Writers shouldn’t fall in love with characters so much that they lose sight of what they’re trying to accomplish. The idea is to write a whole story, a whole book. A writer has to be able to look at that story and see whether or not a character works, whether or not a character needs further definition.”
Last week I received some feedback on one of my major female characters. Apparently, compared to another female character, she didn’t ‘jump off the page,’ as they say. This surprised me greatly. I’ve spent much more time thinking about Character A than Character B. Character A arrived in my thoughts with any beckoning. Character B was not forged, but certainly planned. Yet somehow, according to my small group of readers, Character B–in the draft they were shown– leaped, tumbled, and sprang, forward while Character A mostly stayed put.
I’m aware that some characters arrive more organically. As I’ve said before, these are the guys that show up uninvited bearing no food, drink, or gift. But what about those characters who I swear I know, see clearly, hear impeccably, feel intimately…but yet, don’t get expressed properly in the prose?
So I rewrote her. I opened up a new document, titled it after her name, and wrote her whole story. Then I took the various bits and pieces of text and placed them (I hope) strategically in the all right places. When I read over the revisions, I was astonished by how weakly I’d characterized her in former drafts. She is perhaps the most important female character in the story! I’d cheated her, in a sense. But what’s strange, the way in which I finally brought her to light, is exactly the way I’d always envisioned her. Now, thank goodness, so can everyone else.
I guess sometimes we intrinsic writers can lose perspective. We are so enmeshed in our creations that we develop a sort of ‘blind spot’ towards them. I see what I see, even no one else does. Even if it’s absurdly obvious. I learned something important from this critique though. Don’t shortchange your people. They don’t deserve it.