Showing posts with label Writers' Responsibilities. Show all posts
Showing posts with label Writers' Responsibilities. Show all posts
Wednesday, February 15, 2017
3 Reasons Why You Should Write Periods (That Are Really All Secretly The First Reason)
1. Normalization
Once every month people between the onset of puberty and the beginning of menopause who possess a functional uterus shed their uterine lining through the vaginal opening. This uterine lining contains blood, an unfertilized egg or two, and various tissues. Since a baby didn't quicken that month, the body doesn't need all that extra material lying around getting old and stale and gross, so it hits the eject button and forces the uterus-possessor into a little mini practice labor, which lasts for somewhere between three and seven days. For most women, and some men, it happens every month for somewhere around thirty-five or forty years.
Periods happen. It's a biological fact and a day-to-day reality. Sometimes it sucks fat honking monkey dicks; sometimes it only sucks a patch of crabgrass. Either way, it's something as normal as eating or sleeping, and it happens literally every month for like half your life, if you live a long life. If you add up your average number of bleed days a month and calculate the math, the average uterus-owner will bleed for somewhere between seven and ten nonconsecutive years of their life.
If you think about it, it's kind of metal. I mean, we can bleed for /seven days straight/ without dying! I'd like to see a penis-bearer do that! Yet because--one second. *Steps onto feminist soapbox* Ahem. Yet because the Penis is King, our patriarchal society treats periods as something weird and gross and unusual, like having one is freaky-deaky and mad strange, yo.
There was a photographic series that was popular a while ago wherein a photographer took pictures of women going about their daily lives when their period set in, with blood trickling down their thigh as they walked out of a restaurant or swirling in the bathwater as they luxuriated. The controversy the series was met with, and the disgusted responses, were really quite astounding--people who watch people fart on each other as a recreational activity acted as if capturing such an everyday aspect of the human condition was crossing some horrible, unspoken line. Hell, people are more comfortable watching blood siblings bone each other than they are with seeing women bleed (unless it originates from the head, legs, or torso, of course, because a gaping chest wound is perfectly natural and nothing to be ashamed of).
We even treat piss and shit better than we treat menstruation, and menstruation is both more hygienic and better smelling. Imho, at least; matters of sense are of course a matter of taste (buhdum tiss), but personally, I've never gagged cleaning menstrual blood up off the floor. We even treat the blood that flows from our veins like it's somehow safer than menstrual tissues, glorifying things like the blood brothers ceremony, then acting like so much as touching an unused tampon will give you a horrible disease.
But guess what! Unless you have an STD, or a yeast infection or something, your uterine blood is sterile! And really, why wouldn't it be? It's all the food that would have nourished a baby had you conceived one within that moon-cycle. It may not stay sterile once it's exposed to the elements and bacteria find their way onto it (as they inevitably find their way into everything, sneaky little bastards), but when it's coming out, and shortly thereafter, it's totally safe, it usually doesn't smell all that awful.... It's kind of like spit; maybe you don't want it on you, but if someone drools on your arm a little bit while they're sleeping all you have to do is wash your arm and it's like there was never an issue.
But here's the thing; in this patriarchal western society, Penis=King, Vagina=Prisoner. Sort of. We treat male as the default, is what I'm saying; pants are considered genderless but a dress automatically indicates femininity; a flat chest could mean male or female or neither but boobs automatically equal woman; guy is male and gal is female but even though guys is gender-neutral, gals is still strictly feminine; male nipples are a just part of their physiology but female nipples are a political statement; and the list goes on, and on, and on....
The really weird thing is, if any sex were going to be the default, shouldn't it be the sex that was in the majority? And yet, despite the statistic that there are 2% more uterus-owners than penis-owners, penises (penii?) are the default sex organ. And nothing ever comes out a penis that isn't piss or semen (unless you are very very ill, in which case you should please consult a doctor immediately), yet it's more acceptable to talk, in great detail, about a penis emitting biological waste or sexual fluids than it is to mention the very existence of menstrual blood.
And why? Because, as I said, we live in a patriarchal society. This means that everything is tailored to the cis male experience; male is automatically normal, female is automatically abnormal, which is why it's totally cool to have a movie with only dudes in it, but totally weird and sexist to have anything at all ever with only women/girls as the leads. So penises are funny and normal and vaginas are weird and disgusting, both alluring and vaguely intimidating, greatly sought after--but only if they never do anything that hints at biological processes, because why would you want to fuck something that's like, alive, and like, human and equal to you and stuff?
Okay, I'm getting off topic, and I could go on for hours so I'll just stop myself here. What I'm getting at is; periods are not a political statement. Periods are not weird, they're so normal more than half the world has them. There are so many myths attached to periods that it can be hard to keep from backhanding someone who tries to plant misinformation within your range of hearing, and some families are so embarrassed by this biological fact of life that they never tell their uterus-bearing children about it until it's too late.
Some people still call it "Eve's Curse." Kids make fun of you in the locker room if you don't have it, then they make fun of you when you do. People get laughed at for leaking through their pants or skirt or what-have-you, like they could have helped it. People act like putting in a tampon provides a sexual thrill, or if you're involved in sports you can get ridiculed by your coach for choosing to wear pads instead.
I repeat; there are teenagers who don't even know that periods are a thing!
Periods. Are. A. Thing. That. Happens. And chances are good that if you have a uterus, you have either had one, or will have one in the future. And yet in all the many, many, many years that I've been reading books, I've only come across periods three and a half times; in the Earth's Children series, Ayla's period isn't a big plot point, but it is mentioned from time to time. Jean M. Auel talks about the method Ayla uses for dealing with and collecting her menstrual blood, and the small effects it has on her life, such as her sex life with Jondalar.
In what I believe was A Girl Named Disaster (I'd forgotten the name of the book over the years, and this is the only book I could find in which a girl from Mozambique makes her way to Zimbabwe whilst becoming a woman, so I'm going to say that it is the one I read as a ten-year-old), young Nhamo begins to menstruate for the first time while alone on a deadly journey to find her distant relatives, and struggles with the pressures of becoming a woman while so utterly cut off from everyone she loves. Later on, she also struggles to let go of the concept that menstruation means that one has become a woman, since the fact that your body is technically ready to bear children has nothing to do with emotional and intellectual maturity.
It was a sizable enough plot point that it's most of what I remember from the book, and it touched on important aspects of the experience of "first blood" that no one ever talks about because no one ever wants to talk about it. If I hadn't been raised with a mother who saw no reason to be ashamed of biology, this book could have been my only exposure to menstruation outside of school "your body and you" seminars, and that kind of writing is pretty important. "Your Body and You" seminars ghost over the details of pubescent changes and what's happening physically, but it never delves into the emotional and psychological effects of a reaching a milestone that one is being constantly told one should be both proud (you're a woman :D!) and ashamed of (you're a woman >:|).
Menstruation is so, so, so physiologically simple, but as simple as it is to explain biologically, it is every bit as difficult to navigate socially, culturally, emotionally.
These books both treat periods as a normal thing in different ways--Earth's Children by incorporating it into the world as a fact of life and mentioning it largely in passing, and A Girl Named Disaster by supersizing it, bringing it out into the light where young uterus-owners can stick knives in it and say, "Even though it's normal to feel this way about these things, maybe I don't have to." At the very least, they can identify with the struggles of the character, which is sometimes all a kid needs. To know they aren't the only one.
So why should you write periods? Reason number one: Normalize. How can something be seen as normal if we lock it in the dark and pretend it doesn't exist? That's why there's been such a big push lately to write more female characters, more gay and bi and pan and trans and genderqueer and PoC and disabled characters, etc etc, it's why I talk about Tourette's and did presentations all across New York state--because you can't normalize something you don't talk about. If you can't talk about it, it must not fall under our current societal definition of "normal."
So let's talk about periods. Let's write about periods, write about characters having them, write about characters talking about them, hating them, laughing about them, bonding over them. Let's write about people having to borrow a tampon from a friend or offering a spare pad to a stranger on the bus, about the infinite kindness and desolate cruelty that surround the biological process. Let's talk about it as a scientific event, as a social milestone, as just a daily bother.
Let's normalize, normalize, normalize, so that maybe one day, when one of our grandchildren reads Carrie, they balk at the motives and actions of the characters, seeing them as completely unreasonable.
Bleeding from your vagina is not weird, damn it.
2. Plot Complications
Okay, so the desire to normalize menstruation isn't strong within you, or you can't find a good reason for it in your story. Consider: Plot Complications.
"How could it complicate my plot?" you ask. "My character getting PMS and tearing someone's head off?"
"No!" I shout, thwacking you with the hammer of Don't-You-Sass-Me-Fool. "That's one for the garbage fire!"
See, periods are normal, they're usually sterile, but they can be messy, they can be embarrassing, it may not smell as bad as feces but menstrual blood does have a distinctive odor, and when it hits you unawares, it's definitely something that needs dealing with.
There could be a whole subplot wherein a character has to sneak off to the nearest hygienic-materials-dispenser at an inopportune time, or they could meet the love of their life by offering them their jacket to help cover the stain forming on their ass. Hell, a young person's quest for a Maxi Pad when they find out the bathroom dispenser is jammed could be what leads them to find the Sword of Destiny or discover the horrible secret that the principle's been keeping.
And if your story takes place out in the wilds, your uterus-owners coming into their monthlies could be a deadly issue if they don't have a good means of flow-stoppage and/or self-defense. Predators are hella good at sniffing out blood, menstrual blood in particular since in a lot of animals it indicates heat, which is a great time for boning. If a predator gets a sniff of that blood trail, it can mean big trouble, and if your team is already being hunted by something with super senses, it can be all the more deadly. ESPECIALLY if it hits in the middle of the night, when the character in question is defenseless and unawares. >:3
And yes, the symptoms that go hand-in-hand with the blood can be used to complicate the plot, too. Some people do experience emotional sensitivity or mood swings during menstruation, which can cause arguments that might not otherwise happen, especially under stressful situations. Periods can also be very painful, particularly on day one, making it hard to so much as get up and walk around, which if you're trying to get somewhere fast--or get away from somewhere fast--is going to be a problem.
Even if the stakes are only maintaining your character's current lifestyle, period day one can muck things up, dampening desire for social interaction, diminishing social and intellectual energy as well as physical, embarrassing you in front of your friends, whatever the case may be. Plus, that pain I just mentioned? Makes it a lot harder for a lot of people to maintain a pleasant attitude when talking to assholes or misogynists, so maybe when Angelina gets her period on the day of the big test and has to walk around with her sweater tied around her waist all day is also the day she punches Big Bigot Bob in the face and gets suspended from school.
If your villains tend to be of the misogynist sort, oh boy, is there no end to the shit you can stir up! Like I said, menstruation can be messy and uncomfortable, and just like anything else, that can be used to kickstart drama, to heighten tension, or to cause problems, and as we all probably know by now, causing problems is the best way to keep a story going strong!
3. Realism
It comes down to this; periods happen. And you can write a perfectly good book without ever once mentioning menstruation, as many have done! You can also write a great book that's all about menstruation, or centers heavily around it, or just bandies it around a lot. Or you could just mention it in passing.
One of my favorite parts of a fanfiction I read recently was a passage in which a woman excuses herself to use the restroom, realizes her period has started, puts on a pad, and returns to her date. Why is it my favorite? Firstly because it wasn't that great a fanfic, but mostly because it was just so casual. Just a detail. One of the many small details we pepper in that don't really matter. The fact that her period had started mattered as much as the color of the diner walls, and I had never seen it dealt with so realistically before.
The thought that ran through the protagonist's head when she realized she was menstruating? I'm glad I don't work tomorrow.
That made me smile because, I mean, how fucking real is that? My first thought when I realize I'm bleeding is usually, So that's why I've been so tired today. Plus, I had an instant connection to the protagonist (an OC) because for me, the first forty-eight hours are always the worst, and life is always better when I don't have to be responsible for the first day or two. I relate. And I may not have loved the direction the story took after that chapter (the character became too impossibly humble for all her incredible talents for my liking), but that section of that fanfic is now stuck in my head, and I think I'll remember it for a long time.
Mentioning something small and real--"Mike took a piss behind some weeds while Edgar scoped out the scene," "Johnny pulled at the loose tabs of skin around his fingernails and chewed on the inside of his cheeks," "Mary stopped by the store to pick up Kotex and Raisin Bran,"--can make your world and characters seem more real. You don't always need to be detailed about it, but mentioning that your characters do normal human things is often refreshing in our world of godmodded protagonists and underpowered villains.
Let's be real. Let's be complex.
Let's naturalize.
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Monday, October 24, 2016
4 Lies You Tell Yourself During NaNoWriMo
With NaNoWriMo just eight days away, I decided to kick off my writing blog's re-activation with a post about the self-same! Buckle your seatbelts kids, 'cause today I take off the training wheels and give you a taste of what it's like to be a big boy! These are 4 lies you tell yourself during NaNoWriMo, and the reasons why they're full of shit.
1. I'll Do It Later
Mmmmmm no you won't.
Listen, I know; I've been there myself. You insist, "I'll do it later, I promise, I swear," and then it never gets done and you fall asleep and wake up the next morning and groan because oh great, now you've got twice as much to write today as you did yesterday!
Do it now, while you're thinking about it. You'll thank yourself later.
1. I'll Do It Later
Mmmmmm no you won't.
Listen, I know; I've been there myself. You insist, "I'll do it later, I promise, I swear," and then it never gets done and you fall asleep and wake up the next morning and groan because oh great, now you've got twice as much to write today as you did yesterday!
Do it now, while you're thinking about it. You'll thank yourself later.
2. I Don't Have Time Today
Honey, it's November, ain't nobody got time for anything. It's midterm season, it's holiday season, it's family drama season, everything goes crazy in November and you will never have time.
So you have to make it. Stick a knife into your day and carve out the time if you have to, even if it's just five minutes here and fifteen minutes there. Use your lunch break to get some writing done, you can type or scribble or dictate between bites! Install Dragon on your phone and talk it through your scenes while you're driving home from work, or walking to school, or tip-tap some paragraphs on your ipad while you ride the bus or train or magical flying kangaroo to whatever the hell it is your afternoon is full of.
Even if you have to wake up at four in the morning to get those 1,667 words out, you do it. Because the truth is, you're never going to have time, and life is always going to get in the way. If you want to win this thing, you need to make your own time, and guard it with your life, the way a dragon hoards gold. You are a word-dragon, and your story must be told. ROAR.
Honey, it's November, ain't nobody got time for anything. It's midterm season, it's holiday season, it's family drama season, everything goes crazy in November and you will never have time.
So you have to make it. Stick a knife into your day and carve out the time if you have to, even if it's just five minutes here and fifteen minutes there. Use your lunch break to get some writing done, you can type or scribble or dictate between bites! Install Dragon on your phone and talk it through your scenes while you're driving home from work, or walking to school, or tip-tap some paragraphs on your ipad while you ride the bus or train or magical flying kangaroo to whatever the hell it is your afternoon is full of.
Even if you have to wake up at four in the morning to get those 1,667 words out, you do it. Because the truth is, you're never going to have time, and life is always going to get in the way. If you want to win this thing, you need to make your own time, and guard it with your life, the way a dragon hoards gold. You are a word-dragon, and your story must be told. ROAR.
3. It Doesn't Matter/It's Not Important
Maybe it doesn't matter to your neighbor, or your friends, or even your parents or your wife or your kids or your dog. Maybe it doesn't matter to anyone else in the entire world, but it matters to you, doesn't it? It certainly mattered enough for you to make the commitment.
And you're the only one it has to be important to. Newsflash: No one's WIP is ever important to anyone except the person writing it until it's been published. And once it's published it could be the most important gd book in the entire goddamn world, or at least a super important book to one person, which is just as good. In fact, your book could be the catalyst that changes someone's entire life, and you just don't know it yet because we're three-dimensional beings passing through the fourth dimension as if it were a linear plane.
But before that book is published, it needs to be written. It can't be important if it never exists in the first place. Except for inside you--you believe it's important, don't you?
Then write it, damn it.
Maybe it doesn't matter to your neighbor, or your friends, or even your parents or your wife or your kids or your dog. Maybe it doesn't matter to anyone else in the entire world, but it matters to you, doesn't it? It certainly mattered enough for you to make the commitment.
And you're the only one it has to be important to. Newsflash: No one's WIP is ever important to anyone except the person writing it until it's been published. And once it's published it could be the most important gd book in the entire goddamn world, or at least a super important book to one person, which is just as good. In fact, your book could be the catalyst that changes someone's entire life, and you just don't know it yet because we're three-dimensional beings passing through the fourth dimension as if it were a linear plane.
But before that book is published, it needs to be written. It can't be important if it never exists in the first place. Except for inside you--you believe it's important, don't you?
Then write it, damn it.
4. I'm Too Tired/Hungry/Thirsty, etc
Me too! I mean fuck, why am I always tired, amirite? Is it all my medications? Or the drugs? Or the alien probe lodged deep into my hypothalamus? Who knows!
But dude, my dude my friend my sweet Florida bucket of orange juice, you need to keep going. Get those words out, comrade. Pound them out of the keyboard like you never pounded a keyboard before--and I know about the summer of aught nine, so I have some high expectations from you.
Seriously though. I know you're tired, and you need your sleep, you're hungry and you need food, you're thirsty and you need thirty barrels of Irish coffee STAT or you won't be able to stand another second of staring at this too-bright screen and oh god now you've got a migraine and you absolutely cannot work in these conditions, can you?
Only you can. Get your food and drink and guzzle and chow down between word sprints--maybe you reward yourself with a bite every fifty words or something. You can multitask. As for sleepiness, you can write while you're tired. It may not be the best thing that ever flew from out your fingers, but sure as heck by gosh by golly, words will appear! And then you can edit them in January, after you've hit 50k.
You can write tired, you can write hungry, thirsty, achey, breaky, keyboard-hatey, whatever your current mood and physical condition. It doesn't have to be gold, it just has to be words.
"I'm too ___" leads to "I'll do it later," and then we're back at square one and nothing gets done! Just do what you have to do. Keep writing, and don't stop; chances are good that no one's keeping track except for you, but you don't want to let yourself down, do you?
Don't sabotage yourself, pally. When the bomb drops, you don't want to be the only person you can blame--that one's a bitter pill to swallow, and very large, too. Don't make me shove it down your throat!
Just get the words out. You can do it; I believe in you, and you should believe in you, too.
Me too! I mean fuck, why am I always tired, amirite? Is it all my medications? Or the drugs? Or the alien probe lodged deep into my hypothalamus? Who knows!
But dude, my dude my friend my sweet Florida bucket of orange juice, you need to keep going. Get those words out, comrade. Pound them out of the keyboard like you never pounded a keyboard before--and I know about the summer of aught nine, so I have some high expectations from you.
Seriously though. I know you're tired, and you need your sleep, you're hungry and you need food, you're thirsty and you need thirty barrels of Irish coffee STAT or you won't be able to stand another second of staring at this too-bright screen and oh god now you've got a migraine and you absolutely cannot work in these conditions, can you?
Only you can. Get your food and drink and guzzle and chow down between word sprints--maybe you reward yourself with a bite every fifty words or something. You can multitask. As for sleepiness, you can write while you're tired. It may not be the best thing that ever flew from out your fingers, but sure as heck by gosh by golly, words will appear! And then you can edit them in January, after you've hit 50k.
You can write tired, you can write hungry, thirsty, achey, breaky, keyboard-hatey, whatever your current mood and physical condition. It doesn't have to be gold, it just has to be words.
"I'm too ___" leads to "I'll do it later," and then we're back at square one and nothing gets done! Just do what you have to do. Keep writing, and don't stop; chances are good that no one's keeping track except for you, but you don't want to let yourself down, do you?
Don't sabotage yourself, pally. When the bomb drops, you don't want to be the only person you can blame--that one's a bitter pill to swallow, and very large, too. Don't make me shove it down your throat!
Just get the words out. You can do it; I believe in you, and you should believe in you, too.
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Thursday, June 26, 2014
Discussion: Are Your Characters Your Children?
You'll hear a lot of writers say that they hate it when people refer to/think of their characters as their "children." This is because they feel that the authors who act this way favor some of their characters above others and make things too easy for them--which makes for a boring (or, sometimes, masturbatory) story. They're not wrong--your protagonist should not have it easy, people--but I think it's unfair to push all thought of the parenthood of our characters into one umbrella group and call it "bad." See, it's not seeing the characters as your offspring that's bad--it's seeing them as babies.
Here's the main distinction; children can grow up and take care of themselves but babies, confined to your care, cannot.
Our characters are, for all intents and purposes, our children. We create them by thought and pen them by hand--sometimes we adopt them, and I'll be the first to admit that I've done it more than once, but we care for them in a way that only we can do, raising them up from a carbon copy of their birth parent(s) into something all their own, something we can call ours. And there's no shame in favoring our own characters over the characters of others--that's one of the finest rights of the parent, you know. Otherwise who would you root for come time for school competitions?
The problem comes in two forms: not allowing your children to grow up, and favoring some of your young over the others.
A parent might keep favorites--they aren't supposed to, but they're only human. However, a good parent will not let on. They will treat all of their children fairly, with equal degrees of love, and react to them as individuals. Even with twins, good parents will differentiate between the two and encourage the separate interests they may cultivate, and while some children, usually the frailer ones, will need more attention, it doesn't mean that their parents love them any more or less, and it doesn't mean that their parents stop trying to challenge them and help them grow. Other children, self-reliant and resilient, may need less and give more, but a parent will still try to spend time with them, comfort them, help them through in difficult times. How does this translate from offspring to character? Like so:
You need to love and encourage all of your characters equally. Some will not need equal time--minor characters, cameos, walk-ons, one-liners, and the various background characters which people your world can be considered mostly grown, independent younglings. They are off to college, so to speak, and while yes, every once in a while you may need to call them up to get in touch, make sure they're okay, see that they're happy and haven't burned down their apartment yet, for the most part you can leave them be; they can take care of themselves.
Then there are the supporting characters, who may be somewhere between the ages of ten and seventeen (metaphorically speaking), old enough to stay home alone, feed themselves, maybe walk around town and hang out with friends, but they'll need a much closer eye kept on them to keep them out of trouble. You need to watch and make sure they face the consequence of action, but that they retain their individuality. You're cultivating a future adult here, remember! They need to be able to function in the real world.
And then there's the protagonist(s) and antagonist(s). For the sake of our extended metaphor, these are the children that give you the toughest time. Somewhere between the ages of twelve and fifteen, these characters are probably born of the same stuff, or similar stuff--possibly twins themselves, they could be extremely similar or as different as night and day. They're probably both likely to be misunderstood, bullied, or generally dissatisfied with life, and somehow their interests are extremely conflicted. As a parent, you are not technically allowed to take sides. You have to let these two sort it out on their own terms, or the end result will be unsatisfactory.
But as a parent, it is your job to make sure your characters--especially the protagonist--reap what they've sown. You may love them, you may care, you may want what's best for them, you may even give them trinkets along the way (though it's wise to deal these out to other characters as well--antagonists can always use something convenient to help them out), but if your protagonist burns down the house he better get the shit beat out of him for it, because shit like that can't fly. And if the antagonist manages to destroy the protagonist's favorite toy while he's bent over your knee.... Well, you didn't see it happen, did you? It was probably just destroyed in the fire anyway.
If you are going to favor any of the characters, it should actually be the antagonist--all interesting things will come from your protagonist's pain, frustration, and fight against opposition, and it can be easy for loud, whiney, or manipulative children to sway their parents in their favor; your antagonist is likely to be at least one of these things.
And then there's the age-old problem of coddling--this ties into the favoring of some characters over others, but some writers can actually be afraid to let their characters so much as breathe without their permission. Here's a little secret; as a writer, the best thing you can do is to let your characters live. Sure, at the start you have to help them along, tell them to do things, move them hither and thither and yon, but they grow a lot quicker than actual babies, and pretty soon you'll find them doing things you didn't tell them to, maybe things that might conflict with what's in your head. And that's what you want.
When characters start to live, to breathe, to wonder and run and travel on their own, you have successfully raised your child to sentience--and instead of clamping down on their attempts at independence, you need to nurture it. Follow where they lead! They may be on to something--and if worse should come to worst, you can always trace back your path to find where things went wrong.
If you keep your characters too far under your thumb, they'll forget there's a sky, and eventually, stop breathing--at which point you may have to decide whether to keep them on life support or pull the plug. So don't be afraid to let go, and don't be afraid to hurt them--it's for their own good, and it will benefit everyone.
So yes, I believe that my characters are something like children to me--but I maintain a healthy distance, and let them be themselves. This mindset only works if you make sure not to coddle your characters or treat them as saints. Sometimes they will do good things, and you might reward them--sometimes they will do awful things, and even if they meant well, they need to learn that meaning well and doing well are not the same thing.
Now what do you think? Should people consider their characters offspring, or detach themselves completely? How do you feel about your own characters? Are they friends, siblings, cousins, neighbors, those loud assholes who live down the street with the aggressive dog that's always going after your kids? Let me know! I'm eager to hear your responses. :)
Here's the main distinction; children can grow up and take care of themselves but babies, confined to your care, cannot.
Our characters are, for all intents and purposes, our children. We create them by thought and pen them by hand--sometimes we adopt them, and I'll be the first to admit that I've done it more than once, but we care for them in a way that only we can do, raising them up from a carbon copy of their birth parent(s) into something all their own, something we can call ours. And there's no shame in favoring our own characters over the characters of others--that's one of the finest rights of the parent, you know. Otherwise who would you root for come time for school competitions?
The problem comes in two forms: not allowing your children to grow up, and favoring some of your young over the others.
A parent might keep favorites--they aren't supposed to, but they're only human. However, a good parent will not let on. They will treat all of their children fairly, with equal degrees of love, and react to them as individuals. Even with twins, good parents will differentiate between the two and encourage the separate interests they may cultivate, and while some children, usually the frailer ones, will need more attention, it doesn't mean that their parents love them any more or less, and it doesn't mean that their parents stop trying to challenge them and help them grow. Other children, self-reliant and resilient, may need less and give more, but a parent will still try to spend time with them, comfort them, help them through in difficult times. How does this translate from offspring to character? Like so:
You need to love and encourage all of your characters equally. Some will not need equal time--minor characters, cameos, walk-ons, one-liners, and the various background characters which people your world can be considered mostly grown, independent younglings. They are off to college, so to speak, and while yes, every once in a while you may need to call them up to get in touch, make sure they're okay, see that they're happy and haven't burned down their apartment yet, for the most part you can leave them be; they can take care of themselves.
Then there are the supporting characters, who may be somewhere between the ages of ten and seventeen (metaphorically speaking), old enough to stay home alone, feed themselves, maybe walk around town and hang out with friends, but they'll need a much closer eye kept on them to keep them out of trouble. You need to watch and make sure they face the consequence of action, but that they retain their individuality. You're cultivating a future adult here, remember! They need to be able to function in the real world.
And then there's the protagonist(s) and antagonist(s). For the sake of our extended metaphor, these are the children that give you the toughest time. Somewhere between the ages of twelve and fifteen, these characters are probably born of the same stuff, or similar stuff--possibly twins themselves, they could be extremely similar or as different as night and day. They're probably both likely to be misunderstood, bullied, or generally dissatisfied with life, and somehow their interests are extremely conflicted. As a parent, you are not technically allowed to take sides. You have to let these two sort it out on their own terms, or the end result will be unsatisfactory.
But as a parent, it is your job to make sure your characters--especially the protagonist--reap what they've sown. You may love them, you may care, you may want what's best for them, you may even give them trinkets along the way (though it's wise to deal these out to other characters as well--antagonists can always use something convenient to help them out), but if your protagonist burns down the house he better get the shit beat out of him for it, because shit like that can't fly. And if the antagonist manages to destroy the protagonist's favorite toy while he's bent over your knee.... Well, you didn't see it happen, did you? It was probably just destroyed in the fire anyway.
If you are going to favor any of the characters, it should actually be the antagonist--all interesting things will come from your protagonist's pain, frustration, and fight against opposition, and it can be easy for loud, whiney, or manipulative children to sway their parents in their favor; your antagonist is likely to be at least one of these things.
And then there's the age-old problem of coddling--this ties into the favoring of some characters over others, but some writers can actually be afraid to let their characters so much as breathe without their permission. Here's a little secret; as a writer, the best thing you can do is to let your characters live. Sure, at the start you have to help them along, tell them to do things, move them hither and thither and yon, but they grow a lot quicker than actual babies, and pretty soon you'll find them doing things you didn't tell them to, maybe things that might conflict with what's in your head. And that's what you want.
When characters start to live, to breathe, to wonder and run and travel on their own, you have successfully raised your child to sentience--and instead of clamping down on their attempts at independence, you need to nurture it. Follow where they lead! They may be on to something--and if worse should come to worst, you can always trace back your path to find where things went wrong.
If you keep your characters too far under your thumb, they'll forget there's a sky, and eventually, stop breathing--at which point you may have to decide whether to keep them on life support or pull the plug. So don't be afraid to let go, and don't be afraid to hurt them--it's for their own good, and it will benefit everyone.
So yes, I believe that my characters are something like children to me--but I maintain a healthy distance, and let them be themselves. This mindset only works if you make sure not to coddle your characters or treat them as saints. Sometimes they will do good things, and you might reward them--sometimes they will do awful things, and even if they meant well, they need to learn that meaning well and doing well are not the same thing.
Now what do you think? Should people consider their characters offspring, or detach themselves completely? How do you feel about your own characters? Are they friends, siblings, cousins, neighbors, those loud assholes who live down the street with the aggressive dog that's always going after your kids? Let me know! I'm eager to hear your responses. :)
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