Masculine Behavior for Believable Heroes (Part 3) by Connie Vines

Checklist for Masculine Characters

• Be direct
• Be issue orientated
• Be analytical
• Act casual even during a serious conversation
• Interrupt
• Make statements
• Use short sentences
• State his preferences
• Verbalize only things he thinks is important
• Give advice
• Asks specific questions


He will not:

• Ask a lot of questions
• Ask leading questions
• Turn statements into questions
• Invite a ‘just talk’ situation
• Speak in euphemisms
• Use understatements
• Downplay his idea
• Let his sentence trail off
• Volunteer his reasons
• Hold eye contact for significant periods
• Say, “I’m sorry” unless he really means it.
• Tell stories about his failings
• Get bogged down in introspection or self-doubt
• Volunteer information about his feelings
• Ask about others’ feelings
• Ask for validation

I hope you have found this topic of masculine behavior for believable heroes informative.

Readers, what is your take on this topic?

Thank you for stopping by today.

Connie

A night at Medival Times,
Buena Park, CA

Masculine Behavior for Believable Heroes (Part 1) by Connie Vines

I am reposting my my two-part series from March for your enjoyment

“Why can’t a woman be more like a man?” Professor Henry Higgins asked plaintively in My Fair Lady. He was dealing with a much different time and social system, but the question is still being asked, along with its counterpart: Why can’t a man be more like a woman?

The question itself is enlightening. Henry Higgins was correct; there are differences between men and women. And he fell into the same trap most humans do – we expect members of the opposite sex to react in the same way we would. Our way feels like the natural way –the right way.  Most of the time we don’t even realize that there’s another way to react, totally different but equally valid.

This is why writers sometime get into trouble when we create characters of the opposite sex.  We show them talking, thinking and behaving the way we would when faced with the same situation.
If a female writer’s male characters think, act, and talk in a feminine way, her audience will be turned off—even if they don’t understand why they’re dissatisfied.  The same is true if a male writer’s female characters don’t think or act or talk like real; women.

Of course, gender-different behaviors are tendencies rather than firm laws.  Also, each individual’s actions are influenced by upbringing, profession, life experience and interests.

However, there are certain traits, which most men and most women show.

In other words, if you understand the reason why most men hesitate to ask for directions, then you can make your male character much more convincing when he does.

Men see life in Competitive Terms; Woman see in Cooperative Terms.

Men tend to see life as a competition where every action puts them in either a one-up or one-down position.  Since they want to win, they will try to avoid ending up in the one-down position.

Women tend to see life as a cooperation.
The idea of one-up or one-down is much less likely to occur to a woman.

Men systematically try to figure things out on their own, or they adapt a wait-and-see policy, rather than ask for assistance.  They don’t want to admit they can ‘t figure out.

Even when they ask for assistance, it’s usually not a clear request.  He invites the other person to offer advice or assistance without really asking for it. A man will often state something as fact, even if he’s not absolutely sure, rather than appear uncertain or ignorant.

Men Focus on Action; Women Focus on Emotion.

Men’s relationships are held together by activities.  Men get together to do something (play cards, golf, go to a game).

Women’s relationships are held together by talk.  Women get together to chat (even if they have an agenda, the main reason for the gathering is to talk).

Women like to ‘just talk’. They see conversation as way to develop harmony and get to know someone.

Men do not like to ‘just talk’. They see conversation as a way to relay information, to show independence, and to illustrate status.  Their conversations ten to brief, and focused on concrete issues and events.

Drop by next Thursday—or on Monday, if I complete my article over the weekend.  Body language, feelings, and a character check list.

Remember to visit my website, too, for Twitter feeds, Pinterest, and guest blog appearances.

Connie

Friday Fiction - Learn from a Soap Opera

If you write fiction, then SHOW rather than TELL has probably been pounded into your head by your editors. There's a reason for this, and you can really understand it if you watch a good Soap Opera.

I've been a loyal fan of General Hospital for years, and granted, sometimes the storyline borders on ridiculous, but realizing that has helped improve my writing. My favorite character is Carly Corinthos Jax. Laura Wright, the actress who plays Carly, really SHOWS her emotions through her expressions. You don't have to guess when something surprises her...her mouth gapes, her eyes widen, and sometimes, she even gasps. These are things your reader can't see, so you have to SHOW them happening in your story to make them experience the moment. Let me give a quick example:

Carly was surprised when Sonny asked for a divorce. She felt mad and hurt at the same time.

Carly's mouth gaped. She widened her eyes at Sonny. He wanted a divorce? Anger fired her blood, but at the time time, her heart ached from him to hold her and say it was all a joke.

I'm sure you can see how the second would really SHOW the moment to the reader.

Of course, there are the scenes in GH when a couple awakens in the morning, breath stale and mouth pasty in real life, but they roll over, embrace face to face and engage in a passionate kiss. We all know that if that happened somewhere other than in front of the cameras, we'd push our partner away and tell them to "go brush." *lol*

That's why soap operas are like a training ground for writing. You want your story to be believable. An author never wants a reader to stop mid-story and raise a brow and think...yeah, like that would really happen.

I thought that today when I watched Jax and Carly in a tub surrounded by candles...I mean surrounded, and filled with rose petals. He massaged her foot, then gave her a diamond necklace. Yeah...that happens every day around here. *lol* Also, it's amazing how Leslie Charleson (Monika Quartermaine) seems to be growing younger the longer she's on the show. Between her and Bobbie Spencer (played by Zackie Zeman), it seems to be a race to see how tight they can get their faces. A dead giveaway is the crepe-like skin on their necks. You really can't fool mother nature...or a discerning viewer. I swear Leslie is starting to look a little like Skeletor. Still, I'm not sure I wouldn't try to undo the ravages of time if I could afford it. My biggest fear is I would look like a snake because I already have no lips. Of course, I could have them enlarged. That seems to be a trend right now among the actresses, but lordy, some have gone way to far in their pursuit to look like Angelina Jolie! I guess given my pocketbook and fear of reptiles, I'll stay as I am.

Anyhow, I got a little off track. Check out a soap opera some time and see the difference between good and bad actors and actresses. Apply the emotions to your writing, and you'll be surprised at what you produce. A good editor once told me..."You've written a great story, now we need to make it into a novel."

At the time, I didn't realize the difference, but once I went back through, added in the smells, the smiles, the pain, anger, fear, and showed them to the reader through my words, I learned what my editor meant. Don't just tell what's happening...SHOW your reader. Draw them in, hold them captive, and keep them turning pages. It's a skill, and I'm still learning, but as an old cigarette ad once said, "I've come a long way, baby."