SECRETS AND LIES

by Ottilia Scherschel

I grew up in an era without social media when privacy had high value. My grandmother had rules about privacy. She loved to say don’t air your dirty linen. That cliché translated into a reminder not to talk about personal/family matters outside the family. In reality, the unwritten rule translated into something akin to you can’t tell anyone, and if you can’t avoid saying something when asked, embroider the truth. In my writing life, my grandmother’s rules have come in handy.

Characters in a book have secrets—personal and family secrets—and tell lies. Imagine what I could do with Uncle Vinnie’s story. He and Aunt Hilda had a solid marriage, or so the family thought. Then one day, Uncle Vinnie came home from a business trip to find his house empty. grimace-1299164_640Stunned, he meandered around searching the kitchen cupboards for the pots and pans and Aunt Hilda’s closet for her personal belongings. He finally spotted an envelope taped to the back door. Inside was the deposit book for their joint bank account with the money withdrawn. Poor Uncle Vinnie was left with the house payment and his underwear. We later found out Aunt Hilda ran off with an old high school boyfriend and moved to Costa Rica. Did Uncle Vinnie ever embroider that one?

A story like his creates a whirlwind in my brain. I see the seeds of a backstory for the life of a character peppered with Uncle Vinnie’s emotional ups and downs. Next time you read your favorite author, ask yourself whose dirty linen helped create the characters. I know I would have no stories to tell without airing someone’s secrets and lies.

Where do I get my characters?

by Jill Jaynes

Jill Jaynes

I guarantee that if you ask one hundred writers this question, you will get one hundred different answers, all of them equally valid.

Here is mine.

Since writers write what they know, I’d have to say that my characters must come from what I know.  I know myself, and I know other people. So I think partly they come from inside of me, from who I am and what I feel, and partly they come from the experiences I’ve had with a lot of other people. People I’ve met, and people I’ve only seen. I carry around a whole database of memories, feelings, impressions and emotions that I don’t have to even think about. We all do, actually. Like it or not.

When I get a story idea, one of the first things I do is imagine my main character. I literally get a picture of them in my mind, maybe with just one or two physical characteristics- hair color, height, age.

I have a fuzzy idea of who they are, what kind of person. Are they bubbly and sweet? Reserved and observant? Booksmart or streetsmart? Spoiling for a fight? Not a lot of details, and I don’t plan them out, trying to figure out who they are.

Instead, I start writing them onto the page, putting them into a scene to see how they will react to it, I see their personality develop as I do this- but it is more like recognizing them as they reveal themselves, than making them into something.

I had this one heroine, early in a story development of a historical romance, who wore a hat in a scene. I first described the hat as a plain, brown hat. Very simple. I stopped in my literary tracks. I knew, without needing to examine why, that this heroine wouldn’t be caught dead in an ugly hat. I knew that about her, even though I’d never thought it through in any organized way.

Likely, I may base my character on someone I’ve known or seen. Like movies about dysfunctional families- we recognize all of those characters. We probably have some of those relatives. Heck, we may even be one of them.  We have all met certain “types” of people, that come with a basic sort of set of rules about how they interact with the world around them. These are fun frameworks to start with and explore, maybe even dig deeper into and blow up that careful façade the rest of the world sees.

Here’s where the internal component kicks in.  It’s kind of like Carl Jung’s theory of dream interpretation (sorry, psych major here): every person, every thing in your dream represents something of you. I think that is a little how I create emotional reality of my characters.

When I write my character into a situation, challenge them with difficult situations, new ideas, I stop and imagine how they feel. That’s the part that comes from inside. I have to feel that emotion with them, put that down on the page. Make them human. If I don’t, the reader won’t feel it, and they won’t care about what happens next for that character.  That part comes from me, for sure.

All in all, I try not to overthink it, and let it flow as organically as possible. When I have a story idea, there is already a perfect character for it. I just have to wait for them to show up.