Above: Ginko from Mushi Shi.
Writing is a process. Prose don’t appear on paper perfectly executed. First drafts are a spew of consciousness, a firehose of concepts splattered haphazardly with the wrong words in the wrong order, the wrong setting with the wrong details, the wrong character featuring the wrong motivation. But you have to start somewhere.
First I mash my mind onto the keyboard, sleep it off, then begin the process of refining everything. Rearrange sentences. Alert the senses. Mold your characters into believable people. But for now, let’s focus on that last point – characters.
Clive and Nemesis
These are two very different characters featured in Grim Curio. You can read a scene featuring both of them now in The Working Copy. Among their differences, Clive is a bit character, created out of necessity to carry a few scenes forward, Nemesis is a major character, antagonist, created to foil some of the plans of James and co. Beyond this, their very conception is different, Nemesis being a premeditated character and Clive being a necessitated one. So let’s look at the differences.
Conception of a Character
Above: Harry Lockhart from Kiss Kiss Bang Bang
When bringing a character to life, I’ve found I tend to follow one of two paths into inception. There’s the Premeditated Character and the Necessitated character. Premeditated refers to the days I’ve spent constructing a character and theorizing her place in the story. Necessitated refers to the moment I reach a point where I realize I need someone new to carry the current scene(s) forward.
Premeditated Thought Process
I need an antagonist and I want it to be a person that’s unlikable yet somehow relatable. How do I do that? Make her a girl. Make her young, like sixteen or something. Thrust her in an scenario where the only way out is by ‘going to the dark side’. Have her emerge confused, conflicted, wracked with insecurities but steadfast in her convictions. Etc. This could lead to an interesting villain.
Premeditated is the most obvious method, I stroll through the day, mull on a character and think how this person exists in the world I’m creating. Like Whinnie the Pooh, I think think think think think. I sit to write, fingers frozen over the keyboard while I consider from which angle to attack this person first.
Necessitated Thought Process
James needs to go to Clayton, how does he get there? Does he walk? No, too dangerous. What then? He hires somebody to drive him to Clayton in an ATV. Ok, so what is a person who does this like? For that matter, how many people like him exist in this universe? Not many, maybe 5, they’ll be called runners, and this guy, let’s call him Clive, is the only one James trusts. But why does he trust him? Because of his reputation as the only runner you can really trust. This guy must be expensive, how does James hire him? On and on, deeper and deeper, etc.
You can see how answering question after question a character might emerge, pieced together until he’s fully formed. These tend to be bit characters, but they often morph into major ones without me premeditating it.
Above: Alfred Borden from The Prestige.
Premeditated characters are a pain to get started. They feel fully realized in your head, but they’re not. They’re an amalgamation. Inspiration comes from my influences, my experiences, bits from people I know, bits from things I’ve seen people do, and most of all just my own sick mind. That’s not a person, that’s a blob and a blob must be sculpted.
You take this mass and begin to massage it as you write the first scene where they appear. For me, this scene is almost always emotional, tense, proving who the character is in a dire circumstance. That’s just me though, the action nerd wanting to see what my puppets will do when facing the gun.
As it turns out, these scenes are rarely the right way to introduce a character to a reader. They are good for me because now I get to learn more about who this person is. But for a reader coming across this sort of scene as way of introduction, everything feels disjointed and unearned.
Necessitated characters come about in a much less deliberate way. Often they are a means to an end. James needs to do something and needs someone to interact with to get the job done. Enter minor character.
But each character needs to feel fully formed, no matter how or why they’re conceived. In action, I tend to set the scene, flesh it out, write the major points I want to hit, then go back and add. It’s exactly the opposite of the premeditated character. Instead of a blob that I need to refine and temper, it’s a brick I need to add to and build up until a fully formed house emerges, or at least one that looks fully formed.
I have more to say on this topic, but I think this will do it for now. Come back soon when I follow up with some critiques I received for the writing of Nemesis and the changes that led me to make. I hope you find it informative and interesting. Until then, have a great weekend.