I've noticed an interesting approach to writing genre characters, one which also applies to roleplaying games and other media as well: take an iconic character and make up someone who is as opposite to that character as possible.
When Michael Moorcock wanted to write a "sword and sorcery" epic, he didn't make his main character a clone of Robert E. Howard's Conan the Barbarian. Instead he made up Elric of Melnibone, who is Conan's opposite in almost every way. Where Conan is a barbarian, Elric is the scion of his world's most advanced and decadent civilization. Where Conan is a warrior who enjoys a good fight, Elric is skilled in magic and intrigue as much as swordplay. Conan fights his way to the throne of Aquilonia, while Elric begins as a hereditary Emperor and ultimately abandons his throne and kingdom.
When Patrick O'Brian began writing a series of Napoleonic-era sea stories based on the life of Thomas Cochrane, he didn't make his main character a clone of C.S. Forrester's Horatio Hornblower. Instead he made up Jack Aubrey. Where Hornblower is a progressive Whig with suspiciously 20th-Century attitudes, Aubrey is a reactionary Tory. Where Hornblower is tone-deaf, Aubrey is a skilled musician. Where Hornblower is diffident and shy with women (mostly), Aubrey is an enthusiastic womanizer. And where Hornblower is isolated and lonely in command, Aubrey has the constant friendship of Stephen Maturin.
Some authors even do it to themselves. L. Frank Baum's first Oz novel centered on Dorothy, a girl from Kansas swept off to Oz by a tornado and trying desperately to return home. His second centered on Tip, a boy native to Oz who is running away from home. With the help of magic, Dorothy gets back to Kansas and resumes her old life. Tip is transformed into Ozma and begins an entirely new existence as a Lovely Girl Ruler.
One of my mottoes is "Constraints inspire creativity," and I think this is a perfect example. Using the "Captain Opposite" method one gets two sets of constraints, and their intersection can generate wonderful creativity. The first constraint is of course making the character the opposite of an iconic genre character. But it goes beyond simple negation. The second constraint is that Captain Opposite still has to work as a genre character himself.
After all, making a sea captain who isn't Horatio Hornblower should be pretty easy: make him incompetent, cowardly, arrogant, and ultimately a failure. (And in fact George MacDonald Fraser did just that with his Harry Flashman.) But what makes Aubrey a classic character in his own right is that he is Hornblower's foil — but also his equal. He works as the anti-Hornblower but still gets to do all the Cochrane-inspired exploits. (In fact, my personal opinion is that by stripping away Hornblower's anachronistic ideas about personal hygiene and democracy, O'Brian makes Aubrey a more realistic and vivid character.)
Similarly, Moorcock's Elric still works as a Sword 'n Sorcery hero, despite being the kind of person Conan routinely beheaded in his own climactic battles. Howard famously made Conan the sort of person whose first instinct is to fight his way out of a situation, which was perfect for the pulp action stories Howard wanted to tell. Moorcock's Elric, by contrast, hates the vampiric magical sword which keeps him alive. His efforts to avoid fighting get him into more and more trouble — and build the reader's anticipation for the inevitable moment when he does finally pull out Stormbringer and start swinging.
So, here's an exercise for the next time you're writing in a genre with iconic characters: try to create a Captain Opposite. An anti-Sherlock Holmes who still solves baffling crimes, an anti- James Bond who still thwarts Britain's secret foes, maybe even an anti-Batman who still battles supervillains. If you can think of other examples I'd love to hear about them in the comments.
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