Welcome to our Agonist Aunt’s desk. She’s here to help out all creatives who may be struggling with getting started, finding inspiration, dealing with blocks and whatnots in the whole creative process or getting a project complete. Agonist Aunt does not currently answer career or love-themed letters.
This week, Agonist Aunt advises a creative who’s got too many ideas and a writer who’s looking for the real character behind those Character Sheets. Much gratitude to these two souls for sharing their difficulties that so many of us can relate to.
To write to Agonist Aunt, scroll to the end of the post and fill in the form. Only three letters at most will be chosen each week.
Disclaimer: Agonist Aunt is only a sounding board. Her reply is for your entertainment and enlightenment only. Follow any suggestion at your own discretion and own it for yourself. Agonist Aunt accepts no liability and no credit in any event.
Dear Agonist Aunt,
How Do I Focus On Just One?
For my writing and artwork, one of my problems is that there are just unlimited possibilities of what to do, and I freeze up trying to decide on one. How do I focus in on one thing, the more limited the better probably? Limits seem to expand the creative possibilities, but in a manageable way.
Nine Tailed Foxe
Dear Nine-Tailed Foxe
Temporary ditch diverging possibilities in favour of merging possibilities.
I hate to admit I suffer from a similar problem to your own. Yes, it does lead to paralysis and procrastination, or feeling that you’ve scattered your energies too much. I have two approaches to this problem. Choose one that works best for you at the time.
Work on two or three projects simultaneously. This lengthens the time of completion for each project considerably, but also stops the other procrastinator monster, the dreaded creative block, popping up. For those bursts of creativity (or inspirons as Pratchett termed them) that intrude upon your concentration, file them in a notebook, sketchbook or other note-system. Personally, I like keeping a small notebook handy and jotting down notes or making indecipherable sketches/drawings that lead to later creative surges or inspiration for challenging parts of projects much later…sometimes years later.
Another method is to take similar or complementary (or even contrasting) ideas and use them as elements in your current or other project. This way you get to explore your current passion without losing time or getting too distracted by ‘new’, shiny ideas. I find this way great to grow as a creative and to change my style into one that’s more distinctive—more me!
I pulled a card for you and it’s Achievement. During contemplation of all these awesome ideas and ways to utilise them, it’s important to focus on what you wish to achieve with them, or how they’ll contribute to your overall achievement. Some ideas are just for fun, and you don’t need to do an in-depth exploration of them all, especially if they’re costing you too much time and energy and setting your almost complete or half-way through projects even further behind. Keep that sketchbook/notebook handy or even a character who doesn’t quite fit into you current works on file. Some ideas also need the right time to fully blossom and serve their purpose. In the meantime, you can achieve much more with your time in merging workable ideas or using them as new elements.
Wishing you more clarity, focus and achievement
Dear Agonist Aunt,
How do I find my character’s voice?
Having a fair amount of experience crafting plots and building worlds, the one area where I still stumble most is in moving my original characters beyond a set of traits on a Character Sheet so that they can become a living, breathing person on the page.
Dear BB Wonkycandle
Tune in, drop out, and observe your character.
Before we get to the crux, let me congratulate you on your attention to crafting plots. Many’s a well-told story that’s sabotaged by a degenerating plot as the story continues.
Ah, yes, Character Sheets. While they make you feel terribly productive, they often only give you a clinical look at your character. To get a more visceral and rounded look at characters, you need to drop your pen/keyboard (or at least set them aside), get a nice cup of tea/coffee/tipple of choice, and find a comfy seat. Now, close your eyes and imagine your character in a scene of your story. If you see your plot like a movie, press the pause button. What is their expression in that scene? How are they feeling at that point? How are they standing? DO NOT WRITE DOWN A THING. Just KNOW this about your character. Carry on noticing your character through the scene. The way they move, the way they speak, their facial expressions. DO NOT TRY TO MAKE THEM FIT TO YOUR PLOT IF THEY ARE BEHAVING DIFFERENT TO YOUR EXPECTATIONS. Characters dictate, enhance or emerge with plots. They are not fully formed and we do not fully know them until the end…sometimes never. Let yourself discover your characters as you would a new acquaintance or friend.
If you have trouble visualising your character so minutely, you might want to try casting your favourite/least favourite actor in their role—a great way to justify binge-watching if you need it. Now you have a template for their facial expressions and physical movement, and it should be easy to imagine them playing out the scene in your plot.
I also find dialogue and ‘hearing’ the character’s speech very helpful in revealing aspects of them: their accent, their choice of words, their verbal tics and their silences. All of these can be far more indicative of their inner workings and foreshadow their strengths and weaknesses. Similarly, having a ‘character song’—one which typifies them in some way can also conjure them up almost instantly. For example, in the movie Bunrako, music was used to enhance each character’s nature without dialogue, but it told us so much about them in that moment. Play this song/music when you write about them.
I pulled a card for you, and it’s Empathy. I think it sums up wonderfully what we’ve been talking about. The illustration even has an ear on it, so ‘hear’ your character speak and hear what they’re feeling and how they choose to reveal (or hide) themselves in that moment. Only then is it time to pick up your pen (or keyboard) and let them interact with your plot.
May all your relationships with your characters be long, fruitful and full of empathy.
Looking for last week’s letters? Find them here.
Write to Agonist Aunt. Fill in the form below.