A lot of writers I’ve spoken to at conventions swear by the little extras at their table– I already have pins and little polymer dragons, but they particularly talk about the power of concept art and maps.
Which resulted in the following conversation:
Me: “Hey, do we have room in the budget for concept art?”
Partner: “For which book?”
Me: “I was thinking a map and some characters for the one I’m working on now… but maybe start with Urban Dragon? Arkay, Rosa, maybe Meph?”
Partner: “…If you add Terry to that list, by god I will make room in the budget.”
Sometimes it slips my mind just how much he loves Terry.
For those who don’t remember, Terry is the groundskeeper of the Hoarde’s secret base– a multidimensional amorphous conglomeration of eyes, teeth, bones, and miscellaneous viscera, who accumulated all those various bits and pieces from the trespassers they’ve devoured over the years.
They’re also an insatiable gossip and an utter drama queen.
Really, most of the Urban Dragon series can be boiled down to “mix one part sinister and one part silly, and add a bit of gore for good measure”.
I kept getting reminded of that trying to explain my characters to the artist. Arkay and Rosa are easy enough– I’ve described them to cover artists enough times that I’ve got that part down.
I spent a whole lot of time describing Meph’s physical features like he’s some kind of action hero, and then I tried to sum up his vibe: “he takes himself way too seriously, which usually results in him being either very flustered or very confused, especially when he’s around Arkay.”
I can’t wait to see how the art turns out, but I’m really most excited to see what this artist does with Terry.
My beloved eldritch abomination is either going to be a whole lot of fun for them, or else they’re going to be an absolute nightmare.
Since I started doing author panels at conventions, I’ve gotten one question thrown at me a few times: “How do you come up with characters?”
And inevitably, my process is just a little bit different from the other authors at those panels, because mine plays a lot into my face blindness.
For those unaware, face blindness (or prosopagnosia) is a neurological disorder characterized by the inability to recognize faces. If I see you at a convention and I introduce myself to you twice, that’s why: I remember having talked to you, but I can’t keep in my mind what you actually look like. Like a lot of people with the disorder, I tend to compensate with other details– if you’re wearing a particular costume, for example, or if you’ve got a visible tattoo.
I once had a pair of coworkers who would often be on shifts with me together. They were both blonde, both in their early twenties, and both fairly petite and thin. In my first few weeks on the job, I could be looking at one and standing next to the other, and I would have absolutely no idea which one I was talking to unless I looked at the nametag; sometimes I would continue a conversation I’d started with one coworker but speak to the other one, not realizing that these were two different people. After several weeks of working there, I got to know them well enough that I learned to recognize them– and at that point, I realized that aside from their hair and body type, they really looked nothing alike. In the first few weeks, I also had a bad habit of giving sales pitches to my coworkers as they were walking back from the bathroom, because I couldn’t recognize that they were the same people that had been hanging out with me a few minutes before. It was only when they visibly recognized me that I was able to say “wait, they know me? Oh, that’s actually my manager”.
That tends to come across in my writing.
“Believe it or not, age/race/hair/eyes really didn’t make a person much easier to identify. I was more interested in details that made him stand out: a hyena-like walk that was somehow both a sulk and a swagger; a penchant for bad spray tans and expensive hair gel; a tendency to wear designer clothes and colognes, usually with no regard to whether they actually suited him.” — Urban Dragon Book 3: Dance with the Devil
When I create a character, I tend to start with the role they have in the story, and from there I default to the way I would remember them if I were to meet them: what impression would they leave behind?
With Arkay, even before she was a dragon I knew she was overly energetic, mischievous, and overprotective, that she liked to pick fights, and that she was physically so small that people always underestimated her (which she found hilarious). The over-protectiveness developed into a dragon’s territorial nature; the fact that she was an Asiatic dragon informed her ethnicity, etc.
With Rosario, the first things I knew were that she was homeless because she found Arkay under a bridge, and that she was incredibly brave and kind– because you kind of have to be, to nurse a forty-foot dragon back to health. Details like her sexuality, her body type, and her ethnicity are all informed by the research I did based around those two details. Her gender was actually the last thing I chose for her.
Raimo was meant to be an overly friendly viking; the Contessa is an anachronistic embodiment of Medici wealth, power, and style, where stilettos are both the shoes she wears and the weapon she prefers.
Details like race and gender are often among the last details I choose for my characters, unless they’re intrinsically tied to some detail in that character. With both Arkay and Raimo, I couldn’t picture either of them as anything but Japanese and Scandanavian, respectively, because that was already built into those foundational details of the character.
That’s not to say they’re not incredibly important– the race and gender do so very much to inform a person’s experiences as they move through life and is a defining part of who they are, and they can radically alter the kind of tropes that play out with those characters– but they’re not the first places my mind goes when I’m creating those characters.
But if you’re ever wondering why I describe my characters the way I do– or, rather, why I don’t describe my characters with the kind of details other authors might– that’s why.
Originally, the Urban Dragon books were commissioned by Cliffhanger Press, and that meant I needed to write them according to a very particular set of instructions.
Among those instructions was a wordcount: each of the nine stories had to fall between 18,000 and 25,000 words, and so I got very good at marking exactly how long each act of each story was going to be. Even after I got the rights and I was able to tweak it without restriction, it was difficult to stretch out a 24,000 word story into anything much larger than that. Continue reading “A matter of scale”→
I’ve been on the writing corner of the internet for a while now, and I’ve got a long, involved history with questionnaires.
Whether you’re crafting a single roleplaying OC or an entire world, you’ll find thousands of lists full of all sorts of questions.
Those lists can be super short and to the point (“What does your character want? What are they willing to do to get it?”) or they can be enormous and inane (“Does your character prefer smooth peanut butter or chunky? Does your character dream in color? If your character was an animal, what kind of tree would they climb?”)
For the past several days, I’ve been compiling a list of worldbuilding questions that I ambivalently look forward to applying to most of the countries in my upcoming world. I’m daunted because this is gonna be a ton of work, and I’ll have to repeat the process over and over and over again. At the same time, I’m excited because this kind of thing can create a much more intricate and interesting world.
I have a piece of advice for you, though, if you chose to use questionnaires:
Easily 90% of the answers to those questions– maybe even 99%– will not and should not ever actually make it into the story you tell.
The specific answers to each question don’t matter as much as what they tell you about the bigger picture. Nobody cares what three items your character would bring to a deserted island, they care about what it says about that character– whether they would go for something practical, or something suited to a hobby or interest, or so on. Nobody cares what a country’s tax code looks like, so much as they care about the way the people respond to that tax code, whether with squeezing their employees harder or tax evasion or what have you.
That’s where the story is. That’s what matters. The rest is just a tool to help you flesh out those details.
In my first sketches of this current WIP, the protagonist was one of two children born to a single mother. The family began and ended there; these three were each other’s whole world, and nothing mattered but each other.
It’s a very American family structure, which isn’t a bad thing– but it didn’t fit to the world I was building.
I’m not the kind of person who can just make up a thousand characters off the top of my head. I can’t create a family without first fitting it into some kind of structure.
That’s where the family tree comes in. I used FamilyEcho, but you can find plenty of free software online.