Hello everyone. Hope you’re well and enjoying your creative processes.
I get a lot of questions about “the note card trick” since I talk about it a lot, and usually only demo it in person at workshops or to clients, because it’s easier to see it in person. What I’m going to show you now is a scaled down version, mainly because it’s easier to explain in small bites. I’ve got some pictures here that should help you follow along. You can do this spread for protagonists, antagonists, plots and even whole book series if you wanted. I’m going to show it for protagonists, because that’s an easy place to start.
You’re going to need notecards. A lot of them. Way more than you think is reasonable for any person to own. I’m only showing up to 16 here, but I’ve used these for scripts and stories and had upwards of 100 as needed, if the story calls for that many things to be happening. The note cards that follow have numbers on them, so that you can see their locations.
To put it sort of math-y (I’m sorry, I know I said I’d try and keep math away from this, but I swear this flashback won’t take long), we’re going to make an X/Y axis, where cards spread horizontally and vertically from the beginning to the end of the story. For the example story, let’s suppose we have 4 chapters, but you’re going to have likely way more than that in your book. If so, just keep moving down that horizontal axis as you have to.
We’re going to start at the 0.0 point with a note card, like this:
Notice how I’ve put it at the corner of my table, so that I have a whole lot of real estate to work in. Ignore the holly jolly tablecloth, it was the first one I grabbed out of the closet. On that note card you’re going to put a fact/statement/phrase about your protagonist.
The important thing to remember about this trick is this: When we go to the right, we’re going through the story beginning to end. When we go vertically, we’re adding more details.
The first card is the Physical level of description. So Card (1) is what the character looks like. Is she short, tall, nearsighted, skinny, athletic? If you were to look up from your cards and see your character staring at you, what are the first things you notice?
Now let’s give her some more details. We’re going vertical:
Card (2) describes her Mental level of description. Is she nervous? Arrogant? Passive Aggressive? If you were to have a conversation with your character, what’s the first thing you’d notice about your conversation together?
Card (3) describes your protagonist’s Social perceptions and skills. Does she socialize? Does she date? Is she extroverted? This level addresses the question “How does your protagonist interact with the world, and how does the world respond?”
Card (4) addresses the protagonist’s Hopes and Dreams. What would make her happy? What goal is she striving for? Remember, this isn’t just talking about the plot of the story, I’m asking you to think of your character as a fully formed person who has more than this particular story’s plot going on in their life. Does she want to own a farm? Does she wish her father paid more attention to her? Does she want a deluxe apartment in the sky where she doesn’t have to wear pants and can eat guacamole all day?
You can go higher. Card (5) would cover a character’s Fears and Doubts. Card (6) would be Closest Relationship and Card (7) would be Relationship to Rival or Enemy. I’ve never gone above (7), because I’ve both run out of space and never thought past those tiers of character development. Feel free to substitute your own as you like, just be consistent with it. And if you do try new stuff, please PLEASE let me know. I’m always on the look out for new methods.
Let’s go to the next part of the story. For me that’s Act 2. For you that might be chapter 2 or part 2 or the next episode. In fact, you can take this time to lay out the horizontal for the whole project or the next chunk of chapters if you want:
Throughout my four acts here I’m going to mention more physical elements of my character. Not that I’m always going to say she’s a redhead or that she’s got green eyes, but I’m going to talk about some sort of relationship between her physicality and the world – she’s going to get banged up, bruised, a car is probably going to explode and maybe she’ll get muddy. That relationship spreads across the book, so it’s represented in these cards. So, on Card (2.1) I’m going to put down a fact about how she deals with fistfights, because at some point she’s going to hit a dude (play passes to left) (hashtag a-joke-not-enough-of-you-understand).
Add a card with some detail(s) at each level per each part/chapter/act of your story. Remember, this isn’t repeating the same things over and over, it’s about writing down different facets of the relationship the character has on that level to the rest of the world you’ve created.
This means you’re going to regularly ask yourself:
- How is my character acting and reacting physical to the environments on a scene-by-scene/beat-by-beat basis?
- How is my character handling the mental stresses/doubts/successes/strains on a scene-by-scene/beat-by-beat basis?
- How is my character interacting with other people? Is anything developing? Is that development good or bad? Will someone pay a price in the end?
- How is whatever my character is doing affect their hopes and dreams? Are they moving towards them? Has the plot put the goal on a shelf? Has it changed?
The answers should help you understand (conceptually) what the mindset and experience of the character is, so that you can translate it into words on paper so that other people can read it and relate in the same way.
So this is the story after more cards go down on the table:
What you’ll see in that picture are gaps. They’re intentional. A space like (4.2) or (3.4) means that the element doesn’t come up in that section of the story. And that’s an important point. Gaps create importance, and so long as the gap isn’t too wide (I’m sort of stretching it with (1.4) and (4.4), then that re-emergence of the idea makes us take notice – like the guy who keeps a key in his pocket only to remember he has it when he reaches the locked door. It makes both the first instance and its return matter to the story.
However, you might not feel comfortable doing that, so here’s a complete grid for you:
I’m going to throw a flag on the play, and not just because I numbered these cards differently. A full story where everything is explored in every chapter can be MONSTROUS to contend with. It might slow down. It might get wordy. It might get confusing. Your mileage varies of course, but please PLEASE don’t think you have to fill every spot, especially if you run cards all the way out to 30 or more.
As I said before, you can do this for a protagonist, or even the antagonist. You can do this for the plot, but then the tiers become more about the impact of the problem on physical, mental and social levels, leading to sort of a zoomed-out picture of the story.