Write to Life - Characterization
I thought I’d begin my monthly writing blogs with a post I did for Wicked Company on characterization – characterization is very much on my mind as I finally begin work in earnest on the fourth Poetic Death mystery, Docketful of Poesy.
When I started High Rhymes and Misdemeanors, the first book in the series I was…er…a lot younger, and the characters of Grace Hollister and Peter Fox were enormously influenced by the romantic-suspense writers I’d grown up reading. They were characters designed to end when the final page closed on the first book — which was intended to be the ONLY book about those particular “people.”
I think the characters, though different from characters I would create today, were engaging enough, but they weren’t designed to go the long haul. And so in subsequent books, I had to backfill — adding layers of family, job, friends, dreams and fears after the fact. And of course partly that was due to the fact that I didn’t
realize I was writing a series when I began the first book.
I think the crucial difference between creating characters for a series and characters for a stand alone is that when you create
characters for a stand alone book, the characters — though complex — should be able to face and conquer their worst fears (or achieve
their heart’s desire) within the span of one story. So I think the writer typically focuses on a couple of definitive character traits –
it’s a narrowed focus.
When you create characters for a series, ideally you want the characters to have enough going on internally and externally to cover
the run of the series. I’m thinking in terms of the modern mystery series now, as opposed to the traditional sleuths of Christie or
Wolfe. So while the character will achieve certain goals or conquer certain fears within the span of one book, there will be enough
challenges ahead to carry the rest of the series.
Some writers do this well, and some writers don’t. I’ve read way too many series novels now where the characters are basically covering
the same ground with each book, or the characters just don’t have enough depth to really make me care. I mean, they’re pleasant enough,
but I’m not longing for the next book in the series. Very few books trigger that Harry Potter response from readers, and I’m thinking
it’s interesting to analyze what it is about those particular characters in Rowling’s work – or your favorite cozy mystery series –because I believe it is the characters that we keep coming back for.
Take a moment to ask yourself who are the series characters out there that you genuinely love? And what is about these characters
that you love? What makes a character lovable? What’s the difference between a lovable character and a well-written character, because
there are plenty of great characters out there, but they aren’t necessarily people you want to spend more time with.
Analyze these characters, and then use what you’ve learned in creating your own characters. Remember that one of the most important things in creating characters is to give them flaws and weaknesses to go with their strengths. Nothing is more boring than a perfect character. Perfection is not lovable. Like you, like all of us, characters should have strengths and weaknesses, a balance of positives and negatives.
When I began work on Corpse Pose, the first book in the Mantra for Murder series, I knew enough to give A.J. Alexander a large supporting cast of family and friends. I also knew enough to give A.J. a few hang ups. She doesn’t get along with her mother, and – following the disastrous end of her marriage – she’s got a few trust issues. That makes writing these books – and characters – a little easier, believe it or not.
One of the best things you can do for your writing is get really familiar with your characters before you ever type the words CHAPTER ONE. Really know and understand those characters before anything else.
You should be able to answer all kinds of very basic stuff: where did she go to school? What’s her astrology sign? Is she allergic to anything? Are her parents living? Who was her first boyfriend? What does she want most from life? What does she fear most? You get the idea.
Once you understand what your main character most wants, and what she most fears, you’re on your way to story telling – because she should be pursuing what she most wants in that story, and she should be facing her worst fears.
