How to Create Characters Readers Care About

Readers need both an emotional and intellectual connection to fiction or they won’t continue reading. If this connection isn’t created, readers will simply say: So what? Then they’ll toss what they’re reading aside and look for something else. Since we writers put their blood, sweat and emotional existence into giving birth to our babies, it’s natural to want our work read. So how do writers create fiction that readers will care about? It’s not a secret. The answer lies with the characters.

Writers must first know their characters.

It is not enough to have a general idea of a character in your head when you start writing. You have to live and breathe the character, know him/her the way you know yourself. In essence, realistic characters are extensions or facets of yourself. My suggestion: Create a detailed written character study of each main character before you begin to write your story or novel.

Here are a few items to consider:

Names
Shakespeare asks: What’s in a name? Clearly, a whole lot. A sweet young thing might have a soft-sounding name while a villain might have a hard-sounding one. What about ethnic names? Are they appropriate or inappropriate for your work?

Another thing you need to keep in mind is not to give characters names that might confuse readers. Names that are too similar in nature--for instance, Jane and Jana--should belong in different stories.
The name of your character will likely cause an assumption of gender, unless you are trying to keep it ambiguous. When I introduced African-American detective “Bert St. Croix” early in the novel THE DROWNING POOL, it comes as something as a surprise that she is a woman. She is tall, strong and fierce. A more masculine name fits her character. Readers don’t learn her back story right away, only the contrast that she has great sympathy and compassion for those who are in need of help but is tough with criminals. Nicknames are also something to consider. Does your character have a nickname like “Bert" short for “Roberta”? What might that suggest about the character?

Age

Age at the time of the story is significant. Is your story about an adult, a teenager, a child?  Point of view and voice differ with each. Also consider how the time period the character lives in effects personality and beliefs. This is especially important in historical fiction.

 In THE THIRD EYE: A PINE BARRENS MYSTERY, the novel is told from two distinct viewpoints--that of a teenage boy and his troubled mother. Point of view is very important. The chapters alternate between Jim and his mother. Jim tells his story in the first person present tense while his mother’s chapters are in third person past tense. Vocabulary and use of language are unique to each character.

Also, the reader understands things the characters do not comprehend particularly when the main character is telling the story from a first person viewpoint. The unreliable first person narrator is very common to mystery fiction. Sometimes the reader knows just what the narrator knows while other times the reader knows more. Dramatic irony can build tension and suspense.
Back Story/Personal History

Although you know your character’s back story or personal history, the reader should learn it slowly, piece-meal, bit by bit. This makes your character interesting and adds an intriguing aura of mystery which causes readers to turn the pages to find out more details about the character.

Making Your Character Sympathetic

Characters need to be relatable as well as real. This means they need to have good qualities that readers like but also character flaws just like an ordinary person. They also need to have goals and ambitions that they’re striving toward. I prefer to make my main characters sympathetic but complex.

Danna the main character in THE DEVIL AND DANNA WEBSTER wants to leave her life of poverty behind. Her ambition is to be an artist. But Danna is confused in her values and family perceptions. Jennifer Stoddard in THE INHERITANCE is a widow raising a small child and in financial distress.

Appearance

It’s important to know how your characters look. Not only should you have a picture in your mind but you need to describe in words how the characters appear: short, tall, handsome, beautiful, ugly, fat, thin, eye color, hair color.

Mannerisms are important as well. Does your heroine bite her nails, twist locks of her long hair? Does your hero flex his muscles? Does your villain speak in a soft, menacing voice?

Relationships

Start first with the family members, especially if they are an important part of the story. Who are the parents, siblings and extended family of your character? It’s not enough to just come up with names for them when developing your main subject. What are they like? Provide descriptions, personalities, etc. Are there any problems your character has with them? Kim Reynolds, the academic librarian sleuth first introduced in THE INFERNO COLLECTION, has a complex family dynamic that includes dark secrets.

What about friends? If they play a part in the story, we need to know your main character’s interactions with and feelings about them. In the Kim Reynolds mystery series, Kim comes to love police detective Mike Gardner. Their relationship is complicated in THE TRUTH SLEUTH by the return of Mike’s wife, Evelyn, who becomes THE BAD WIFE in the 4^th novel in this series.

Kim and Bert St. Croix also become close friends, and in THE BAD WIFE, they work together and quite literally save Mike’s life.

Personality
 Get to know your character’s strengths and weaknesses, attitudes, fears, obsessions, special talents and hobbies. How does your character think, speak, act? What do other characters say about him/her?

Weave body language in with dialogue. This often creates subtle emotional signals. What is said may be in contrast to what the character actually thinks and feels. Val Williams, the central character in my new YA novel WITCH WISH, has a sharp sense of humor, but she is also jealous of her older sister and hurt by her mother’s antipathy.

When you write a scene where there is interaction between characters, try to visualize it as you would see it in a film. There’s nothing wrong with having the image in your mind of real people. It’s also okay to eavesdrop on conversations and be an objective observer which will provide you with material for your writing.

In DEATH LEGACY, Michelle Hallam is a mysterious English woman who has been trained in intelligence work. She is wary and guarded while Daniel Reiner appears to be open and more balanced in his approach to life. They are very different people who come together as lovers and detectives to solve a murder espionage mystery as their lives are placed in jeopardy putting them increasingly in danger. In DEATH PROMISE, the two return to solve yet another murder mystery; their complex relationship remains a key factor in the novel. The dialogue between them shows their differences while being entertaining and advancing the plot.

Okay, I’ll reiterate a few points:

1. Be selective in choosing the names that convey what you want readers to visualize about your character.

2. Appearance is important. What does your character look like? Description can convey much about character. But don’t overdo it. As the old saying goes: show don’t tell.

3. What is special about your character’s speech? Are there unique phrases used? Dickens was a master of this. Also, dialogue should seem natural, the way real people talk.

4. Get into the mind set of your character. How does your character think?  James Joyce is a good writer to read for internal monologue technique.

5. How does your character act, react and interact with others?

6. What do other characters say about him/her?

7. Does the entire presentation have verisimilitude? Do your characters seem real and believable?

8. What values and goals are unique to your character?

Your comments, observations and input are very welcome here!

How to Create Fiction Readers Can’t Put Down

I’m going to make this brief—short and sweet just as it deserves to be.

My advice: WRITE TIGHT!

Stephen King once wrote a great article on this topic. He explained how it’s necessary to eliminate unneeded verbiage. His advice: avoid repetitions and redundancies. Of course, you will only recognize this if you revise ruthlessly. Self-editing is crucial.

My suggestion: Put away your work of genius for a time. Work on something else. Then come back to it at a later date when you can examine the initial writing with fresh, critical eyes. Trade your writer’s hat for that of editor.

Victorian writers could get away with long descriptive passages but there was no television, computers or smart phones in their era. People were willing and eager to read long books and stories for recreational entertainment. Not long ago I read that the average attention span of today’s readers was shorter than that of a fruit fly. So we must cleverly contrive not to lose their attention.

How to do this? Start a book or story in medias res. Begin in the middle of a scene of some significance. Something important should be happening. Dialogue and action are crucial. You don’t want a static beginning. Description, internal monologue, narration, flashback and reflections all have their place, but they need to be limited, and they should not occur at the beginning of a work.

Instead, intrigue the reader by starting with some form of mystery. Make your reader curious from the first and then keep them guessing. Don’t slow the pace. Keep the tension building. Increase the danger and/or the obstacles. This goes for any genre of fiction whether it is romance, sci-fi, mystery, literary etc.

I was very pleased with the statement of the reviewer for LIBRARY JOURNAL who wrote regarding my latest mystery novel 

DEATH PROMISE:

“The plot kept this reviewer turning the pages."

Your thoughts and comments welcome.