What Makes You Read About Someone Else's Life?

What with the birth of the newest UK royal, I've been thinking about what it is about the royals that fascinates people on a whole. Why do we still have monarchies in developed countries? Why are people willing to admire someone else simply for their genealogy or because they are in a position of power? But more so, why do people want to follow these people online via blogs, newspapers, pictures, etc?

Take Princess Catherine for example. She's beautiful, she's common, she's the girl-next-door turned biggest fashion icon of the decade. The media buzz around her as bees around flowers. She's got that je ne sais quoi.

What all this media hype really got me thinking about is how many novels center around royalty and fame. Many historical authors are famous for chronicling not normal people's lives, but royal lives. Today, it seems that celebrities are the royalty of the world. I'm not going to lie, I enjoy a bit of celebrity gossip every now and then, even though I don't care to meet any of these people. But there's a certain disconnect from the "glamor" of their lives and the mundane of mine. It's that very disconnect which makes me interested in them. I cannot imagine existing in that lifestyle--and I don't--so I'll read about it instead.

There are many actors that I will read an article about and be fascinated with. Despite my mild interest in their lives, I may not care for what I know about that person's character, and I have a feeling I would despise them if I knew them personally. (No, I won't name names, that's not my point.) But this leads me to the question: would I be willing to read a book about a character like them? Probably.

People like to read about lives different than theirs. What is more different than celebrities or royals? Essentially, those are real people put into a completely foreign way of life. People read in order to experience those other lives. Every book I read puts me in the life of a new person. I want that person to be quite different from me. I need to connect with them, but I do want their lives to surprise me, to be different from "the norm." I don't want to read about someone going to work unless they uncover their boss committing a crime, or they are madly in love with their engaged coworker, etc., etc. If all they do is go to work, clock in, work, clock out and go home--why am I reading? Why would I want to read about a life that isn't very different from my own?

This leads me to my WIP, of course, because nearly everything in my life makes me think of fiction (more specifically how I can improve my fiction). One of my more recent WIPs has a main character with famous parents. By default, she has a certain amount of fame. Now, I'm not naive enough to think that's enough of a hook for a reader. However, it can add certain amounts of complications. And those complications are of much greater weight if the entire world is watching. Fame throws a wrench into many plans, especially if the plan involves a secret. And that is a recipe rife for disaster. And aren't disaster and conflict the reasons we read? 

So while I am content to read about famous people, perhaps a famous character or two in my WIPs add opportunity for conflict that will keep the reader reading.

~I.E.

Using Character Bios to Deepen Your Writing

Often when I'm completely stuck in revising a novel, or when I'm in the depths of NaNoWriMo hell and have no words left in me, yet I have to pump out another 10K in order to "win," I will turn to character bios to help me flesh out my work-in-progress.

Usually I use these for my minor characters (mC), a non-lead, because those are the ones whom I am unsure about. Those are the characters I haven't spent enough time developing, and so I need to go the extra mile with them and make them real. I can't do that if I continue to ignore them to focus on my main character (MC). So a character bio is an invaluable tool for me.

What is a character bio?

I define a character bio as the protagonist's story from a mC's point-of-view. This may not be the "best" or the "correct" way to define it, but in keeping this definition in my mind, I can approach the mC as I need to. Although a mC's backstory will obviously influence them as much as a MC's backstory influences the MC, their story only concerns me in so much as it concerns the MC.

So with that definition in mind, I sit down to write my mC's bio. I'll begin where the MC begins--the beginning of the novel. I'll tell the story, trying to keep it brief, from the mC's POV, without worrying about whether I'm telling or showing or if this is coming out right. I'm only concerned with how this mC sees things. So I don't stop until I get to the end. This usually comes out as a far abbreviated version of the overall story--the mC can only tell the story as much as he/she knows it, and as he/she is a minor character, that's usually not much.

However, this tactic really allows me to make those minor characters much more real to myself and (hopefully) to the reader.

I always feel that a novel is at its most powerful when the mCs live and breathe as strongly as the MCs.

~I.E.

How do you make your minor characters come alive?

Five Rules for Using Pronouns in Fiction Writing (Part II of II)

A few weeks ago, I threw out some reasons for and against using pronouns in fiction. This week, I'd like to explain a bit about how these are pros and cons.

If you'll recall, there are five reasons I came up with to use or not use pronouns in fiction writing. This post will discuss them in a bit more detail (although there are links for each pro and con in last week's post).

1. Don't confuse the antecedent.

Typically, "he" or "she" refers to the person last mentioned.

Joni gulped from her cup. She lowered it and stared at Kim.

"Her" and "she" both refer to Joni.

If we rewrite the sentence to say:

Joni and Kim sipped their drinks. She put it down.

Then we get confusion. Who is "she?" Is it Joni? Kim? Neither? In a situation like this, reuse their name. Or, preferably, rephrase the sentence(s) to clarify.

2. Don't overuse "I" in first person POV.

In first person point-of-view, the page can be a minefield of "I." Not only does it make the book seem unreasonably self-centered on the protagonist, it can be distracting from even the best plot.

Consider the example below, taken from one of my recent WIPs, which I've referred to throughout my blog as "StM."

In retrospect, I was lucky I'd held on to my phone so I could dig out Mother's address from the depths of my contacts list. I hoped, as I begged directions from a stranger on the street, that she'd not moved in the two years since I'd seen her.

This is a rough draft of a scene where my main character is lost in London and has just been pick-pocketed. She's finally decided to seek out her estranged mother. But while the focus is on the main character, it could be written better. 

A revision trying to minimize "I":

In retrospect, holding onto my phone was a lucky break. In the dusty layers of my contact list lay Mother's phone and address. After accosting a stranger on the street for directions, I headed north, hoping Mother hadn't moved in the past two years.

This shows how many "I's" you can eliminate if you try. I got it down from six to one.

3. Make sure you know how to use pronouns correctly.

This is one of those cons which can be corrected by grammar lessons.

Remember: the pronoun should agree in number and person with its antecedent noun, as well as clearly refer to the prior noun(s).

E.g.

Incorrect:
She grabbed the violin off the stand and raised them to her shoulder.

Correct:
She grabbed the violin and bow off the stand and raised them to her shoulder.

Or:
She grabbed the violin off the stand and raised it to her shoulder.


E.g.
Correct:
The airlines had assigned Adrienne a middle seat—in cattle class. Which meant she was directly in the center of the aircraft, smashed between a generously proportioned woman who seemed to have poured a perfume bottle all over herself before the flight, and two boisterous talkers on Adrienne's left—one of whom was a middle-aged, lecherous flirt with a propensity for airsickness.

The Adrienne's is not "her" because it would create ambiguity to use "her."

Incorrect:
The airlines had assigned Adrienne a middle seat—in cattle class. Which meant she was directly in the center of the aircraft, smashed between a generously proportioned woman who seemed to have poured a perfume bottle all over herself before the flight, and two boisterous talkers on her left—one of whom was a middle-aged, lecherous flirt with a propensity for airsickness.

Whose left am I talking about in the incorrect version? Adrienne's or the woman with perfume?

I'm not even going to get into the grammar lesson aspect of this, but here are some great websites if you are confused about pronouns.

Grammar: Proper Pronoun Usage 101

Grammar Girl: Generic Singular Pronouns

Grammar Girl: Pronouns and Antecedents

Grammar Girl: How to Use "Myself" and Other Reflexive Pronouns
Purdue Owl: Pronouns, Using Pronouns Clearly
Purdue Owl: Using Appropriate Pronouns, Appropriate Pronoun Usage

Pros

Intimacy:

Only reflexive pronouns used--

The airlines had assigned Adrienne Talbot a middle seat—in cattle class. Which meant Adrienne was directly in the center of the aircraft, smashed between a generously proportioned woman who seemed to have poured a perfume bottle all over herself before the flight, and two boisterous talkers on Adrienne's left—one of whom was a middle-aged, lecherous flirt with a propensity for airsickness.

Sighing, Adrienne strapped herself into Adrienne's own personal ninth circle of Hell and winced at the screech of an infant behind Adrienne. Adrienne leaned Adrienne's head against the leather headrest, feeling the press of the woman next to Adrienne and the lech's broad shoulders on Adrienne's other side, reducing Adrienne's seat to the size of a postage stamp. These types of plane rides were the worst for people like Adrienne, who had personal bubbles the size of Alaska.

Yikes! Does anyone else's blood pressure rise at the second paragraph? Every repetition of her name grates on my nerves--I don't even want to repeat it here! Let's check out the example using pronouns properly.

Using pronouns--

The airlines had assigned Adrienne Talbot a middle seat—in cattle class. Which meant she was directly in the center of the aircraft, smashed between a generously proportioned woman who seemed to have poured a perfume bottle all over herself before the flight, and two boisterous talkers on Adrienne's left—one of whom was a middle-aged, lecherous flirt with a propensity for airsickness. 

Sighing, Adrienne strapped herself into her own personal ninth circle of Hell and winced at the screech of an infant behind her. She leaned her head against the leather headrest, feeling the press of the woman next to her and the lech's broad shoulders on her other side, reducing Adrienne's seat to the size of a postage stamp. These types of plane rides were the worst for people like her, who had personal bubbles the size of Alaska.

Aids suspension of disbelief:

According to Dictionary.com, the suspension of disbelief is: "a willingness to suspend one's critical faculties and believe the unbelievable; sacrifice of realism and logic for the sake of enjoyment." Similar to intimacy, when proper nouns are used repetitively in a passage, the reader is distracted from the story and removed from it. Like "said," "he," and "she" are nearly invisible. The reader's eye skims over them, and they can often be omitted from the story entirely. This is why the current fiction trend is to replace a tag (he/she said) with an action (E.g. "I've been waiting for this." He slid his finger under the flap of the envelope.)

The Verdict:

Pronouns go a long ways in creating intimacy between reader and protagonist. However, the danger is in creating ambiguity in the antecedent. 


~I.E.

I hope this has helped explain why pronouns are the better choice. If you've found this useful, please give it a share!

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When to Use Pronouns in Writing Fiction, Part I

Pronouns in fiction are some of those "invisible" words that can create a lot of problems if not used correctly.

A lot of beginning writers seem uncertain when to use pronouns, and use them prolifically or rarely.  Before my overuse of proper nouns was pointed out to me, I'd never considered this subject. I didn't think I littered my manuscripts with unnecessary tags or names, and I tried to vary my sentences as much as I can, reducing such references to names.

However, since this had come up a couple of times, I decided it was time that I research the subject.

Here's some of the reasons I've dug up for and against using pronouns.

Pros:
Creates intimacy with the reader (link here)
Aids suspension of Disbelief (link here)

Cons:
Can create confusion concerning the antecedent (link here)
In first person POV (point of view), "I" can litter the page and distracting (link here)
Incorrect usage of pronouns (link here)

Since being told about this nasty little habit of mine, I've worked hard to eliminate as many proper nouns as I can. The pronoun, after all, is nearly invisible. As a writer, I want my reader's eyes to fly over the pages, devouring my text, not constantly stutter over my MC's name. 

Next week we'll go more in depth on the reasons to use pronouns. 

~I.E.

What do you think? Are there other pros and cons for using or not using pronouns? Feel free to share in the comments section!

Yearning, or What Your Character Wants Most

Only two days left of Blogging from A to Z. I'm going to miss the challenge of coming up with something to write about nearly every day. But, it'll be nice to breathe again!

Without further ado…

Y is for Yearning

Have you ever wanted something really badly? I mean, really, really badly?

Everyone has longed for something at some point in their life. It could be something good, like a relationship, a child, their dream job, an iPad, or simply wanting to pay the bills. Or you could want something bad, like your best friend's wife, or that third piece of chocolate cheesecake.

In writing a novel, every character needs to have a yearning for something. A character's wants are what drive the story forward. What does Katniss Everdeen want? To survive the hunger games and protect her family. What does Harry Potter want? To destroy Lord Voldemort and live his life in peace. What does Lizzie Bennet want? To marry a good man for love (and it would help if he's rich).

Notice anything in common about these wants? All the characters' wants are being denied. A want only drives the novel forward if it is thwarted. If the yearning is satisfied, then it disappears. It drops out of the plot and the character does not need to act to get it. In other words, don't give your character what she wants--take it away from her instead. Or make her yearn for something new. And don't let her have that, either.

It's the best way to get a novel's plot moving: get your character yearning for something that she cannot have.

Do you know what your character wants?

~I.E.

Hemingway

H is for Hemingway

"…All you have to do is write one true sentence. Write the truest sentence that you know." -- Ernest Hemingway, A Moveable Feast

Ernest Hemingway. Even if you've never read one of his books, you admit that he's written classics. 

As I struggle with week 2 of the A to Z Blogger's Challenge, I feel like I'm hemming and hawing simply to come up with something that starts with the letter "H." (And believe me, "G" was a challenge! Yikes. I waited until the last minute with that one, and wrote a few different posts before I finally settled on writing about Galahad.)

Anyways, back to Hemingway. I've procrastinated enough on writing this post.

I've had the honor of visiting Hemingway's house in Key West, Florida. The thing I most remember about that visit? The cats. I think most visitors remember those the most. Well, I also remember the warmth. It was December, and I was wearing a tank top. For a girl from the Arctic, that's pretty unusual. Usually, I'm bundled up in a down jacket, scarf, hat, boots and mittens. Oh, and it's about 120 degrees colder than Florida in December. 

Right, Hemingway. Hemingway Home. 

This is Hemingway House. It's full of cats. 

If you know nothing else of Hemingway, know that he liked cats. And, he made his home a haven for polydactyl cats—i.e., cats with a sixth digit on their paws (some have six digits on only two paws, others on all four).

But back to writing. Hemingway had a lot to say on writing, on many subjects. Here are some quotes of his speaking to different aspects of writing well.

1. Writer's Block

"I learned never to empty the well of my writing, but always to stop when there was still something there in the deep part of the well, and let it refill at night from the springs that fed it."

Ernest Hemingway 

Hemingway's clear method of avoiding writer's block is to stop writing before it happens. I've tried this technique and found it to be true. Essentially, stop writing for the day when you know what's going to happen next. Then, when you return to your WIP, you can pick up with confidence. Usually writer's block is avoided when you can get started writing. This is a technique that I am especially attempting to use this month as I partake in Camp NaNoWriMo.

2. Knowledge

"If a writer knows enough about what he is writing about, he may omit things that he knows. The dignity of movement of an iceberg is due to only one ninth of it being above water."

Ernest Hemingway

I think this is most obvious when a writer tries writing about something that he or she does not know. Often, those are the books so bogged down in unnecessary detail that the reader starts skipping pages. It's important to know where factual information is needed and where it can be skipped. Is that bit of explanation on which paintbrush a character chose and how he mixed the paint really necessary? Or do we just need to know that he chose the red paint?

3. Characters

"When writing a novel a writer should create living people; people not characters. A character is a caricature."

Ernest Hemingway 

"The hardest thing in the world to do is to write straight honest prose on human beings. First you have to know the subject; then you have to know how to write. Both take a lifetime to learn…" 

-- By-Line: Ernest Hemingway

This must be one of the thing a lot of writers struggle with. How do you create a character that is real, one that has flaws and strengths just like real people? How about one who speaks and thinks realistically? I think it's especially tempting to create "perfect" heroes and heroines in romance novels, but that's not reality.

4. Craft

"We are all apprentices in a craft where no one ever becomes a master."

Ernest Hemingway 

"There is no rule on how to write. Sometimes it comes easily and perfectly; sometimes it's like drilling rock and then blasting it out with charges."

Ernest Hemingway 

"For a long time now I have tried simply to write the best I can. Sometimes I have good luck and write better than I can."

Ernest Hemingway 

"When I have an idea, I turn down the flame, as if it were a little alcohol stove, as low as it will go. Then it explodes and that is my idea."

Ernest Hemingway 

Ah, Ernest. Wise words from a master of the craft. Or should I say "apprentice?" 

5. Editing

"…After you learn to write your whole object is to convey everything, every sensation, sight, feeling, place and emotion to the reader. To do this you have to work over what you write." -- By-Line: Ernest Hemingway

Editing has to be the single most important thing to good fiction. Certainly no rough draft ever became a masterpiece.

~I.E.

Applying the DISC Personality Test to Your Character

"Character gives us qualities, but it is in actions—what we do—that we are happy or the reverse...All human happiness and misery take the form of action."

- Aristotle

Over March, I've posted a break-down of the DISC personality test in terms of each type of person values. This is a personality test that is used by psychologists today, and I'm convinced that using it in my novels can create dimension to my characters that I otherwise might not have considered. Since the A to Z Bloggers' Challenge gives us Sundays off, I figured I'd use the first Sunday of April to address how we might use the DISC personality test to apply to our fictional characters. 

Characters are the most important thing in a novel, I think. Some of the more plot-driven novels might get away with a cardboard cutout of a character, but even those benefit by character development. Unless you're in it only for the action, the character is vital to the novel and must be fully fleshed out.

This fleshing out of characters should include the author knowing much more about their characters than ever gets put into the novel (see April 1st's post for a character worksheet). It's not necessary that the reader know what happened the first day of second grade for your protagonist (unless, of course, it pertains to the plot), but it may be nice for you to know how that day shaped your character. 

Most novels cover a very short span of the main character's (MC's) life, and the rest of the life doesn't matter to the plot. That doesn't excuse the author from knowing their characters' pasts though.

I mentioned in the first DISC post here, that a person can fall into multiple DISC categories. This leaves endless variations of characters to create. 

So how you use the DISC test may depend on how you write. Personally, I need to see my characters before I can start writing a story. I may have a general outline in my head of what is going to happen to this character, but before I put my first word down on the page, I need an idea—even a loose one—of who my main character is. DISC can help with that.

Let's say I'm going to have my MC save the world in one way or another. Perhaps it's a crime drama, where the heroine single-handedly defeats the antagonist, an evil, drug-lord mastermind. It's unlikely that a high C or S personality, who would avoid or acquiesce in response to confrontation, would make a good protagonist. (Keep in mind that they could always start out that way and change in their character arc throughout the novel.) So we look at the D or I personality, who either becomes autocratic or attacks in the face of conflict. In this circumstance, the latter would probably be best. 

But let's look at the D personality a bit more…the D is results oriented (that could help save the world) and tends to be impulsive (well, that could cause a lot of conflict), they are driven to action (definitely needed in such a plot), they are persistent (that might be good), and like to have control (that wouldn't hurt—if they're the good guy or girl). While most of the above are the positive traits of a D, some of their weaknesses would be insensitivity, impatience and inflexibility (well, those could hurt a save-the-world mission, couldn't they?).

Looking back at the I personality, we see that while they attack under tension, they are motivated by recognition and approval (all right, well, the adoration of the people they save could be good), they are optimistic (that could help in facing down death and overcoming the odds), while being personable and enthusiastic (that might not be bad, either, they could charm people with their enthusiasm, perhaps?), and they, most of all like to have fun (maybe they'd find saving the world fun?). Some of their weaknesses would be a tendency to over-sell themselves, manipulate others, jump to conclusions, and not follow through. (The ability to manipulate others wouldn't seem like a weakness with this plot, but jumping to conclusions and lack of follow-through certainly would be. What if Frodo got halfway to Mount Doom and decided he just didn't want to do it anymore?)

Both Is and Ds, depending on how you spin the character, seem innately qualified to save the world. If you wanted to make a superhero, you could pick only the best for your character and there'd be no chance of failure. However, people aren't really like that, and people undoubtedly fail at some point in achieving their goals, so we need to create a well-rounded person.

To create a realistic character, we should give them a mixture of strengths and weaknesses. If we gave our I-D character impulsivity, a drive to act, a need to control the situation and lack of follow-through, they'd have a fighting chance while being their own worst enemy. Presto, an "I-D" character outline to go with my ever-so-brief plot outline.

But to give the novel even more conflict—since pages turn with conflict—we could pair them with a sidekick who is a by-the-book C personality. This C character would be outraged by the I-D's impulsivity and demand that the protagonist think about that cliff they're going to jump off. The C sidekick would shrink in the face of conflict (unless the C character is convinced he/she is right). But when C is convinced of the I-D protagonist's world-saving course, they would be a wonderful sidekick who lends their support. They just have to believe in the cause first—and that might be a problem with our impulsive, results-oriented, controlling I-D protagonist who doesn't get bogged down with the details.

Although this method far from develops every aspect of a character, it doesn't touch on hobbies or history, I think there's much value in knowing the personality traits of your character and how they would react to a situation or another type of person. 

~I.E.

A Worksheet for Creating and Developing Your Characters

In case you didn't know, National Novel Writing Month, otherwise known as NaNoWriMo, isn't Camp NaNoWriMo goes on during the months of April and July. As I've been preparing for Camp NaNoWriMo, I am reminded of how much about my protagonist and antagonist I need to know before I write my first word today.

I always like to have a worksheet for my characters, and these get constantly updated with pertinent information as I write. Since I use Scrivener, I can directly link new information to my character worksheet.

So I've developed a worksheet to use for both developing and keeping track of my characters.

NAME:

If female--Maiden name?

ROLE:

Role in story (protagonist, antagonist, minor character, etc.):

Goal in story (i.e. what is my character trying to accomplish?):

WORK

-Occupation:

How long have they worked at their current job?

Is this their dream job, or would they rather be doing something else?

How does my character get along with his or her co-workers? Boss?

-Education:

Where

What subject(s)

Experience

PHYSICAL APPEARANCE:

-Clothing: 

What does my character wear to work?

What does my character wear at home?

How does my character come off to others by their dress? Polished? Rumpled? Enviable?

-Hair:

What style of haircut? 

How does my character wear it to work? 

How does my character wear it at home? 

Do they dye their hair or keep it natural?

-If female--Makeup styles (day and night):

PERSONALITY:

Reaction in a Crisis or Under Stress?

Interaction with someone he/she doesn't like?

Interaction with someone he/she does like?

What does my character value in his/herself? Is it the same as what they admire in others?

What is my Character's Biggest Fear?

How Does my Character Speak?

-What kind of vocabulary does he or she have?

-What does his or her voice sound like?

What is my Character's Biggest Strength?

What is my Character's Biggest Weakness?

Fatal Flaw(s):

How does it influence the story?

Does my Character Come off Differently to Men and Women--in either personality or appearance?

INNER CONFLICT(S):

-What does my character really want?

Can they ever have it? Why or why not?

EXTERNAL CONFLICT(S):

-What or who is keeping my character from their goal in this novel?

BACKSTORY:
-Here is a place to summarize anything about your character that might be applicable to the story.


This worksheet should give you a solid start to your character. You don't have to fill out all of it, but it helps to think about these questions so that you know most of these things about your characters. A lot of this may not be written into your novel (and probably shouldn't be), but the more you know about your character, the more real they will appear on the pages.


~I.E.

Knowing Your Characters Post 4: DISC Personality Test (Compliance)

This is the fourth post in a 4-part series concerning knowing your characters, and using a personality test to do so (in this case, the DISC personality test).

First post, we covered the "D" in DISC, which is titled Dominance or Drive. (Relating to a person's control, assertiveness and power.)

Our second post covered the "I" in DISC, which is called Inducement or Influence. (Relating to a person's behavior in social situations and manners of communication.)

The third post covered the "S" in DISC, which is called Submission or Steadiness. (Relating to a person's patience, persistence and thoughtfulness.)

This is our final post, and will cover the "C" in DISC, which is called Compliance or Conscientiousness. (Relating to a person's structure and organization.)

A high "Compliance" character breaks down as follows:

Monica Gellar, played by Courtney Cox on Friends is
an example of a highly organized individual concerned
both with being right and doing things correctly.

Motivated by: Being right and Quality

Best Environment: Clearly defined, Requires precision, and Provides reassurance

Accepts: methods

Rejects: lack of quality

Major Strengths: Orderly, Thorough, and Analytical

Major Weaknesses: Picky, Too detailed, Too cautious

Under tension behaves: Avoid

Would Benefit from: Declaring the issue

Their ideal world is where they: have excellence, can do it the "right way," and are able to research things.

Greatest fear: being wrong or being criticized.

Classic DISC patterns:
Objective Thinker: high "Compliance," low or zero in other columns
Creative: highest in "Compliance," second highest in "Dominance"
Appraiser: highest in "Compliance," second highest in "Inducement"
Perfectionist: equal in "Submission" and "Compliance"
Practitioner: highest in "Compliance," second highest equal in "Compliance" and "Inducement"

High "Compliance" characters tend to listen well. In order to communicate, they need people who will critique them.

High "Compliance" characters tend to be reluctant in making decisions and research their decisions before making them. They need someone who will reassure them that their decision is right.

High "Compliance" characters tend to emphasize the past. They need someone else who will be thorough in their relationship with them.

High "Compliance" characters tend to emotionally evaluate others. They need to feel safe and secure in their relationships with others.

High "Compliance" characters tend to be socially hesitant. They want to feel accepted by others.

In order to convince these characters of something, they need someone to tell them how to do something.

In order to disagree with these characters, the other must bring facts to the table. A "Compliance" character is convinced only by facts.

Knowing Your Characters Post 3: DISC Personality Test (Submission)

This is the third post in a 4-part series concerning knowing your characters, and using a personality test to do so (in this case, the DISC personality test).

First post, we covered the "D" in DISC, which is titled Dominance or Drive. (Relating to a person's control, assertiveness and power.)

Our second post covered the "I" in DISC, which is called Inducement or Influence. (Relating to a person's behavior in social situations and manners of communication.)

This post will cover the "S" in DISC, which is called Submission or Steadiness. (Relating to a person's patience, persistence and thoughtfulness.)

The final post will cover the "C" in DISC, which is called Compliance or Conscientiousness. (Relating to a person's structure and organization.)

A high "Submission" character breaks down as follows:

Motivated by: Relationships and Appreciations 

Best Environment: Requires specialization, Opportunity to work with a group, Consistent and predictable

Accepts: friendship

Rejects: conflict

Major Strengths: Supportive, Agreeable, Loyal

Major Weaknesses: Conforming, Retiring, Missed Opportunities

Under tension behaves: Acquiesce

Would Benefit from: Initiating

Rachel Green (played by Jennifer Aniston) in Friends,
could be considered a submissive character.

Their ideal world is where they: have peace, can do things the same way, and watch things.

Greatest fear: losing relationships and stability.

Classic DISC patterns:
Specialist: high "Submission," low or zero in other columns
Achiever: highest in "Submission," second highest in "Dominance"
Agent: highest in "Submission," second highest in "Inducement"
Perfectionist: equal in "Submission" and "Compliance"
Investigator: highest in "Inducement," second highest equal in "Compliance" and "Dominance"

High "Submission" characters tend to listen well. In order to communicate, they need people who will talk.

High "Submission" characters tend to be reluctant and relational in their decision-making. They need someone with patience who will warn them about their decisions.

High "Submission" characters tend to emphasize the present. They tend to linger in the present, and need someone who is unhurried.

High "Submission" characters tend to be emotionally warm. They need other warm people.

High "Submission" characters tend to build relationships. They like to have more time with fewer people.

In order to convince these characters of something, they need someone to ask them why they think the way they do.

In order to disagree with these characters, the two must disagree together. The Submission personality needs to know that they are on the same page with the other person.

Next time: Compliance/Conscientiousness

Knowing Your Characters Post 2: DISC Personality Test (Inducement)

This is the second in a 4-part series concerning knowing your characters, and using a personality test to do so (in this case, the DISC personality test).


In the first post, we covered the "D" in DISC, which is titled Dominance or Drive. (Relating to a person's control, assertiveness and power.)

This post will cover the "I" in DISC, which is called Inducement or Influence. (Relating to a person's behavior in social situations and manners of communication.)

The third post will cover the "S" in DISC, which is called Submission or Steadiness. (Relating to a person's patience, persistence and thoughtfulness.)

The final post will cover the "C" in DISC, which is called Compliance or Conscientiousness. (Relating to a person's structure and organization.)

A high "Influence" character breaks down as follows:

Motivated by: Recognition and Approval

Oprah Winfrey would be considered an influential character.

Best Environment: One with a Friendly Atmosphere, the Freedom from Control and Detail, and Opportunity to Influence Others

Accepts: Involvement with others

Rejects: Isolation

Major Strengths: Optimistic, Personable, Enthusiastic

Major Weaknesses: Over-selling, Manipulative, Lack of follow-through

Under tension behaves: Attacks

Would Benefit from: Pausing

Their ideal world is where they: Can have fun, Complete challenges in an exciting way, and Have dreams.

Greatest fear: Losing face or social approval.

Classic DISC patterns:
Promoter: high "Inducement," low or zero in other columns
Inspirational: equal emphasis on "Inducement" and "Dominance"
Persuader: highest in "Inducement," second highest in "Dominance"
Counselor: highest in "Inducement," second highest in "Submission"
Appraiser: highest in "Inducement," second highest in "Compliance"

High "Inducement" characters tend to communicate in an enthusiastic, one-way fashion, i.e., they do not listen well (but do it with enthusiasm!). In order to communicate with them, they need to feel they have an audience.

High "Inducement" characters tend to be intuitive in their decision-making. They need someone else to be the fact-checker.

High "Inducement" characters tend to emphasize the future. From others, they want a fellow dreamer.

High "Inducement" characters tend to have emotional highs and lows. They need someone with flexibility.

High "Inducement" characters tend to be a people gatherer. In order for connection, they need access to people.

In order to convince these characters of something, they need to know who else agrees with them.

In order to disagree with these characters, one first must agree with them, and then give them time and space to move on to their next big dream. Don't bother smashing their dreams, but let them come to the conclusion on their own that their dream won't work, and they'll move on to the next.


Next time: Submission/Steadiness

Knowing Your Characters Post 1: DISC Personality Test

I recently had the opportunity to take the DISC Personality test, and I was both amused and impressed by how accurate it was for myself.

This is a simple assessment where one circles a word or selects an answer out of four options which best describe them. For example, you may be given these four words: Cautious, Even-Tempered, Decisive, and Life-of-the-Party. You would circle the one that best describes you (and sometimes it's hard!) 

These answers are then ascribed to 1 of 4 personalities: Dominance (or Drive), Inducement (or Influence), Submission (or Steadiness), and Compliance (or Conscientiousness).

Most people are a mixture of all four personalities, and some may tie for two or more personalities. The minority of people are 100% one personality, and there are some who are high in one column and lower in the others. When I took this test, I was very high in Compliance (18/24 points), and my next highest rating was a 3 in Submission, followed by a 2 in Dominance and a 1 in Inducement. I am in the minority in having such a high number.

It was amazing how accurate this was, and how the statements given for Compliance absolutely fit into my life. But what I was thinking as I discovered this about myself, was that I should do this for each one of the characters that I ever write.

Since this may be long, I am going to post it in four parts, one for each type of personality. Today, we'll discuss what makes a "Dominance" character.

DISC:

First post, we will cover the "D" in DISC, which is titled Dominance or Drive. (Relating to a person's control, assertiveness and power.)

Our second post will cover the "I" in DISC, which is called Inducement or Influence. (Relating to a person's behavior in social situations and manners of communication.)

The third post will cover the "S" in DISC, which is called Submission or Steadiness. (Relating to a person's patience, persistence and thoughtfulness.)

The final post will cover the "C" in DISC, which is called Compliance or Conscientiousness. (Relating to a person's structure and organization.)

A high "Dominance" character breaks down as follows:

Motivated by: Results and Challenge

Best Environment: One with Continual challenges, and the Freedom to Act and has Variety

Accepts: the difficult

Rejects: inaction

Major Strengths: Getting things done, Decisive, Persistent

Major Weaknesses: Insensitive to others, Impatient, over-looks risks and/or facts, Inflexible and unyielding

Hitler could be considered a "Dominance" character.

Under tension behaves: Autocratically

Would Benefit from: Listening

Their ideal world is where they are: in control, can do it their way, are able to change things

Greatest fear: losing control, or losing a challenge

Classic DISC patterns:
Developer: high "Dominance," low or zero in other columns
Inspirational: equal emphasis on "Dominance" and "Influence"
Results Oriented: highest in "Dominance," second highest in "Influence"
Achiever: highest in "Dominance," second highest in "Submission"
Creative: highest in "Dominance," second highest in "Compliance"

High "Dominance" characters tend to communicate in a one-way fashion, i.e., they do not listen well. In order to communicate with them, another character would need to be direct and to the point.

Cleopatra could also be considered a "Dominance" character.

High "Dominance" characters tend to be impulsive in their decision-making. All they want from someone else is the details.

High "Dominance" characters tend to emphasize the present moment (the now). From others, they want efficiency.

High "Dominance" characters tend to be emotionally detached and independent. They do not want others to dig into their personal lives.

High "Dominance" characters tend to be socially selective. In order to connect to them, another character needs to bring them out socially.

These characters can be convinced that their way is the best way, and they don't want to change to accommodate someone else's views. In order to convince them to change, they need to know the benefit to the proposed change.

In order to disagree with these characters, one first must compliment them, and admit that their way is best--then ask them why it is best and have them try to convince you.


Next time: Inducement/Influence