Story is Character. That’s the famous quote from Robert McKee. Story is character. Character is story. Meaning, without character, you have no story. Your character drives the story, your character makes the reader invested in the story. Without a character the reader can relate to, at least on some level, or sympathize with, or care about, the reader will be dissatisfied. Yes, you can certainly write a fabulous bestseller without characters you care about (I can think of at least one thriller I read this year where I hated the characters and hated the ending, yet couldn’t put the book down), but it’s much, much better if the reader is rooting for your protagonist.
Character drives the story — as Toni McGee Causey has often said, “Story = Character + Conflict.”
My characters either walk up to me, fully formed, and I simply tell their story; or they are stubborn and I have to write and rewrite to coax out their essence. Even fully-formed characters need work during revisions, to layer in the depth that makes a good story rock. But the stubborn characters — they take time. And sometimes it takes a lot of fighting with them to finally understand what makes them tick.
Last week I started writing COLD SNAP, the seventh book in my Lucy Kincaid series. I know Lucy and her boyfriend Sean Rogan extremely well. Writing their next book is like visiting with old friends. STOLEN, book six which comes out in June, wasn’t quite so easy. I was stunned, really–I’d already written five books with Sean as the hero, two books where he was a minor character before that, I thought I’d be able to write *his* book easily. The book where his past comes back to bite him in the ass. Except … I had to figure out what, exactly, he did in his past. I’d implied that he’d been a juvenile delinquent, readers already knew he’d been expelled from Stanford for hacking into the computers and exposing his professor as a pedophile, and I’d established that he could break into virtually any security system, which he did as part of his job testing corporate security for his brother’s company. But … I didn’t know, exactly, what events led him to commit crimes, to hack into banks, or what the fall-out was from his Stanford expulsion. It was both fun and difficult figuring all that out.
But still, through it all, I knew Sean, just like I know Lucy. Their character is established. I know how they’re going to react–what they’re going to say and do–in virtually any situation. While writing their books isn’t easy per se, it’s not as difficult as it once was because I know them so well.
From spillinknotblood.blogspot.com
I don’t plot. I don’t create character charts, interview my characters, or figure out their favorite color or food. The details come as I write. The characters reveal themselves as they encounter conflict. I need to get the story out there, on the page, with all the inherent conflict that stems from the people and situations, and once it’s there I can focus on sharpening the raw material. I know things about my character that I don’t realize yet. I love writing, but writing is re-writing, and I love it just as much.
I’m at that point now in MAXIMUM EXPOSURE, the first book of a new series starring an investigative crime reporter, Maxine Revere. It took me awhile to get to know her — rewriting the first 70 pages over, and over, and over again. Her character is crucial, because if readers don’t like Max, they’re not going to stick around for a series about her. I think I was overly concerned about this, and it affected me — both for the better and for the worse. For you long time MSW readers, you might remember my post last year called Spear the Monster–about how doubt paralyzed me when I changed publishers (and, after seventeen books with one editor, moved to another editor.) Now that my new editor and I have three books together, I don’t have the same fears. My fears stemmed from doubting my ability to write a hardcover mystery/thriller. I think I focused too much on making it a “big” book with a complex story, rather than sticking to what I knew would work: character. I also had the fear that if I couldn’t get Max down right the first time, that somehow I would fail.
I’d forgotten the importance–the necessity–of revisions.
I spent today reading and re-reading the notes my editor sent me, and Max’s character is what I’m focusing on. There was a lot of positive — my editor pointed out that she’s not only interesting, but driven, results-orientated, and self-sufficient. All things that are true. But where I fell short was not showing how her choices in life impacted her emotionally–she needs to acknowledge, at least to herself, that her decisions and actions sometimes costs her. How does she feel about that? How does it impact her daily choices?
I thought I’d shown this well enough, but I think that because I was just getting to know Max while writing her book, I showed her actions without showing internal consequences. I need to show she’s self-aware. That while she’s willing to live with the consequences of her actions, she considers what her life might be like if she made another choice, and what she might be gaining as well as losing. I know so much about Max that hasn’t made it to paper, but that’s not because I consciously planned it. For example, I know Max has two tattoos. One is in memory of her best friend who was killed when they were on Spring Break in college. The other one … well, I haven’t seen it yet! I just know it’s there and she got it when she was 16. I might know it when I’m done with my re-writes. I know that while she loves her job–which she considers a vocation more than anything–she also laments that because she travels so much, she can’t have a dog. These tidbits I didn’t create — they came out of Max as I wrote about her.
I’m eager to dive into these revisions. All the other stuff in the notes related to plot (and too many characters! This is a common problem for me in first drafts …) but plot problems and clarity is easy. Taking three minor characters and making them into one stronger, more fleshed out character isn’t hard, either. For me, the most important thing is that Max is everything I know she can be–that even though she’s strong, self-sufficient, stubborn, and driven, she’s still vulnerable and human. It’s all there, in the book–it’s my job to make it clear, to make Max shine. Because hopefully, this is the first in a series, and that will only happen if readers like Max. Establishing her character from the beginning takes on a whole new level of importance.
From writerswrite.posterous.com
Character is always the most important part of writing — and revisions. Everything else flows from character.
Five Steps to Make a Character Leap Off the Page
- A believable, understandable goal that readers can get behind.
- A flaw that makes them human and vulnerable.
- A “fatal” flaw they need to overcome to achieve their goals.
- Conflict that challenges the character and both highlights their strengths and their flaws.
- No matter how tough or independent, a trait that makes them relatable.
There are some characters that leap off the page each and every time I read one of their books. J.D. Robb’s Eve Dallas and Roarke. Lee Child’s Jack Reacher. Robert Crais’s Elvis Cole and Joe Pike. Lisa Gardner’s D.D. Warren. And more. I always look forward to the next installment. What series character do you consistently look forward to reading?
Allison Brennan is a New York Times and USA Today bestselling author of nearly three dozen romantic thrillers and mysteries, including the Lucy Kincaid series and the Max Revere series. She lives in Northern California with her husband, five children, and assorted pets.
I think I might be a bit odd (heeee!) because I don’t enjoy long series, single character books. I like a beginning, a middle and an end to my reading and a trilogy is the longest I go with a single character.
And on a totally different topic – is that a picture of your office and if yes, what is the table with the round thing underneath the top and between the legs (to the left of the gorgeous squishy chair) . . it looks like a beer keg for those frustrating writer moments 😀
You’re not odd! A lot of readers are like you, which is why most authors write a stand alone now and again 🙂
Yes, that’s my office (when it was clean!) That “table” you see is not a table, but a cat scratching post 🙂
Harry Bosch and Mickey Haller by Michael Connelly. Alan Gregory and Sam Purdy and Dee and Poe from Steven White (snff, sniff the last Alan Gregory book comes out in August). Lucy Sharp by Rocki. Sam and Alyssa and Jules by Suzanne Brockmann. Lucy and Sean.
I could go on and on.
I can’t believe I forgot Mickey Haller. I love him. I like Harry Bosch, but I love Mickey.
I would go with “Kate and Curran” from Ilona Andrews and “Mercy and Adam” by Patricia Briggs.
I have heard so many fabulous things about Patricia Briggs but haven’t read her yet! I don’t read a lot of paranormal (except horror) so I might have to have a Briggs marathon.
I really needed this post. I’m currently revising before sending things off to my editor and I KNOW there are fundamental issues with my characters that have muted the entire story.
I can’t get enough of Joe Pike, Jack Reacher, and Harry Bosch.
One of the things about a great editor is that she will see what you can’t because you’re too close to your character and story. The key is — editors don’t always know how to fix the problem, but they know how to find it.
Wonderful post, Allison! I love McKee’s book. I like how he emphasizes that the writer must get the reader/ audience engaged with the character quickly. We have to see something, even if it’s only a spark of something likeable that hints at more to come, right away in order to want to stay for the rest of the story.
Totally agree. All the screenwriting books say that, and it’s crucial. I met an editor for Mira who told me that she has to care about at least one character after the first ten pages or she won’t read on.
Joe Pike, for sure. And character…so very, very important. that’s the part I love the most, developing and highlighting characters. The plot….hmmmm. Gotta work on that:)
We should start the Joe Pike fan club 🙂
Allison, loved the post. Though, I was wishing my office desk looked like yours. Mine’s always covered with stacks of paper.
I love Elizabeth George’s continuing characters and read all the Sue Grafton books.
I think the fun part as a writer is getting to know the characters. Don’t you love that they are always full of surprises.
For my birthday, my mom cleaned my office. This picture was taken when she was done. Trust me, my office doesn’t look like this now!
Most definitely DD Warren and Raine Conner. I love Lisa Gardner’s female characters, even Tess Beckett who was only in one book. They are so strong and courageous.
You already named two of my faves in Cole/Pike and Reacher. I’m also disappointed that, based on the last book, we won’t be seeing any more of Patrick Kenzie and Angie Gennaro.
As a reader I can tell you that if a chaaracter does not resonate with me I will give up on the book and sometimes the author. I have done that with one author until she gives up a character that I want to kill off. One long standing character that keeps me coming back is Patricia Cornwell’s Kay Scarpetta.
You named many of my favorites characters, Allison. I would add to that list Harlan Coben’s Myron Bolitar and Winsor Horne Lockwood III, Michael Connelly’s Harry Bosch and Lisa Lutz’s Spellman family. I also loved Robert B. Parker’s Spenser and Hawk, and I miss them now that Parker is gone.
My mom loves Parker, and said that Ace Atkins did a good job with continuing the series.
There are so many series characters I look forward to: JT Ellison’s Taylor Jackson, John Sandford’s Lucas Davenport, & Virgil Flowers,John Connolly’s Charlie Parker, Cornelia Read’s Madeline Dare, Lee Childs Reacher, Robert Crais’s Cole &Pike, Michael Connelly’s Bosch & Haller. I could go on and on! Oh and Lucy Kincaid of course. 🙂
WE have so much in common! 🙂
The Shelter Bay stories by JoAnn Ross.
Nice post. Don’t like to read the same main character in every book.
I go back and forth — I follow some series, and I like some stand alones. I’m behind on the JD Robb series, but plan to catch up!
Like all books no fav for me
I have much in common with many others here but one that I consistently enjoy and didn’t see mentioned here is Temperence Brennen in Kathy Reich’s Bones series. (Books only – not a fan of the TV show) I’m also going to go old school and mention Nero Wolfe and Archie Goodwin. I’ve read and re-read most of those stories and continue to enjoy visiting with the characters in the old brownstone.
A new series character that I really enjoy is Lucky O’Toole, from this site’s Deborah Coonts. I read the first of the series while on vacation a few years ago and got seriously hooked.
Thanks for writing such an instructive post and I’ll confess to being envious of your office…
I love Lucky! 🙂
I didn’t watch the television show BONES until the end of 2011 because I’d read the books and knew the show would screw them up … however, I finally did and am glad. I just mentally separate the books from the show, and pretend they aren’t even related. BONES is a great television show, and I really enjoyed it (except for seasons 6 and 7 … 6 in particularly really sucked. Seasons 2 and 4 were the best so far.
Allison, I absolutely love this post on the craft. I’m learning a lot today. A lot of what you say here resonates with me. I get to know my characters as I write about them and see how they react in different situations. Sometimes they really surprise. As a reader, I need to find some connection to a character. Tht way, I can get on tht emotional ride I need in order to mujeres myself completely into their world. I become a character myself as a result. Once I become invested that way, I am along for the ride throughout however many books it takes.
Peace and love,
Paula R.
Exactly! You want your reader to be invested in your main character — they need to care about what happens to her otherwise you’ve lost them from the very beginning.
Agreed, Allison. What I loved about the heroine is that she was so clueless: certainly no Carmela Soprano, eh? I can’t imagine all the mistakes I’d make under the same circumstances.
🙂
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