Tip #455: Character masks

People in real life wear masks to protect their real feelings and vulnerability.
Masks peeling away is a dramatic device

http://aerogrammestudio.com/2013/12/14/50-narrative-devices-for-non-fiction-storytellers/#more-5652 Slide 26

Tip #454: Passive characters

in language... subjects act, objects are acted upon

http://www.upworthy.com/being-a-sex-object-is-empowering-oh-wait-no-it-s-not-here-s-why-2

Do you want your protagonist to be the subject or the object of your story?

Are your female characters subjects or objects?

Tip #450: Finding sparks of life

When a particular character isn't coming to life, I... write out what s/he would say for themselves in an interview.

'Why I did this...'
'why I'm ging to do that...'
'Why I'm right...'

...The reasons and excuses aren't so important, but the perspective is... an assertion of {the character's} own perspective...

self-justifications... don't get into my novels. They do influence... the scene where a character is confronted by the truth about themselves.

http://writingtips.com.au/WRITING%20TIPS%20BRITISH%20version/downloads/wtipscontinuousUK.pdf p 63-64

Tip #448: Not everyone is the same

Pick two people on the same side of a conflict, but give them completely different motivations for fighting on that side.

http://www.writingexcuses.com/2013/12/08/writing-excuses-8-49-hard-social-science-fiction-with-joel-shepherd/

One of the advantages of using this in a story is it can be a far more subtle way of showing how evil an antagonist is without having them kick a puppy.

Tip #447: That which is unspoken

That which is unspoken defines the relationship.

Given examples:

Those things you won’t talk about.

The apology never given.

The explanation never provided.

The promise never followed through on.

The secret never shared.

The unspoken things that affect our relationships can also be those truths we keep from ourselves rather than the other person. We often hate most in others things that we fear in ourselves.

http://writerunboxed.com/2013/12/13/things-left-unspoken/

Tip #445: Why character choice matters

There are very few situations where every human being on the planet will respond the same way, so the cascading series of unique choices they make — each time altering how the story goes — is what makes them — and the story — come alive.

When you’ve done it right, you’ll look at your story and realize that it would have been an altogether different story with any other character in the same situation.

http://www.aisteach.com/blog/?p=1205#more-1205

If you have some situations but no protagonist/antagonist, those situations (and how the characters got into and get out of them) help define your characters.

If you know your characters try asking yourself occasionally what they wouldn't do, and then work out why they'd do it.

Tip #335: Creating internal conflicts

pick a word that describes your character. For example: He’s compassionate. Then find another word that can also describe your character, but make it a polar opposite—terrorist... Giving a character a dual nature creates an instability, a lack of balance, that probably can’t stay forever.

http://www.davidfarland.com/writing_tips/?a=281

Tip #334: What is cultural appropriation?

Cultural appropriation takes place when a privileged group takes elements of an oppressed culture and uses them as it sees fit, without regard to their importance in the oppressed culture, often deforming them beyond recognition or distorting reality to the point of making the appropriated cultural practice take the place of the authentic one.

http://femmeguy.wordpress.com/2011/06/20/appropriation-of-femmes/

Tip #331: Character tone

Each person that you meet has something of an emotional tone about them. Some people are stern most of the time, while others might be thoughtful, pleasant, or excited.

http://www.davidfarland.com/writing_tips/?a=271

Tip #329: Using characters' desires to create character arcs

How far will that character go to fulfil their desires? Will he sacrifice the life of a member of his family to stay alive? Will she sacrifice her own life to kill him?

http://www.telegraph.co.uk/culture/books/crime-writing-competition/10159834/Telegraph-Harvill-Secker-Crime-Writing-Competition-masterclass-Stuart-Neville-on-plot.html

Quote taken from video so may not be word perfect.

Character arcs often build up to this question.  It's something we often grapple with daily: how far will we go to satisfy our desire for calorie-rich food?  Will we sacrifice our spare change/diet/figure/health/self-respect/love?  Where is the point when one desire battles with another and we start to question if the original driving desire is worth it?  Where is the point when we decide YES, it's worth it, or NO, it's not?  And what are the consequences of this decision?

The main character arc in Star Wars IV is different.  It's about Luke learning to believe in the Force (and therefore himself) culminating in his choice to trust it (and his own judgement) for a vitally important gamble (and foreshadowing the same decision in Star Wars VI).  But Han Solo has a desire character arc, discovering offscreen he can't abandon his friends in their attempt to destroy the Death Star -- even for money/long life.

Tip #327: Battle & fight scenes

There are many different reasons for a good battle scene. Am I trying to give a proper end to a beloved character? Am I trying to resolve the grudge, or to determine who, in the end, is better? Am I using a fight to leave a cliff-hanger...? Am I writing a personal fight between two enemies, or a grand-scale battle which can determine the fate of a city? Or am I simply trying to wake up the readers after a long pause in the action? I do that. I admit it openly. There are times when I just want a reader to get his or her pulse pounding.

http://blog.shelfari.com/my_weblog/2011/08/ra-salvatore-on-how-to-write-a-damn-good-fight-scene.html

Keep in mind that the injuries sustained during a fight will linger... Even if a person is never touched, and inflicts all the damage, there can be an emotional toll that character will walk away with

http://www.maxwellalexanderdrake.com/ClassHandouts/Old%20Handouts/Handout%20for%20Anatomy%20of%20a%20Fight%20Scene%20Pt1%20by%20Maxwell%20Alexander%20Drake.pdf

Tip #326: Living characters

our characters are just like us, constantly reacting to a million different stimuli... they could {n}ever have anticipated.

http://www.writeyourscreenplay.com/2013/04/24/are-you-planning-your-script/

Tip #320: Organic character growth

if your characters are doing things, even small things, those things will {often} change your characters.

http://www.youtube.com/watch?v=9vm6ttFHDTE (Christopher Paolini)

sometimes just in small ways, but small changes add up.

Tip #315: The secret of great set-pieces

Audiences don’t love set-pieces. They love characters who do amazing things during set-pieces.

http://screenwritingtips.blcklst.com/2013/03/screenwriting-tip-1215/

Tip #310: Consistent character voice

One technique that I find helpful is at the end of each story, I go through in editing and make a “dialog pass.” If I have a character, Bron, I will search for instances of “Bron said” so that I can pinpoint his scenes and make sure that his dialog sounds like it is coming from him.

http://www.davidfarland.net/writing_tips/?a=170

Tip #309: Why showing is essential for scripts

"WRITE ONLY WHAT WE CAN SEE."

...IF YOU'RE WRITING "HE GREW UP IN A SMALL TOWN BACK..." IN YOUR ACTION LINES YOU ARE DOING IT WRONG... ANY GOOD DIRECTOR WILL SIT DOWN AND LOOK AT A PARAGRAPH THAT HAS NOTHING BUT CHARACTER HISTORY AND SAY "HOW THE FUCK CAN I SHOW THAT?"

Given Example:

MERYL STREEP'S CHARACTER IS ON A PLANE AND SHE'S ABOUT TO BE HANDED FOOD. SHE GOES TO GRAB HER WALLET TO PAY, BUT ATTENDANT INFORMS HER THEY'RE FREE. THE MEANING IS CLEAR: SHE'S NEVER BEEN ON A PLANE BEFORE...

IF YOU WRITE SOMETHING WE CAN'T SEE, IS NOT JUST MERE FAUX PAS, NOT JUST A COMPLETELY WASTED OPPORTUNITY, BUT A WRITING HABIT THAT WILL ACTIVELY MAKE THE MOVIE WORSE. YOU'RE PUTTING AN IDEA INTO THE FILMMAKERS HEAD THAT WILL MAKE TOTAL SENSE FOR YOUR STORY, HELP THEM GET IT, BUT IT WON'T HELP THE AUDIENCE GET IT.

http://badassdigest.com/2012/01/12/screenwriting-101-2-of-2/

Another advantage is that descriptions are far more nuanced and therefore intriguing.

Tip #308: Easy character arcs

If nothing (and no-one) else, your protagonist should end the story in a different state of mind to the one they began in, unless you're deliberately putting them back exactly where they started to show their lack of change or to emphasise small changes...   

Going from a negative to a positive emotion gives the ending a greater positive impact because the reader is subconsiously aware they've been on an positive emotional journey with the protagonist.

Given examples:

Biggles and Tintin frequently follow this arc:
Boredom -> Increasing Determination -> Satisfaction

Some of the Nancy Drew books often do something similar:
Curiosity -> Increasing Fear -> Relief

The Harry Potter books are much more complex, containing multiple arcs, one of which is:
Alone -> Increasing Friendships -> Loved

H.R. Filmore's Reminders to Self, December 2012

Tip #301: Info-dump via character reaction

How your character reacts to something gives your reader valuable clues as to how they should be reacting, what they should be learning from whatever just transpired, and how significant it is to the overall story.

Given example:

a character is staring out the window at night when, suddenly, she sees a firefly turn into a fairy princess out on the lawn. What is her reaction? If she thinks “Oh, no! Not again! That means dad will make me go out there first thing tomorrow and wash the fairy dust off the grass…” then that tells the reader that fairies are common in this world, and a bit of a nuisance. Not only do we get the character’s attitude about the firefly fairy, but we get valuable worldbuilding information (especially if this is the first time we see that this world has magic/fantasy elements to it). If she thinks “WHAT THE F*** IS THAT?!?!?!?!?!” and runs screaming from the room, we may take that as our cue that firefly fairies are not the norm and that something truly odd is going on.

http://kidlit.com/2012/09/19/the-power-of-reaction/

Tip #296: Meaningful deaths

{the} reader cared about these various character deaths because their deaths left an impact...

http://avajae.blogspot.co.uk/2012/10/how-to-kill-characters-with-impact.html

because of how their subsequent absence will change the story, especially for the protagonist.

Tip #285: On describing characters

I never use more than three {physical} details to describe a character... if I choose tons people will pick and choose which they remember... so I try to choose three really good ones

http://www.youtube.com/watch?v=XTjAM2XHo1g&feature=relmfu

Quote from video: words may not be 100% accurate.