16 Parents and Children Shelby

In previous posts, I covered sixteen lovers and sixteen heroes and villains (link below). In the upcoming months, we are going to use the mannequins from Story Building Blocks and do a deep dive on what each character is like as a parent and how they deal with the other characters as children.

Family dynamics, especially parent and child, have a long-lasting impact on how your characters are formed. You don’t have to write a family saga to utilize this insight. It will shape who your character becomes as an adult. It can play a big part in a young adult story world. Even in Science Fiction or Dystopian futures, human traits remain. Childhoods can twist and destroy. A good family can make your hero more lovable and a motivated hero. Mix a character with a good childhood without to give them different world views and definitions of family. Sibling rivalry can be a factor. Who did the parent love more? Who did they connect with? Who did they clash with the most? There are many opportunities to infuse conflict in your plot with parents and children. You can mix parents with different styles. You can craft a complex family dynamic based on their temperaments and needs. As always with any of the traits, you can make them benevolent or malevolent.

The sixteen profiles can be either male or female. I alternated he and she. The character can be a father, mother, grandparent, aunt, uncle, foster family, or other primary caregiver. 

This post will focus on the mannequin Shelby.

Shelby is nurturing, emotionally guarded, patient, devoted, and flexible. She enforces her values and wants respect. She is generous with loving affirmations. She may give too much freedom to a child who needs structure. She blames herself for bad behavior. She wants to be good cop. She fiercely defends children against outsiders and overlooks their indiscretions until she can't. If she can't connect with children, she may leave emotionally or physically. She cannot handle a wild child. She gets along best with Shelby, Blair, Greer, River, and Dallas. She argues most with Arden.

SHELBY/WYNN

Shelby is easy to please and seeks approval. Shelby is nurturing but perhaps not approving enough. Wynn needs clear consistent rules and a secure routine. Shelby isn’t consistent and may not provide enough structure. Wynn hates being punished for something she didn’t do and Shelby blames herself for mistakes and that will be internalized too. Misunderstandings are likely here. Wynn will have to live with uncertainty and that will make her anxious. It’s not the worst pairing. They may muddle along together never understanding how they let the other one down.

SHELBY/FRANCIS

Francis needs order, structure, calm, and a predictable schedule. Shelby isn’t the most consistent parent. This could make Francis fretful, perhaps belligerent. He struggles with overly emotional people and may shrug off Shelby’s affectionate ways. Francis is not comfortable with new people or situations. He clings to close friends. Shelby is more social and may push him too far. Francis likes group events where he can show off his competence. He is meticulous and puts schoolwork before play. If his competence is questioned frequently, it results in low self-esteem. As long as Shelby shows interest and approval of Francis’s endeavors, it will be okay. However, Francis becomes rigid in the face of uncertainty and could be a bully. Shelby could find herself with a bully and blame herself for it. Francis may reject Shelby’s emotional overtures. It could be a dysfunctional dynamic.

SHELBY/NEVADA

Nevada needs structure, security, and personal attention. If he doesn’t get it, he becomes clingy. Shelby is happy to lavish him with affection. He struggles to conform to new situations and Shelby’s lifestyle could prove too stressful. Nevada craves acceptance and is eager to please.

He does what he is expected to do. He follows the rules if fair and reasonable. He speaks out against unfairness. He is furious when other people break the rules. Shelby may not provide consistent rules. Nevada will turn against his parents if they let him down. He becomes resentful and angry if he doesn't get the praise he seeks. He becomes willfully obstinate if violated. Shelby won’t understand the disconnect. Doesn’t she love him enough? Why is he turning on her? 

SHELBY/ARDEN

Arden is an active toddler. He likes to experiment and needs constant activity and change. He grows sullen and depressed if deprived of opportunities. Shelby is likely to provide the fun and frivolity. Arden isn’t a snuggler. He hates standing still and that can be exhausting. Shelby won’t understand why he pushes her away. She wants physical affection in return. Arden is curious and likes to disassemble things. He is eager to share his findings. He wants to impress and wants to earn those trophies and badges. He wants to excel. Shelby will be tolerant of his efforts as long as they don’t go against her personal preferences. Arden can resort to acting up to get attention or break up the monotony. Shelby will blame herself for his Hijinks and will try to cover for him. Whether they end up appreciating each other or not is up for grabs. Depends on how far you push the level of intensity of their traits and how tumultuous Shelby makes their lives.

SHELBY/BLAIR

Blair needs love and nurturing. She is pleasant and kind and nurturing toward others. Shelby will give her the affection she needs. Blair needs a solid foundation from which to flit, which could be a challenge for Shelby who can be inconsistent. Blair is quiet and plays by herself, inventing her own world. She rebels if restricted and resists change. She is artistic and highly sensitive, a daydreamer. Shelby is more social. She can be inconsistent, even tumultuous. Blair is likely to retreat as Shelby attempts to pull Blair into her world. They may not agree on values. Blair will be the intellectual loner and Shelby will be the outgoing activist devoted her causes. It could be a way to drive a wedge between them.

SHELBY/DALLAS

Dallas is a restless child. She is suffocated by restrictions or cloying caregivers. She isn’t a cuddler. Shelby will be hurt by her rejection. Dallas is a dangerous loose cannon and will try anything. She needs to be corralled. Shelby isn’t the best with boundaries or consistency. Dallas is a ringleader of her siblings or in school. Her attention is fleeting. She doesn’t do anything long enough to master it. Dallas hates being stuck at a desk listening to other people talk. She forgets to do what she is supposed to. Both Dallas and Shelby can be inconsistent, leading them to blame each other when the ball gets dropped. If unchecked, Dallas becomes a very wild child. If too suppressed, she rebels. It could be a clash of the Titans if they have differences in values and opinions.

SHELBY/HADLEY

Hadley is an easy baby. She needs calm, personalized attention. Shelby will give her that. Hadley is agreeable and enthusiastic. She wants to try everything once but quickly drops it. Shelby won’t make her finish either. Their joint lack of follow-through can cause serious issues. Shelby will doubt herself but outwardly defend her child. Hadley wants to be seen and heard and offers deep insights. She shuts down in the face of criticism and everything is criticism. So if Hadley follows along with Shelby’s belief system, they could be mutually supportive. Hadley is easily led and hates leaving friends even though her friendships tend to be fluid. If Hadley is led off to a different path than her parent expects, sparks could fly.

SHELBY/SHELBY

Child Shelby is a quiet baby with a low threshold for excitement. She needs calm and consistent nurturing. Too much handling, moving around, and chaos make her cranky. Child Shelby cries to escape the torture when caregivers shake her up and show her off. As a parent, Shelby tends to be affectionate if not consistent. Child Shelby likes playing by herself, with her toys, or with her imaginary friends. She likes to daydream and doodle. She hates teams and groups and is highly sensitive to criticism. Both parent and child turn their pain inward. She is reserved around new people and bonds with a best friend. She can be a loner. A Shelby/Shelby combination could lead to a really tight friendship as long as they both believe in the same things.

SHELBY/JOSS

Joss is a quiet but busy child. He is a fearless daredevil. He accepts structure and concrete rules but needs flexibility. He asks permission but finds a way around it if told “no.” He grows bored when options are limited. He could prove a challenge to Shelby. Joss takes things apart to see how they work, but doesn’t tell anyone what he learns. He gets lost in his hobbies. Joss is a good student, but chafes at rote learning. He gets in trouble for not paying attention or sitting still. Shelby was never good with those things either and will make excuses for him. Joss tries harder to control his world if it spirals out of control. Shelby isn’t always consistent which could create turmoil in the relationship. Depending on the types of things that catch Joss’s fancy. Shelby expects her children to be like her and follow her example. Joss could very well go the complete opposite direction.

SHELBY/KELLY

Kelly is a freedom-loving, active, and cranky baby. If his caregivers crave a consistent schedule, they are out of luck. Kelly can't sit still and play alone. He craves attention and creates chaos to get it. He transplants easily. Kelly tends to run rings around most parents and Shelby won’t be an exception. She will find him challenging because Kelly won't abide by rules or conform. He collects friends and needs to be on the move. He is a ringleader of mischief. He needs firm hand, not an iron fist. Shelby doesn’t have a firm hand. He will most likely make her life difficult. She will blame herself for his behavior. Kelly can be self-destructive if thwarted. He learns how to manipulate early and can become a bully. He will run right over Shelby.

SHELBY/GREER

Greer is happy, easy going, likes to explore. He can't handle chaos and needs routine and safety. He plays happily alone and is a comfortable child for Shelby to raise. Greer asks odd challenging questions and enjoys fantasy, mystery, inventing, and thinking. Shelby might not appreciate being questioned. She hasn’t considered her positions too carefully or deeply. Greer is not interested in being fussed over or the center of attention and can be easily suffocated. Shelby can be too affectionate. She may want to push him to be more social and socially acceptable. Greer doubts himself and takes criticism hard. Shelby could go either way with Greer. Shelby can appreciate him as a quiet well-behaved, if slightly odd, child. Or Greer could challenge her belief systems too vigorously. She will not appreciate the debate.

SHELBY/TAYLOR

Taylor needs calm. Chaotic and unpredictable caregivers make her anxious. Shelby is affectionate but not always consistent. She could create some anxiety. Taylor is friendly and values harmony. Pleasing others makes her happy. She wants to please Shelby. Shelby will capitalize on that. Taylor takes charge of the playroom and siblings. Taylor could question Shelby’s leadership and that will lead to friction. If Shelby expresses disapproval or rejects Taylor’s attempts to put herself forward, they could end up hurting each other. Taylor overextends herself by trying to play with everyone and must be reined in. Shelby doesn’t like being bad cop and will force the other caregivers to take charge of that. This could make Taylor spiral out of control.

SHELBY/CAM

Cam is a quiet, low maintenance child. He won’t ask for anything, even for what he needs. He is good because it’s important to be good not to please others. He expects everyone else to be good too: caregivers, siblings, teachers, and friends. Shelby will be relieved that he is an easy child. Shelby is affectionate but not always consistent and chaos pushes Cam further into his shell. He spends a lot of time daydreaming and thinking. His questioning of authority and probing questions will make Shelby squirm. Luckily Cam is self regulating and responsible. He develops his own belief system and does not conform to what others believe. This will be a point of contention for Shelby. She expects her children to accept what she believes as gospel. They are likely to exist in an atmosphere of quiet resentment as both withdraw to protect.

SHELBY/MORGAN

Morgan is a lively baby. He walks, talks, and gets into everything early. He might do them all a little differently. Since Shelby expects everything to happen on time and in the right way, she is easily frustrated. Why isn’t her child doing things “right?” Morgan doesn't do group activities and can be a clown. He will try to charm his way out of trouble. Morgan has a lively questioning mind. He takes risks and outwits dim caregivers, teachers, or other authority figures. He will get around Shelby easily. She isn’t good at being the firm parent. Morgan likes creative projects and follows his unique interests wherever they lead. His penchant for invention is evident early on. Morgan is outgoing. He likes to orchestrate activities, assign roles, and oversee the progress. He is irritated when he doesn't get his way. Shelby will struggle with this child. He will be too much for her. She will blame herself for not being good enough and will resent his inability to fall in line. He might find her too dull or question everything she believes.

SHELBY/LEE

Lee is a high-demand baby. If placed with absent or self-absorbed caregivers, she screams until someone pays attention to her. She proves exhausting to the most attentive caregiver. She knows her own mind from the day she can talk and tells you what she wants and does not want. If Shelby has different plans and goals for Lee, she is met with stubborn resistance. Lee excels at whatever she chooses to participate in. She is in competition with herself not others, but they might not realize it. She is a leader on the playground and becomes the enemy of anyone who doesn’t follow along. She is the quintessential queen bee. To caregivers with Lee’s temperament, Lee is the perfect child. To rigid caregivers, she is a pain. To less intrepid caregivers like Shelby, she scares them a little. There could be a battle for dominance with Shelby being the parent most likely to back down.

SHELBY/RIVER

River is a quiet baby. She is content to observe the world. A busy, aggressive, or outgoing caregiver makes her cry. She needs peace and quiet to thrive. Shelby will give her affection and basic care. The problems crop up later. River lives in a dream world most of the time. Shelby would have to drag her kicking and screaming to play groups or to the playground. River has one or two friends. Her emotional skin is thin. She sees the world as treacherous and trust is vital. The problems arise with River’s tendency to be drawn to belief systems of the mysterious, perhaps paranormal. Shelby is more grounded but very invested in her belief system. River will tune out Shelby and go her own way. River hates violence and discord. She needs peace and continuity, so she will be outwardly compliant but withdraw. Shelby could push River even further into whatever mystical or outrageous belief system she is drawn to. Shelby will be lulled into a false sense of victory. If River goes too far off the edge, Shelby isn’t the one to pull her back.

Next week, we will introduce JOSS.

If you want to learn more, you can check out Mastering Character Development and the Story Building Blocks website for free tools and forms.

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You can get more insight into character development by picking up a copy of  Story Building Blocks II: Crafting Believable Conflict or the fill-in the blank Build A Cast Workbook.

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16 Heroes and Villains: Joss

In Story Building Blocks II: Crafting Believable Conflict and the Build A Cast Workbook, I introduce sixteen character mannequins or prototypes based on personality types. I track them from cradle to grave and talk about their strengths and weaknesses and how to warp them.  I use male or female pronouns based on the percentage of the population that fell in that category, but all mannequins can be anything you make them. The traits discussed are starting points. You can alter their temperaments depending on the purpose they serve. Their traits give them strengths to build on and weaknesses to exploit. 

JOSS

 As a hero, Joss is an intrepid man of action. His physical risk-taking makes other people slightly nauseated. He makes a great sniper, special forces soldier, or superhero.

As a villain, Joss is deadly to anyone who crosses him or in defense of someone he foolishly believes.

Joss is loyal, despite his better judgment. Just give him a plan and he'll work it. He is a skilled maverick and an expert in his field. He’ll do anything for his close band of brothers. Joss follows the path of least resistance He doesn't need time to prepare and operates alone. He is highly aware of the physical situation, but blind to emotions. He makes keen observations and uses the information when needed. He notes flaws and attempts to correct them.

On the dark side, Joss's rash decisions make him vulnerable to predators and can result in catastrophe. He needs wide personal space and prefers to operate independently. He can drift toward paranoia. He enacts nefarious plans and does not care who it hurts.He is highly territorial and dangerous when crossed. He won't warn before he tears someone apart verbally or physically. He is an unpredictable villain. He thrives on risk and beating the odds and is easily bored.

Joss is rigid when threatened. He suspects people who think or behave differently and assigns them malicious motives. Joss is terse and nonverbal with a dry sense of humor. Some find him thick-skinned and tasteless. He is better at nonverbal expression. He isn't very interested in other people. He keeps his opinion to himself but erupts inappropriately when opposed. If he wants your opinion, he'll ask for it. He tunes out people who attempt to control him. He is rational and analytical but his logic is fuzzy. He doesn’t often share his thoughts. He thinks before he speaks and confides in a trusted few. He ignores sources he does not respect. Joss tells you what he thinks, delivers objective opinions, and is focused on whether information is true or false. He doesn't care if you agree. He doesn't care if you are upset. He focuses on the problem at hand and wants to solve it, not whine about it. He turns cold in the face of emotional outbursts. He can be unpredictable, unstable, and impulsive when pushed. He listens in information gathering mode. He evades answering questions by asking more questions. This frustrates other people when they need a direct answer. He doesn’t feel he owes anyone an explanation and never asks for permission.

Joss blocks out everything but what he believes, which makes his views narrow. He makes impartial decisions quickly and easily. Joss relies on experience and focuses on the details instead of the big picture. He makes impersonal choices regardless of the consequences. All rational options are considered. He prefers to keep his options open and is never quite satisfied with a decision. Procrastination can take the problem out of his hands. Joss is not a crusader. He doesn’t care if he fits in and is never truly invested in a belief system.

Joss can be insubordinate. He ignores structure, rules, and regulations. He is loyal to his band of brothers, but ignores superiors. He is annoyed when interfered with. If rules don't impact him, he doesn't care. He'll go around someone who tries to impede his progress. He won't waste time arguing with them. He will deal with the issue unilaterally.

Joss hates mindless routine, sitting still, reflecting, reading, and idle chit chat. He loves the adrenaline rush. He is spontaneous and flexible and operates on a smaller safety margin than ordinary men. He hates being tied down and ignores schedules. Joss is not a planner, but can work a plan. He is pragmatic. He pushes limits and volunteers to go first. He remains calm under pressure and acts while others debate. Joss doesn't manage people or come up with a battle plan. He follows orders but changes the plan without a second thought if the situation calls for it. He is good in fast changing situations. He focuses on the present, the not past or future, and lives moment to moment. He blocks out distractions to focus. He struggles with multiple courses of action. Just tell him what to do and let him do it. Deadlines are suggestions. When things go wrong, he ruminates over what happened and whose fault it is.

Joss's natural allies are Greer, Kelly, Blair, and Francis. His nemesis is Taylor. He enjoys others like himself. He is drawn to whoever shares his passion of the moment. Joss is an exciting catalyst. He encourages others to embrace his risk-taking hobbies. He has an affinity for sports but also an artistic appreciation. He is tolerant of most people and is valued by friends. He has many different sets of friends, but not intimate friends. He makes day-to-day efforts to keep a friendship going as long as it is interesting. Friends are confused and hurt when he drops them without notice or explanation. He isn’t good with long-term commitment. He won’t tolerate anyone he perceives as boring. He is often found with extroverts because of his leisure activities, but they quickly tire him. He doesn’t have time for the navel-gazing introverts. He avoids confrontation until someone violates a core value then punishes with cutting criticism.

As a hero, Joss is the perfect action hero, spy, renegade soldier, or CIA agent.

As a villain, he is a reckless, relentless sniper or hitman. He won't lead the enemy, though he could by default, but he is a very effective weapon. 

Next week we meet Kelly.

You can download free character information sheets:

Character Worksheet

Mannequins Under Pressure

Sixteen Lovers

Mastering Worldbuilding

Whether you are covering a historical time period or crafting a Fantasy or Science Fiction world, it is important to bring the time and place to life for the reader. The following articles can help you do so.


Welcome to Worldbuilding

Apparel

Pigments and Dyes

Fabrics

Footwear

Accessories

Metals

Jewelry

Gemstones

Appearance

Hygiene

Communication

Crafting Languages

Information

Education

Employment

Technology

Dates & Measures

Medicine

Transportation

Entertainment

Finance

Public Spaces

Food

Climate and Weather

Flora and Fauna

Shelter

Law

Governance

Social Structure

Weapons

Mores

Myths and Legends

Worldbuilding: Imaginary Creatures

Research Maps

Build A World Map Sites

Research Festivals and Faires

Research Live Reenactments

Research Film Reenactments

Research Virtual Reality Tours

Research Online Resources

Worldbuilding Revision

The information on worldbuilding is available in Story Building Blocks Build A World Workbook in ebook and print. 

 Much of the material from my Story Building Block books is available in my blog posts and website along with free forms.

Mastering Character Development

If developed well, a character can live in a reader's mind long after they've forgotten the book's title, plot points, even the author's name. Here are some tips on creating memorable characters.

Memorable Characters

Naming Your Characters

Avoid Sad Sack Protagonists

Reinventing the Hero

Choosing Your Antagonist

Crafting The Con Man

Mob Mentality (how mobs control people)

Angel or Devil

Levels of Antagonism

Friends and Foes

Developing Sidekicks

Sixteen Lovers Part 1

Sixteen Lovers Part 2

Sixteen Lovers Part 3

Sixteen Lovers Part 4 16 Heroes and Villains Wynn

16 Heroes and Villains Frances

16 Heroes and Villains Nevada

16 Heroes and Villains Arden
16 Heroes and Villains Blair

16 Heroes and Villains Dallas

16 Heroes and Villains Hadley

16 Heroes and Villains Shelby

16 Heroes and Villains Joss

16 Heroes and Villains Kelly

16 Heroes and Villains Greer

16 Heroes and Villains Taylor

16 Heroes and Villains Cam

16 Heroes and Villains Morgan

16 Heroes and Villains Lee

16 Heroes and Villains River

16 Parents and Children Wynn

16 Parents and Children Francis

16 Parents and Children Nevada

16 Parents and Children Arden

16 Parents and Children Blair

16 Parents and Children Dallas

16 Parents and Children Hadley

16 Parents and Children Shelby

16 Parents and Children Joss

16 Parents and Children Kelly

16 Parents and Children Greer

16 Parents and Children Taylor

16 Parents and Children Cam

16 Parents and Children Morgan

16 Parents and Children Lee

16 Parents and Children River

Romance: Points of Connection

Obstacles to Love

Layering Conflict Character Motivation 

Ten Ways to Motivate Characters

Writing (Characters) in Three Dimensions

Should Your Characters Change?

Unpacking your Character Question 1

Unpacking your Character Question 2

Unpacking your Character Question 3

What Drives Your Characters Part 1

What Drives Your Characters Part 2

Tapping Your Character's Currency

Currency in Action

Ditherers and Despots

Conflicts of Project Runway Under Pressure

New Year's Resolution

Personal Ghosts as Conflict

Crafting Creatures: Ghosts

Crafting Creatures: Witches

Crafting Creatures: Vampires

Crafting Creatures: Fae

Crafting Creatures: Angels and Demons

Crafting Characters: Seenagers

Dressing Your Characters

12 Fascinating Fe/Male Spies

Revising Characters


The information on genre can also be found in the book Story Building Blocks The Four Layers of Conflict in ebook and print editions as well as on my website 
www.dianahurwitz.com. Much of the material from my Story Building Block books is available in my blog posts and website along with free forms such as:

Character Worksheet

Mannequins Under Pressure

Sixteen Lovers

Communication Conflicts

Minding Your Manners

www.dianahurwitz.com

I give credit to an article in Parents magazine for inspiring this one. Are etiquette and chivalry truly dead? In your story world, you decide. 

Tweet: Mores and manners change with the times, but everyone has a set of rules. #writingtips

From knights in clanging armor, to Victorian parlors, to the craziness of Hollywood, every story world has a set of rules for how people are supposed to behave and whether or not your characters choose to.

How comfortable Dick is in terms of asking for something depends on his personality type and whether he likes the person he is asking. The polite way to ask is, "Please may I ...". If Dick says, "Please taking a running leap off a short pier," the game is on.

How comfortable Dick is in terms of receiving things also depends on his personality type and whether or not he wants the item received. 

Thank you's when used appropriately, are the oil that makes life run a little smoother. An insincere thank you can mask anger when Dick would really like to let those rude words fly and can't. "Why thank you! However did you come up with such a creative solution to our current predicament ...Sweetie." If he says, "Thank you for not breathing," the game is on.

When a character interrupts a conversation, even to tell Dick that Timmy is in the well, he is being rude.

How often do your characters interrupt each other? Is it well meant, deliberately intrusive or because the situation requires it? Is it timed to deflect an important or revealing conversation?

Cell phones are rampant. Forcing the people around him to listen to Dick's conversation is rude. Listening in on other people's conversations is considered rude. This can also have unforeseen consequences. People aren't careful when they talk on their phones in public. They aren't careful when dining with their friends in restaurants. Clues can be dropped, sensitive information revealed and a person's true colors exposed.

"It's better to ask permission than forgiveness" is a current favorite. But is it? Sometimes Dick should ask permission, like before he raids someone else's refrigerator. He'll pass on asking permission if he is raiding their safe. Taking something innocent without permission may seem harmless, but may push the wrong button. How does Dick feel about having something taken without permission? Is he amused or furious?

Jane should keep negative opinions to herself. Or between her and her friends and out of earshot of other people. In which case, they can discuss freely and at length over their favorite beverage. Refer to the previous "there's no privacy while dining" scenario. This is especially true when commenting on other people's physical characteristics, clothing, possessions and children. It isn't considered acceptable to offer an insult as a compliment: "My, those tattoos are so colorful." Or "It must have taken hours to do that to your hair." Southern women are queens of the insult/compliment smashup. "Well, bless her heart, isn't she precious? It must have taken a month of Sundays to come up with that outfit."

Jane should take a hostess gift to someone's house when invited for dinner and thank them for having her over and for the good time she had. If Jane is lying through her teeth, you have conflict. If she takes them a present intended to insult, the game is on. Is she thanks them for the most riveting evening she's ever had, the insult might fly right over her host's head.

Sally was taught to knock before entering. This could avert a potential disaster if her husband is in bed with someone else. If she is doing something she doesn't want anyone to know about, locking the door would be a great idea. If Sally never locks a door and suddenly decides to lock the door, there is conflict. Locking the bathroom door could mean the child/person knocking better be bleeding, the house on fire or someone dying. If not, the game is on.

When making a phone call, Dick should introduce himself and ask for whoever he wishes to speak to. With the advent of caller ID this is going out of fashion. The conflict occurs when Dick doesn't bother to ascertain who he is talking to before he speaks. It also occurs when Dick answers someone else's phone, particularly if he pretends to be that person. Wrong numbers and misunderstandings are rife in these situations.

What are your story world rules about profanity? It is considered bad manners to use foul language in public, particularly if sensitive little ears are around to hear them. There are still factions of society insulted by words that other factions of society use as versatile adjective/noun/verbs. Profanity is generally considered crass in business and social functions. If Dick does so, how much trouble will he be in? Is Jane offended by profanity or does she swear like a sailor?

Dick should never call other people names or make fun of them. Until they are out of earshot and can't hear him or retaliate. Unless he intentionally wants to start a fight. Even good natured teasing can be taken the wrong way.

Jane should sit through a play, assembly, lecture or business meeting quietly and pretend she is interested even if she is bored silly. What happens if she doesn't? We've all been in boring business meetings, school music programs or dance programs that - other than our little darling's five seconds of fame - bore us to tears. You may be at a lecture or a workshop. This is where the cell phone issue comes in. The light from the screen is distracting. Jane may be bored, but the parent/participant sitting next to her might not. What happens if Jane is forced to sit there? What happens if she breaks free? What happens if she breaks out her Blackberry?

Sally should cover her mouth when she coughs or sneezes. These days it's an act of terror to spread germs in a public place or airplane.

If he sees someone struggling, Dick should offer to help. This is lovely if an elderly person is struggling with their groceries, a mom with a stroller, or someone drops something and doesn't notice. These situations can be hilarious or deadly. What could a little act of kindness lead to? What could Dick gain by pretending to be helpful? There's the old joke about the boy scout who helped the old lady across the street only to find she was headed the opposite direction. Good intentions rarely go unpunished.

When someone asks a favor, Jane should do it without grumbling, unless the favor is inappropriate. Favors can be dangerous. If Jane asks a favor, she should preface it with, "Would you mind." If she follows that up with "Would you mind sodding off?" the game is on.

For more on crafting conflict to create tension, pick up a copy of Story Building Blocks II: Crafting Believable Conflict available in paperback and E-book.

The Importance of Reputation

Tweet: There was a time and place when a man was only as good as his word and integrity was paramount. #writingtips

A clansman's oath was to the death. Tribesmen the world over made verbal contracts often involving an exchange of blood.

If you lived in merry old Europe during most of the regent-named eras, a reputation was considered more important than currency. A man might be poor, but he could still have his good name. Lots of citizens indulged in lascivious shenanigans, though most turned a blind eye while they did so. As long as the shenanigans took place in private and the “public” remained ignorant, all was well and good. Shift the curtains and allow a passerby to see inside the facade and the person in question was ruined.

Are honesty and integrity important in your story world? Is it more valuable than currency? 

Is it important for Dick to have a “good name?”  What will Dick have to do to maintain or regain his reputation? Many a tale hinges on someone trying to repair a damaged reputation. Dick’s integrity might be one of his hot buttons. Others will challenge it at their own risk.

Dick might be proud of his reputation as a womanizer and guy’s guy. Jane might look down her patrician nose at him for being so superficial. In many a love story, she finds out her initial prejudice was unfounded.

Jane might have a reputation as a loose woman with a sharp tongue. When forced to work with Jane, Dick might realize Jane has been unfairly demonized. She is really quite lovely.

How important are honesty and integrity to the characters that move about your story world? 

Not all of them will value the same things. To some, virtues will be of the highest importance. To others, vices might be of higher importance.

Is it better to give than receive? Depends on who is giving and who is receiving, doesn’t it? If Dick is giving money to a charity, it’s a good thing. If Jane is giving crucial intelligence to Iran, not such a good thing. Both might have a reputation as a “giving” sort of person.

What if Dick has earned a reputation he does not deserve? What if he is held aloft and admired by millions for something he didn’t really do, or for doing something that appeared benign when it was secretly malignant?

It might be Jane’s story goal to strip him of his “good name.”

A business’s reputation is worth its weight in stocks. A single incident can trash a business’s reputation. The business may never recover. The stakes are high when a company is fighting to keep, change, or restore its reputation. Those at the top of the corporate pyramid may turn lethal if their reputation is challenged. If Dick orchestrates a coup with the sole purpose of destroying a corporation, the game is on.

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To learn more about the mannequins and how personality types create conflict for your characters, pick up a copy of Story Building Blocks II: Crafting Believable Conflict, available in paperback and E-book, and Story Building Blocks: Build A Cast Workbook available in paperback and E-book.

Stirring The Plot: Who's The Boss?

WHO'S THE BOSS?

I have to thank a friend for inspiring this one, though I’ll withhold names to protect the innocent. My friend, let’s call her Jane, works in an office where the boss’s wife comes in periodically to make sure things are done her way. She isn’t actually an employee, nor is she an expert in the business he conducts. She just likes to meddle and throw her weight around to feel powerful.

Tweet: Family run businesses can be an entirely different breed of viper’s nest. #storybuildingblocks #writingtips 

Unlike the cogs in the corporate hierarchy that are easily removed and replaced, the family run business is full of emotional landmines. 

If Dick’s father is the nominal head of the business, theoretically he should be in charge. But what if he isn’t? 

What if Dick’s Mom wears the corporate pantsuit even though she doesn’t actually work there? It will cause aggravation if not outright abuse for all who work for them. It is a very uncomfortable work environment. The rules can be disregarded at whim and the hierarchy ignored when the untitled boss gets involved. The changes she makes are implemented without warning or consideration for those who actually have to show up and do the job every day. They are enforced even though they create headaches for those who have to perform the tasks.

Jane will go to the office every day primed with anxiety. When will the saboteur show up next and what impossible demands will she make? Because the reward system is illogically skewed, Jane won’t be certain that her hard work and dedication will be appreciated, so how hard should she try? Should she stay or go? Depends on her situation and how good the pay and benefits are. How much is Jane willing to sacrifice for material reward when every day feels like a swim in a shark tank? How much abuse is she willing to endure before she quits or pulls out a revolver?

How does the uncertainty affect the son Dick? How frustrated will he grow with his spineless father when he witnesses his mother’s torture of the employees? How firm can he get with his impossible mother? Will Dick grow and learn to stand up for himself against the female bully or will he repeat the enabling pattern?

What if Dick’s sister Sally also works at the firm? They have grown up being pitted against one another. Who is the favorite child for which parent? The dynamics shift depending on the answer. If Dick is Dad’s favorite and Sally is Mom’s favorite, then Dick has a real problem. His succession as head of the business isn’t assured. Mom may choose Sally to take over. If Sally is Dad’s favorite and Dick is Mom’s favorite, then Sally has a problem. She can have Dad wrapped tightly around her little finger, but if Mom wields the power and isn’t too fond of her simpering daughter, Sally is in a no-win situation. If the parents continually play out their antagonism toward one another through their son and daughter the waters get hurricane choppy. If Mom dies, then Dad is free from her oppression and the work environment can become an entirely different place. If Dad dies, and Mom takes over or the business is turned over to Sally instead of Dick, the situation can disintegrate further. If the siblings enter a turf war over it, the conflict heats to a boil.

How many employees will abandon ship? How many will stay? How can the company survive if the internal structure is unstable? 

The addition of sibling and parent dynamics to any story situation raises the stakes and changes the playing field significantly. 

The conflict could be a mild distraction while Dick is trying to save the planet or find the kidnapped girl.

The conflict could be the core of a literary tale of deadly dysfunction. 

The conflict could be the source of an intense thriller or suspense. 

The parent/child scenario could be a factor in a YA novel. The parents could be running a gas station, a major corporation, a village, a country, or a wolf pack.

In your story, who is the boss? Who are the powers that be? Who makes the ultimate decisions? The more dysfunctional the situation, the higher the story stakes.

For more on crafting conflict to create tension, pick up a copy of Story Building Blocks II: Crafting Believable Conflict available in paperback and E-book.

Should Your Character Change?

Tweet: In your story, it is highly suggested that your main character undergo some form of change by the end. #storybuildingblocks #writingtips

The change can be life-altering or subtle. It can be a change for the better or worse.

It is open for debate if antagonists or secondary characters undergo change of their own.

If one person shifts, it creates ripples in the people around them.

Dick is going along, minding his own business, when - Wham - life throws him a curve ball (i.e. the inciting incident) and his life will never be the same.

Along the way, as he battles obstacles to achieve the overall story goal, he undergoes some form of change: from arrogant to humble, naive to wise, weak to strong, cowardly to brave, misunderstood to understood, adolescent to adult. 

These changes result in an up ending if they are positive. 

If Dick changes for the worse, you have a down ending.

What makes Dick willing to change? 

Depends on the story stakes, the types of obstacles he will face, and the genre you are writing in. The change may be subtle in a Literary tale and overt in a Fantasy tale.

Some endings are a little bit of both.

Dick can be compelled by an authority figure or social group to change, but he himself was not really motivated to change. For instance, he may be court ordered to do community service that opens his eyes to the plight of the underprivileged. He might be ordered by a commanding officer or boss to do something that transgresses his value system and he fights against the order, but eventually gives in because he isn’t willing to endure the price of the alternative. This results in an up-down ending.

Dick might change to escape criticism or banishment from people he cares about, a group he belongs to, or a corporation he has built. At his core, he may never agree to what is being asked of him, but he does it because he must to maintain the status quo or obtain the story goal, which also delivers an up-down ending. If he is being forced to do something healthy, this is an up ending. If he accepts things that are unhealthy, it is a down ending.

Jane may enter the story knowing that she needs to make a change: she needs to leave her unsatisfying job, leave her empty marriage, or stop selling narcotics because she has seen the needle and the damage done. The overall story problem makes the situation worse so that Jane has no choice but to change. This results in an up ending. If Jane knows that she has to make a change that is detrimental to her psyche, it results in a down ending.

Sally may change because she can no longer tolerate the situation she is in, the feelings she is carrying around, or the pain of the status quo. She must change because she simply cannot bear the alternative any more. She was near the breaking point and the inciting incident makes the choice unavoidable. This usually results in an up ending, unless the change she was contemplating was a bad one.

Just as the overall story arc has its ups and downs, so do scenes. A scene can have an up or down ending. 

These undulations make the story ride enjoyable. They keep the reader wanting to know how it will all end. Characters that are static throughout a story are boring and hard to root for.

SBB Revision Tips

For more tips on how to craft believable characters, pick up a copy of Story Building Blocks II: Crafting Believable Conflict available in paperback and E-book, and Story Building Blocks: Build A Cast Workbook, also available in paperback and E-book.