Tag Archives: character development

The fear is real

Photo by Vadim Bogulov on Unsplash

Dig into your characters’ phobias to add depth, detail, and humanity

Content warning: This blog post touches on some common and not-so-common phobias. If you struggle with a phobia, feel free to skip this post. Also, I recognize that phobias are anxiety disorders and can impact a person’s life in profound ways. My writing here is meant to explore, in a light-hearted manner, the ways that writers can grant characters life and depth by giving them a phobia. In no way is this meant to downplay the very real impact that phobias and anxiety can have.

I have a phobia of bees.

Yes, all bees. Even bumblebees, those guileless panda bears of the apian world.

All stripey stinging insects set me off. In fact, if anything buzzes near or past me, whether it’s a fly, hummingbird, or a slight breeze, I’ll do my little frantic bee-flee dance until it’s gone.

The origins of my fear of bees lurk deep in my psyche, and I may never know why that part of my lizard-brain responds to a buzz. But I have a theory. My phobia may derive from a childhood visit to the local pick-your-own apple farm. I got lost in a “corn maze” and was swarmed by big angry wasps. My young and impressionable self was confused and trapped in a dark, creepy, fire-hazard labyrinth, and attacked by flying monsters. Even though I ended up with only a few stings, the experience stuck with me. No wonder my instinct is to run away.

My friends can get pretty impatient about this phobia, especially if we’re trying to enjoy a lovely summer evening outside on a patio. It’s okay, I get it. I’d be irritated by me too.

Pretty much everyone’s got a phobia – or phobias. Whether it’s bees (apiphobia) like me, or clowns (coulrophobia), dentists (dentophobia), teenagers (ephebiphobia), holes (trypophobia), or books (bibliophobia), a phobia is a uniquely human condition.

For some people, phobias can lead to intense symptoms – from chest tightness, racing heartbeat, and difficulty breathing, to anxiety, confusion, and dread. Phobias vary in terms of degree too. They can be a mild irritation or have a debilitating impact on a person’s day-to-day life, or anywhere in between.

As writers, we aim to create colourful, relatable, flawed, complex, and authentic characters. As you build out your characters, you might want to think about whether or not they have a phobia, and what that phobia means to their life and their story.

Here are 8 ways a phobia can add depth and layers to your characters and your story:

  1. Internal conflict: Your whole story might focus on a character’s struggle to overcome their phobia, which may have been brought on by an unresolved trauma of the past. A detective who comes face-to-face with his fear of confined spaces. A parent who must combat their agoraphobia to keep her daughter safe. A child prodigy pushed into a musical career by over-ambitious parents must fight their fear of loud noises.
  2. Relatability: Some phobias can help to make a character relatable or humanly flawed. An estimated 77% of people have a fear of public speaking (glossophobia), so giving your character a case of nerves before a big speech would make them pretty darn human.
  3. Comedy: While it’s never nice to mock the afflicted, a character’s phobia can give you plenty of opportunities for humour – whether it’s slapstick, gross-out, physical, punny, or ironic. Some of those opportunities are driven by the kind of phobia at play. For instance, trichophoba (fear of hair), decidophobia (fear of making decisions), and chronomentrophobia (fear of clocks) all seem like they could lead to some laughs. Just try not to be mean about it, gosh.
  4. Horror: The opposite is also true. So many horror elements derive from phobias. Spiders, snakes, sharks, clowns, garden gnomes, mirrors, demons, dolls, blood, the dark, fire, sleep – you name it, and there’s probably an absolutely terrifying horror story to write about it. And if the phobia doesn’t exist yet, just make it up. Guaranteed you’ll scare the pants off someone.
  5. Motivation for action: Writers must regularly shove characters into shitty situations to drive the plot and reveal the character’s growth and transformation. Having a character encounter their phobia will lead them to take an action. That action could be retreat, charge ahead, cry, faint, scream, what have you. The action your character takes in response to a phobia can provide a transition into the next beat of the story and provide deeper insight into your character for the reader.
  6. Signature quirk: A phobia can also be a kind of personal branding for your character. Indiana Jones Jr.: afraid of snakes. Indiana Jones Sr: afraid of rats. Ron Weasley: afraid of spiders. Wolverine: afraid to fly. Peter Pan: afraid of growing up. Maria: afraid of bees.
  7. Revelation: Your character’s phobia can be a clue to be unravelled over the course of the story. It could be the key to a shocking childhood accident, a genetic link to another character who has the same phobia, or the real reason why a villain does what she does. Go deeper, and make it matter.
  8. Novelty: If you ever feel stuck for an idea for a story, just google “list of phobias” for instant inspiration.

It’s easy for me to write about a character who’s afraid of bees (or sharks, deep water, or the shrill of my smoke alarm), because that’s what I struggle with. As I proceed with my WIP, I’ll be challenging myself to open my mind to other types of fears that my character could have, and all the ways that I can make my character more human.

Hippopotomonstrosesquippedaliophobia (fear of long words), anyone?

What are your characters afraid of?

Maria

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Character development: COVID style

When I was in theatre school, each time we took on a new part, we had a list of questions to answer to help us analyze and begin to embody our characters. Questions like:

  • What is my educational background?
  • How much money do I have?
  • Who is my hero?
  • What’s my favourite colour and why?
  • If I were an animal, which one would I be?
  • What’s my biggest pet peeve?

While I haven’t been on stage for a while, I am writing a play…in the middle of a pandemic. And even though I don’t want to accept the reality that family Christmas dinner will be done over Zoom, I can accept that I have been given a new set of questions to answer about my characters:

  • Would they wear a mask? If so, what kind of mask – N95 or homemade?
  • How many swab tests would they have gotten by now?
  • Would they punch anyone at Costco for toilet paper?
  • Would they host parties despite gathering restrictions?
  • How many bottles of hand sanitizer would they have gone through?
  • If they have kids, would they allow them to physically go to school or would they choose online?
  • Would they have bought a puppy?
  • Would they be first to line up for the vaccine?

Despite our current state of affairs and the overall unrest it has caused, as writers wanting to create characters that reflect our humanity, the answers to these questions can guide us.

All around us is conflict, paradox and controversy. The stuff of novels we can’t put down. So, while we wish this virus was Orwellian fiction, we might as well accept what gifts we can for the sake of our craft.

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A reflection on vulnerability, writing and character

I just watched a TED talk by Brené Brown about vulnerability. I love TED talks. Every time I watch one my perception about life shifts a little bit, and as a result, so does my approach to writing. In the case of Brown’s talk, I was in tears as I thought not only about my own vulnerability as an artist—clearly her message was hitting the mark with me—but also the importance of vulnerability in the characters I create.

The thing is most of us hate feeling vulnerable. We hate feeling out of control. We get paralyzed by “what if I put myself out there and I get turned down or ridiculed or end up going down a road I didn’t want to go down?” Yet, as humans we have a fundamental need to be connected to the world and to each other in order to feel truly alive. Therein lies the struggle: to feel connected, we need to be vulnerable and show who we are, but our instinct is one of protectionism. As writers we become vulnerable every day we create. It’s part of our calling. We describe and reflect the vulnerability of life, so others will be moved and their lives shifted as a result.

But vulnerability takes courage, and writers are human. We all struggle to be courageous day in and day out. I mean, how can you keep feeling courageous when a piece gets rejected or ignored over and over? How do you continue to write a story that takes you to dark places in your own life you’ve probably worked years to bury, but is needed in order to make the story authentic? Yet that journey is exactly what is necessary. As Brown even says, “vulnerability is the birthplace of creativity.”

And what does this mean for our characters? Our characters have to reflect the same human struggle we face ourselves in the most real way. If we can effectively show a character’s struggle for connection, readers, in turn, will feel a deeper connection to our work. (Maybe this is partly what Maria was talking about in her last post about finding her character’s voice.)

So, how can you create characters that reflect this inner humanity? Well, one way, of course, is to start with yourself. Examine when you feel vulnerable. I mean, really examine it…without fear. The better you understand your own humanity, the better you can reflect the humanity of your characters. As a start, I found some ideas from Writing Through Life journaling blog.

Another way is to start with those around you and then turn what you discover onto your characters. Here are some steps:

  • Describe when they feel vulnerable and why. Is there some memory triggered?
  • What physically happens to their bodies in that state? (e.g., forehead tenses, palms become sweaty)
  • What do they say in reaction? (e.g., turn to blame someone else? Try to exert control in the situation or command that they are “right”?)
  • What do they do as a result? (e.g., many try to numb the feeling of discomfort by drinking or eating excessively or taking pills. When developing your characters, remember these actions also numb joy and love at the same time, like Brown indicates.)
  • Now, write when they feel the opposite, i.e., in control. What does that look like? You can repeat the other steps from this point of view.

As Brown concludes her talk and I’m near the end of my Kleenex box, she reminds us that what makes us vulnerable makes us beautiful. So, keep your courage to be vulnerable as you write because it is fundamental to what makes your work beautiful too.

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