Character: The Heart of It All
(image courtesy of S.Hermann/F. Richter via pixabay.com)
I debated about which part of the process, especially for a serial, I should start. In my experience, planning, outlining, and a series of other steps clear the way to write, revise, edit, polish, upload, and schedule.
Since the purpose of The Process Muse is for me to share with you my process, we’ll start where I usually start, and that’s character.
Plenty of writers start with situation or catalyst or theme and then find characters in their subconscious drawers that will fit the story.
For me, it almost always starts with character. There’s an exception when I see a submission call on a specific theme that ignites me interest; but, if the story gets written, it’s because a character has jumped front and center within moments of the spark, saying, “This is my story, and let me tell you what happened to me.”
Whether it’s a strong central protagonist, a central pair of protagonists (such as in a romance or romantic suspense), or an ensemble (various genres) use, the characters are the heart and soul of your piece, because they are the ones the audience will connect with, and sometimes embody, on the journey through the story.
I talk about this in the Topic Workbook on Developing the Series, and the classes I’ve taught in Creating Characters (upcoming Topic Workbook in 2023). Your central character is the driving force of your serial (or series).
That character does not have to be likable.
That character DOES have to be interesting.
For me, as both a reader and a writer, the character must grow and change over the course of the story, no matter what the medium (serial, novel, short story, play, film, etc.). If the character stays the same, I lose interest and/or get frustrated. I am willing to take the journey, because I want to see the character grow.
There are some pieces where the theme is the lack of growth in a particular character. When that is the case, the characters around that character grow and change, and the contrast is part of what supports the piece.
It is unlikely such a character could carry the weight of a serial or series. That doesn’t make it impossible. There’s one very successful series where the character never changes. I got tired and stopped reading. It did not work for me. I grew away from the series as I grew and changed, and the character and situations remained static. The books hit the best seller list and other people love them. Good for all of them.
There’s another series, which I highly, highly recommend, if you want to see how not just the central protagonist, but the entire ensemble grows, changes, and builds both family and community. That’s the Meg Langslow series by Donna Andrews, now over 30 books strong. I find every book a delight, and I re-read the series from start to current book every few years.
One of the most baffling questions I get at author events or writing groups or teaching class is, “Where do you find your characters?”
They find me.
Everyone with whom I’ve ever interacted on any level has left some sort of imprint on me. Not all good, but all had an impact, even if it’s been decades and I forgot the individual name. But those characteristics, cadences, quirks, and values all coalesce in the cauldron of creativity. When it’s time, a character steps out, fully formed, and tells me their story.
The most effective thing I can do for the work is listen.
Writers often talk about a character running away with the story. Sometimes it’s a tertiary character who needs to be reigned in (or used in a tie-in or spin-off – we’ll talk about those sometime; remind me if I take too long to get to it, please, and you’re interested). The best thing to do, initially, is to trust the characters and see where they lead you. Your characters know more than you do.
They know more than you do because they are the personification of your subconscious, which is the well of your creative work.
Once you’ve listened to their story and decided which bits you want to use, you can work though as many drafts as you need to make it work within the needs of the craft: structure, plot, story, dialogue, concept, themes, pacing, active/integrated writing, genre expectations.
Sit down and listen to your characters. You need quiet in order to hear them. Okay, sometimes they’ll start talking to you in the grocery store or while you’re driving or at a party or in the shower. But at some point, there needs to be quiet time.
The right character for the right story will arrive if you listen.
Is there a character begging you to tell their story? I encourage you to use this post as a jumping off point to spend some time listening.
Reminder: It’s National Novel Writing Month! My novel this year is a mystery set in 1957 in a community inspired by The Spruces here in the Berkshires, called THE TREES WHISPERED DEATH. I’m over there under the Devon Ellington moniker. I run a group called Enchanted Wordsmiths. Send me a request and I’ll send you an invite. I also have a FREE little booklet called 30 TIPS FOR 30 DAYS that gives suggestions for preparation, daily encouragements, and what to do when you’re finished. Click the link on the book title to download in various formats.