Birthing a Character

Birthing a Character by Debra H. Goldstein

Characters don’t spring full-grown onto the page. Instead, like a child (or for pet-lovers – an animal), each must be conceived and nurtured during an internal growth period before being introduced to the world.

There are numerous forms of conception used by authors. Sometimes a family member, friend, or someone simply observed casually passing triggers the idea for a character. Occasionally, a word or understanding of the type of individual who might be involved with the plot the author has in mind is the impetus for creation. Once the first seed is planted, the author fleshes out the different aspects of the proposed character. Humans and animals have more limited mechanisms to conceive a character – Google them.

At some point, the human or animal embryo develops arms, legs, hair, and other physical attributes that will be obvious at birth. The author has a clean slate to steal from living or fictional individuals or to simply mix and match physical characteristics and emotional traits as the author deems appropriate to the story. Consequently, the character may be deaf and blind like Helen Keller in The Miracle Worker, have a single eye like Cyclops, be on the heavy side with a wonderful mustache like Agatha Christie’s Hercule Poirot, or be a Peter Pan boy-like sprite.

Many authors write detailed backstory outlines for their characters while others simply let the voices they hear in their heads (which they attribute to the characters) dictate character behavior and development. As they write their stories, they nurture their characters in different environmental settings and have consequences arise from interaction with other characters. Animals and humans can be influenced by their physical and emotional environments, but unlike authors can’t change the end results by hitting delete.

Perhaps the one thing I believe most distinguishes successful characters and books from those that

don’t resonate with readers is when it is obvious an author became engaged with the characters. In those instances, there is a link of love that comes across even with the antagonist. Louise Penny’s books offer good examples of this phenomenon. Reading her entire series, one can see how she relates to her characters and works hard to give them room for growth while respectfully nurturing each character’s individuality.

I tried to use these concepts when I created the Sarah Blair series. My initial thought was I wanted a cozy protagonist adverse to cooking and crafts. The conceptual idea was the difference between my sister’s and my abilities in the kitchen and our physical attributes – night and day. I didn’t initially create a detailed backstory for Sarah or any of the other characters. Instead, I listened to their voices. This was problematic when I ignored them. The book stalled until I realized I was trying to make the wrong character the antagonist. When I listened, I rewrote half of One Taste Too Many and fell in love with every character. I was engaged and eager to know what would happen next. Hopefully, readers will pre-order or purchase Two Bites Too Many (https://www.amazon.com/Bites-Many-Sarah-Blair-Mystery/dp/1496719484) because they, too, are engaged.

As for a final comparison between fiction and life, I am convinced the same rules of engagement hold true from the minute of birth.