| Most, if not all of your characters need to be | | | | boring, two page description. When writing a |
| larger than life in some way during the process of | | | | novel, giving the barest facts at the beginning is |
| writing a novel Finding people that in real life would | | | | the way to go, so that intrigue is never too far |
| be termed 'misfits' can easily be viewed as natural | | | | away and leaves the reader more curious than |
| within the imagination of both reader and writer. | | | | ever. The real skill is to somehow sketch in the |
| Dull, quiet types must make way for thrusting | | | | intricacies of the person while allowing the story |
| individuals with overblown desires and emotions- a | | | | not to miss a beat from it's natural rhythm. |
| true lust for life itself! Suddenly, the world that the | | | | Having an understanding of what drives the |
| reader inhabits is dominated by persons who can | | | | character forward is crucial and has to fit the plot |
| make instant decisions on the pressures that | | | | of course. What is their dominant thinking? Is it to |
| inhabit their lives. They are also, strongly | | | | be all powerful and therefore to dominate others |
| opinionated on just about every subject that is | | | | or, is it to be wealthy or to have a different/ illicit |
| thrust upon them. | | | | relationship? Perhaps, it is more of a humane |
| Each character must be highly defined, not only | | | | motivation than that: enabling the weak, making it |
| contrasting themselves against the others in the | | | | more of a just world, maybe improving the lot of |
| cast but against the backdrop of the novel, which, | | | | a downtrodden individual. Is this person essentially |
| in itself should be colourful. He or she must have a | | | | a villain or a hero? |
| strong, individual personality with, possibly a | | | | With so much to consider, it is probably worth |
| ruthless streak to enable his or her's selfish | | | | creating a small file on each character which you |
| ambitions. A tried and tested recipe for gripping | | | | as the author can refer back to again and again |
| dialogue comes when two or more people of | | | | when writing a novel. |
| contrasting characters clash head on, particularly if | | | | So, to conclude, ensure that as much preparation |
| they are powerful figures that command | | | | and thought as time permits goes into 'discovering' |
| attention. | | | | your characters and to aid it all and record |
| When describing a character, it's worth eking out | | | | faithfully, all details that make up these people in a |
| the information slowly over time, rather than a | | | | 'CV' type file. |