Getting into the Character’s Head

Before I wrote the action in Issue #4, I had to lean into Suzu. I actually don’t have much experience writing Suzu, so when I got into her head, what I’d written was central to her, but not inclusive of every character I introduced. There was no room for Chel and Toren, as and no room for the plot to move forward.

I knew what needed to be there, but if I went with my first draft, the action would be drowned out by the thoughts of (I’m sorry to say it) a secondary character.

I don’t work on ‘major’ and ‘minor’ characters - it’s a more elaborate hierarchy: Primary, Secondary, and Tertiary - that works for Starlight Radio. It leaves room for more ‘main’ characters, but also development of supporting characters who have names and backgrounds. The Tertiary character is usually unnamed, and there to fill a purpose that Primary and Secondary characters can’t fill.

Next time, I would leave getting into a character’s head for a compendium. The backstory affects how the character should think, and there are always two or more ways about it. If something traumatic happened to your character, would they act out of contempt, or would they try to help others who experienced similar trauma?

Queen Meina’s death is an example of an experience that affects all characters from direct to indirect. Those who were directly affected by her death have strong opinions of her. But can you think of a character who doesn’t show a strong opinion of Queen Meina?

Back to Issue #4. You might think these kids are going to be comedy relief - not at all. I don’t do ‘comedy relief’ characters. I think they’re a great learning tool for beginner authors, but it doesn’t fit here. I have plans for these characters, and you gotta tell me if I’m missing an opportunity to use them effectively. Don’t tell me how to do it - I’ll figure it out.