically as I write them, and only stop and question myself about them when they’re not already coming alive. However, this approach takes some practice to work well, doesn’t suit everyone, and may not be ideal anyway. My suggestion in regard to how to come up with characters, as with everything else, is to try everything … then spend a few years getting better at the techniques you decided to use and try everything again. Write, grow, repeat.

Approaches for settings
For settings, I’d suggest starting with a place you have easy access to if possible and paying close attention to the sights, sounds, smells, and physical experience of being in that place. If that’s not practical, it’s worth digging up photos, videos, articles, or other materials that give you a lot of physical specifics. Writing comes alive when it’s full of fresh, unusual, accurate sensory details–and ideally not just sight and sound, but all the senses. If you go too far with this, it begins to get overwhelming, but one or two good sensory impressions per page really pack a punch.

The facts about a location are easier: you can use Google Maps or Google Earth to find out how things are laid out, look up construction of houses or how an office is furnished, etc. I tend to do a lot of research looking for images and videos, because they give me much more of a feeling of being in a place than a simple description.

A couple of writing books you might really like, in case you haven’t already read them, are Orson Scott Card’s Characters and Viewpoint and Stephen King’s On Writing. Between the two of them, they can give you a lot of tools, explanations, and confidence.

Photo by Beth M527

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Should We Maximize Our Strengths or Minimize Our Weaknesses?

Strategies and goals

If you were to carefully interview 1.7 million workers to figure out how people became successful, what do you think you would learn? This is exactly what the Gallup group (best known for their polls) did over 25 years. What they came up with from this massive research effort was a catalog of personal strengths and a rich understanding of how successful people use those strengths.

Strengths psychology
The Gallup research is part of a relatively recent branch of psychology known as “Strengths Psychology.” For many years, psychology as a field has been primarily directed toward identifying and fixing problems–phobias, anxieties, fixations, and so on. Strengths psychology (and other varieties of what has come to be called “positive psychology”) is much less interested in people for whom things are going wrong than in people for whom things are going right. The Gallup group identified 34 personal strengths amounting to general strategies for getting things done that can be successful in many situations. Some examples are mentoring others, competitiveness, and putting things in context of what has happened before. In the Gallup book Now, Discover Your Strengths and the follow-up Strengthsfinder 2.0, they offer a test for determining a person’s greatest strengths, concentrating on an individual’s top 5. The idea is that everyone has a small set of strategies that work best for them, strategies they adopted early in life and have used for many things since then. Knowing what strengths we have–and what strengths we don’t have–gives us an opportunity to choose tools we already know how to use to get things done.

A related strengths system called “Strengths and Virtues” offers 24 strengths that have much in common in some ways with the Gallup system. I hope to be able to talk about this system in more depth soon.

Increase strengths or fix weaknesses?
Significantly, Gallup’s investigation into individual success resoundingly supports the idea that really successful people are ones who make the most of the strengths they have instead of trying to compensate for weaknesses. There’s a limitation to this, which is that if any weakness is actively dragging a person down (for instance, if a person is so non-competitive that they are scared away from trying to succeed whenever they see someone else trying to do the same thing), it’s important to work on those until they are no longer creating serious problems. But apart from that, the recommended approach is that it’s completely unnecessary to try to do everything well, that some things are better delegated or left alone or done in a different way.

For example, let’s say you’re put in a situation where you’re expected to schmooze with a lot of people at a networking function–but you don’t like schmoozing and aren’t good at it. If you have strengths instead in areas like communication or coming up with novel ideas, you might find other ways to connect, for instance by coming up with an interesting freebie that advertises your business and that you can give out at the function, or by giving a talk rather than circulating.

In the end, each of us has specific strengths and resources to bring to bear. By looking at our tasks and challenges in the light of our strengths, we can steer more of our efforts into the areas where we’re most effective.

Photo by stttijn

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True or False? There’s Only One Way to Succeed

Strategies and goals

This past weekend I went to a half-marathon to cheer on some friends who were running seven mile relays in it. This was my first experience of a running event like this, and spending some time at the halfway point and some time at the end, I was struck by what I saw in the runners’ faces, attitudes, and running styles: everyone was running the same course, going the same distance in the same weather over the same terrain on the same day … and yet everyone was running a different race.

Some people crossed the finish line looking like they could go forever, like they wouldn’t at all mind turning around and running the whole thing over again just for kicks. Others crossed the line looking like they had spent everything they had and then some, staggering to a bleary-eyed halt as soon as they crossed the line. Some ran smiling, some complaining, and probably some swearing. When they got applause crossing the finish line, some lit up with happiness while others looked like they didn’t even notice. Even among the people I knew who were running, there was a lot of variation: one had been training for a year, another for only a few months, and another used to run more seriously but hadn’t trained lately at all. Among those who ran the complete half-marathon, there was a 10-year-old and a 64-year-0ld, people whose fitness was worthy of Greek statuary and people who were substantially overweight, robust people and skinny people and everything in between.

There is no single way to succeed, and anyone who tells us differently is selling something.

When I think about it, I realize the same is true of book contracts among writers I’ve met. My friend Lee worked hard at writing adult fiction for years (and has seen more and more success from it lately), but her first book sold was an overwhelmingly fun children’s book that came to her more or less in a flash. Orson Scott Card started writing with plays and Mormon journalism, eventually finding his way to much wider success with the science fiction he wrote on the side. Stephen King worked at whatever jobs he could find and submitted story after story to rejection after rejection until he began to see real success. And so on.

For anything we might be trying to accomplish, it’s likely someone else has already accomplished it, and odds are that they’ve accomplished it through different means, at a different age, under different circumstances, with different skills. Research in strengths psychology (for instance, see the book Strengthsfinder 2.0) offers convincing support for the idea that there are many different strengths a person can have, and that different people with different sets of strengths can achieve similar goals if they each leverage their own particular way of getting things done.

Photo (of a different half-marathon than the one I watched) by KhE 龙

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