When Your Characters Become Real

[Ms.Write]

I am going back to novel writing after a long absence (published short stories in the interim) and I am now on Chapter 3 of my first draft. The characters don't feel quite REAL to me yet. I seem to recall with my earlier manuscripts that I only started to feel them as real people by Draft 2.

I do quite a bit of conceptualising but the magic only seems to happen on the page.

I wonder what your own experience is? Do you feel that you're making them up for the first 50 or 100 pages, or do they feel real to you right away?

[farfromfearless]

That's the thing about writing and developing your characters, it might be in the first quarter of your book that you actually hear your characters come alive with their own voices, or it might not happen till much later. I wouldn't let this distract you from the work early on - that's why it's a first draft.

I found that by the last third of my WIP I had a better gasp of my characters had since I'd been working with them for some time I found it much easier to backtrack a little and re-write parts of the book (near the beginning) to match the voice of the character later. Keep in mind too that sometimes as your characters evolve, their voices and attitudes evolve - this can be a good thing.

[KimJo]

My characters usually walk up to me and demand that I tell their stories (figuratively speaking... I think...), so they usually seem real to me before I even start writing. But they become more real as the story goes on.

[finch]

I'll mention again what I always do with my characters before I put them in the story: I'll do a character interview with them, and ask them tough questions (on paper, of course) until they come out with an answer that surprises me -- might be 2 pages, might be 20, but when that happens I feel as though I've got a good handle on who the character is.

It's cheesy, I know, but the thing I do right after that is choose an actor I know well and use them as the basis for the character's voice and speech patterns. It makes it a lot easier to keep dialogue consistent across characters early on.

[IrishScribbler]

My characters usually walk up to me and demand that I tell their stories (figuratively speaking... I think...), so they usually seem real to me before I even start writing. But they become more real as the story goes on.

This is the situation for me, as well. And if I'm telling their story wrong, they let me know it!

[Gabriel]

I usually start being bossed around as soon as I try to make them talk, insisting that they won't talk in funny accents and what not, the ungrateful *mutter mutter*
(For the safety of your eyes, souls and bank balances the previous statement has been muttered. You may resume your viewing)
say wha?

[Azure Skye]

My characters show up and bring their belongings with them. Some take over and run like mad all over the pages and others creep along a little more quietly.

[Edward G]

I'll mention again what I always do with my characters before I put them in the story: I'll do a character interview with them, and ask them tough questions (on paper, of course) until they come out with an answer that surprises me -- might be 2 pages, might be 20, but when that happens I feel as though I've got a good handle on who the character is.

It's cheesy, I know, but the thing I do right after that is choose an actor I know well and use them as the basis for the character's voice and speech patterns. It makes it a lot easier to keep dialogue consistent across characters early on.

Actually, that sounds like a really good idea, but I have a problem with trying to map out my characters before writing the story. I mean, obviously, I have a basic idea of who they are, but there's no point in inventing all kinds of characteristics if they have no part in the story. I suppose it depends on whether a story is plot driven or character driven.

[finch]

Actually, that sounds like a really good idea, but I have a problem with trying to map out my characters before writing the story. I mean, obviously, I have a basic idea of who they are, but there's no point in inventing all kinds of characteristics if they have no part in the story. I suppose it depends on whether a story is plot driven or character driven.

I outline extensively prior to doing any scenework, so I generally have a very good idea as to who's important and who's not. Naturally, interviews tend to go to the characters I'll be spending the most time with, but there are always exceptions. I've done a few extensive interviews with decidedly minor characters, simply because I wasn't happy with the way their scenes were coming along. Eventually I'd realize that the scene was blown because I didn't know enough about those characters to write them well. Once the interview was sorted, the scene flowed just the way I'd hoped it would.

I admit, though, it's as much guilty pleasure as writing tool. Possibly borderline psychotic, too, but that's okay so long as I acknowledge it, right?

[jodiodi]

Quote:
Originally Posted by KimJo
My characters usually walk up to me and demand that I tell their stories (figuratively speaking... I think...), so they usually seem real to me before I even start writing. But they become more real as the story goes on.


This is the situation for me, as well. And if I'm telling their story wrong, they let me know it!

I've got to add my agreement with these two. My characters are already real when they come to me and start telling their stories. I'm just the documentarian.

[Ms.Write]

I really like finch's interview process. I've dialogued with characters, but often not the minor ones, and the scene I just wrote didn't come off well because I really don't KNOW the minor character at all.

I also like the idea of interviewing the character UNTIL something surprising comes out. That means it's the character talking, and not you putting words in his or her mouth...

[jodiodi]

I can't recall ever 'making-up' a character. For me, there is no story until the character starts to tell me about it. I may see something and wonder 'what if?' But until a character starts telling me 'I did that and here's what happened ...' I have no story.

But then, that's just me.

[swvaughn]

GordonJerome: It's definitely good to put on paper only those characteristics which are germane to the story you're telling. But (you knew there was a "but", right? :D ) one of the things I think helps flesh out a novel is for you, the writer, to know more about your characters than your readers will ever find out.

The more you know about your characters, the easier it is to decide how they will react when presented with any given situation or the actions of other characters. You don't have to include everything about them in the story, but it's a good thing for you to know.

I write whole stories about my characters that will never appear in a novel. They help me make sure my peeps are as rounded as possible, and stay true to themselves. Plus, it's really a lot of fun to create entire lives in my head. :D

By the way, welcome to the boards. I've been reading some of the threads you started, and there has been quite a bit of interesting conversation going on.

[Paxton]

I am going back to novel writing after a long absence (published short stories in the interim) and I am now on Chapter 3 of my first draft. The characters don't feel quite REAL to me yet. I seem to recall with my earlier manuscripts that I only started to feel them as real people by Draft 2.


I think it's interesting how differently people can approach the creative side of writing, as well as the practical side.

Most of the time my characters seem to spring to life in their first line of dialogue, which is fortunate because I don't seem to be able to turn them into real people later in the writing process.

I've had stories die because I didn't get the feel of the main character right on the first page, and tried to push on regardless in the hope that I could fix it later.

[civilian chic]

This is a great thread!

My characters come to me first, and then after I think (or dream, as it often happens) about them for a while, I discover things like they're allergic to milk, or they have a pet ferret, or that they model nude in the Painting 101 classes on campus ... and the plot forms around them, not the other way around. But they feel very real to me from the get-go. The plot is as secondary to them as iceberg lettuce is to ranch dressing.

However, this is a somewhat disorganized way of writing, and the character interview process may in fact be more thorough.

[Chasing the Horizon]

My characters usually walk up to me and demand that I tell their stories (figuratively speaking... I think...), so they usually seem real to me before I even start writing. But they become more real as the story goes on. This is the situation for me, as well. And if I'm telling their story wrong, they let me know it! Yep, that's the way the main characters work for me too.

The secondary characters usually do come to life after I start writing the MS. In my current WIP one of the secondary characters ended up so interesting that I decided to make her a 5th POV character.

[Saundra Julian]

They're not real? :cry:

[PeeDee]

With novel works and serial stories, my characters tend to be fairly organic, with their own lives and problems and everything. They walk up to me, in a way.

But when it comes to one-off short stories, they tend to be fairly under my control. That doesn't make them any less interesting (and sometimes, they do surprise me) but they're more like the characters in a stage play than a well-written TV show, if you see what I mean.

[Chasing the Horizon]

They're not real? :cry:
I know, I feel the same way. I'd do anything to have my characters be real. *sigh*
Well, the good ones anyway. My villain's scary!

[MDavis]

I hear you. On one hand, it'd be awesome to be able to meet my characters, but then I'm not sure my characters would like me. Which would be kind of a downer, you know? ;)

[Raphee]

My characters as well as my stories are written extempore.
I had stopped writing for many years. When I started to rewrite my WIP it was based on the advice: If you want to write; just write.
I typed the following line on my PC:"My grandfather taught me about life." or something like that; because it has now been changed. I had no iddea who said that and why. From that I wrote 70,000 words of a novel.
I do understand that some of my characters need fleshing out and I need to work hard and re write parts of my novel. But it was great learning. I still don't believe I'll ever be able to outline stories or characters.

[vrabinec]

My characters usually walk up to me and demand that I tell their stories (figuratively speaking... I think...), so they usually seem real to me before I even start writing. But they become more real as the story goes on.

This is funny. I'm currently wrestling with too many characters that want the stage. By my current count, I'll be topping out at around 140,000 words. It's going to be agonizing to trim it back to a "publishable" level. I feel like the chick in Titanic, breaking their cold fingers from my hand to let them go to the depths when I cut one of their scenes.

[jodiodi]

This is funny. I'm currently wrestling with too many characters that want the stage. By my current count, I'll be topping out at around 140,000 words. It's going to be agonizing to trim it back to a "publishable" level. I feel like the chick in Titanic, breaking their cold fingers from my hand to let them go to the depths when I cut one of their scenes.

I have a series of 5 stories, all between 110,000-150,000 words, with a huge cast of characters. I consider them an ensemble cast with some taking center stage in one book, different ones in another, and so on. When they tell me their stories, the ones who don't fit in one work will get their own so each one's story can be told.

Hence, I'd consider it a blessing to have so many characters with so many stories. You'll never run out of material.

[JIMBOS]

When I write, the story plays in my mind like a movie. I see the scene happen, then I write it down. To me, the characters become very real!

[Jenan Mac]

Jodi, that's kind of how my current WIP came about. The MC was supposed to be a bit character in the last one, basically a red herring. And he was supposed to be kind of a jerk. But he insists he's really not a bad guy, and in fact can be quite heroic. Ends up taking a bullet for someone he really doesn't even like. So how can I not tell his story?

[Gillhoughly]

Current WIP--they became real pretty quick since I imagined various actors playing them in the movie I run in my head. Two of them are in danger of taking over and stealing the show.

Other books--when they start to argue with me or think up solutions to their problems that would never occur to me. Then I feel like I'm taking dictation.

Of course, THAT is a GOOD thing to have happen!

[vrabinec]

When I write, the story plays in my mind like a movie. I see the scene happen, then I write it down. To me, the characters become very real!

Yeah, takes about ten minutes to get in "the trance". Every once in a while, I have to slap myself a little for stopping to watch the action instead of writing about about it. Particularly when I take a peek up the prudish, pretty girls skirt.http://www.absolutewrite.com/forums/images/icons/icon12.gif

[jodiodi]

When I write, the story plays in my mind like a movie. I see the scene happen, then I write it down. To me, the characters become very real!

Me too! Except my characters are narrating the movie for me.

[Lifelongdagger]

I have actually seen my MC twice now. Once at Liverpool Street station and the other walking down Oxford Street.

Scared the hell out of me . . .

[IrishScribbler]

I have actually seen my MC twice now. Once at Liverpool Street station and the other walking down Oxford Street.

Scared the hell out of me . . .

I can imagine!

I've seen my MC (as well as one of my minor characters) a few times, but more often it's just a presence, often accompanied by their voice.

She lets me know when I'm not writing/working often enough, too!

[thepainpasses]

For me, it's kind of like my characters start out with the mindset of babies, and mature into sentient adults. At first, I have to nurture them. I have to flesh them out, figure out how they react to things. It's usually not until I get to the real meat of the story, when the main conflict starts shining through, do I feel that any of them are really capable of standing on their own two feet, and that they then have the power to mold my story.

My beginnings are always my weakest spots, because I always feel as if I'm not letting my characters choice their own ways, but that's because they don't know they're one way yet - something I can often tweak in revision.

[jdparadise]

For me, characters start coming to life with their first line of dialog, or their visual introduction.

I've started on a new technique of character creation - using some software I wrote to give me ideas as to what traits are most prominent in a person, and using that as a springboard for stories - and in the story I'm working on right now I had a character who was very into justice and fairness, and not so much into affection. In short order I'd figured out why, but that was all logic-work.

He came to life for me when I first introduced him onto the stage, when he's out walking with his kid.

The line goes (from flawed memory, but whatever) something like this:


Emmon's boy Robb pointed up the hill with one hand, grabbing at Emmon's shirt with the other. "Someone's up there!"

Emmon tugged his shirt free of Robb's grubby fingers. "Yes."


What I had is better, but that gets the idea across. All of a sudden, I knew viscerally, rather than logically, how Emmon detaches himself from relationships whenever possible. I felt, because I'd typed "Emmon's boy" rather than "Emmon's son," how he's not even particularly close to his family, though (since he took the son out there with him looking for people where they shouldn't be) he does his duties. And I felt how he was a man of few words.

All that gave me stuff to play with moving forward; were this a novel I'd have the opportunity to reverse the ideas (perhaps he has a mistress he's passionate about, or perhaps he's loquacious when drunk), but for the short story that little nugget, felt in the gut, seems like it's going to be enough.

Oddly, I still didn't know what he looked like; I didn't figure that out until he gets to the woman on the hill (who is his sister, disavowed because of a crime) and I alternate to her POV and describe him through her eyes:


The years had been kinder to him than to her, though not by much. Emmon had always been thin, but now his bones pressed against the winding-shroud of his skin. "Are you sick, brother?"


Which dovetails nicely with the emotionally spare way he lives his life (the result of a trauma that also dovetails nicely with his appearance).

That's how most of my writing goes; I generally don't viscerally know a particular thing about a character until the moment I set electrons to screen, but after I have it in my head I have one hell of a time changing it. And it doesn't work at all for me to interview characters or anything like that; I'll often write histories (short or long as warranted) and analyses, but even that goes half out the window once the character has their first words and actions.

Longwinded, me. Sorry. :)

[malycef]

I like what finch said: when characters surprise me, I know they're taking on lives of their own.

Sometimes it happens right away, like the character who was supposed to be a secondary character, but who strolled onto the stage halfway through the book and tried to take over. Sometimes it takes a long time, like the character who was supposed to never actually appear, but who, after about 60000 words, suddenly demanded to be a POV character.

I don't know of a way to make the surprises happen, but visualizing everything as clearly as I can speeds it up sometimes.

When things pop into my head almost fully-formed, like the second character's narration did, I figure the writing gods have decided to give me a gift, and I try to use it well. Random things I just "know" about the characters turn out to be important probably 90% of the time.

[Yuallica]

My characters feel real from the moment I name them; as long as it's the right name. I have had a few mistakes where I get something trapped between two characters, the one they are, and the one their name says to me.

Even when the characters feel completely real to be though, when I write their first few scenes I often feel I'm still getting to know them- they are there, but I can't show them as well as I can when I know them better. That's why I almost always and up doing the heaviest rewriting on the beginning section of my novels.