Writing a novel isn’t easy.
There are moments of doubt about the overall book. Crippling, terrifying doubt. (This idea is stupid. I am stupid. None of this makes any goddamned sense.) You pick your story apart, piece by tiny piece, until it’s in ribbons. But that’s not even the hardest part.
For me, at least, getting the characters going is the real nail-biter. At first, they feel flat and tepid and boring (and that’s being polite). There’s a time when it feels like the minor characters, especially, are just hollow plastic dolls that you’re bashing together while you play pretend in your head.
The thought of breathing life into dozens of imaginary people can be paralyzing.
Think of all the people you talk to in a day. Imagine their thoughts, their dreams, what they ate for lunch, where they’re going after work. They’re running late. They’re out of milk. They got shit to do.
Characters are like that. Individuals, all with their own concerns and priorities and issues. They don’t give a crap about your Hero’s story; they’re too busy living their own. It’s tempting not to give a crap about them, either: how dare they not fawn over your Hero the way you do? But each of them needs just as much attention as your main attraction, if they’re to feel real. And the only one holding the God-pen is you.
It won’t happen. Not this time. I’ve used everything up.
You show up to the story anyway, feet dragging if they need to. Tantrums are expected, if not outright encouraged. You sit and scowl at one of these pretend people until both of you feel a little uncomfortable.
Eventually, one of you will break.
“Okay, fine,” she’ll mumble. “I’ll tell you a little about myself. Listen close; I won’t do this again.” And your character will talk about how she couldn’t afford college, which robbed her of the career she wanted. She settled. She pretends like she’s happy, but she’s far from it: she’s miserable and exhausted and bitter. And, okay, sometimes it makes her grouchy. It makes her snap at your beloved Hero when all he’s done is ask for more coffee.
She won’t tell him why she does these things, but if you’re very, very lucky she might tell you.
And now you’re talking, and though you get to ask some questions most of it is just listening. You take notes as fast as you can because this faucet, once turned off, might not reopen.
And then suddenly, you know her. You know exactly what made her who she is.
And if you sit very, very still, the others will begin to come forward. “I had no friends.” “I was State Champion before I hurt myself.” “I fought against the odds, and won. These losers need to suck it up.”
You don’t breathe. You don’t dare scare them away. Minors are well aware they’re not the stars of your show, and understandably they’re reluctant to give you their stories. Why should they bother? You won’t use most of it, anyway.
But you want them to be alive, just as alive as your Very Important Person. Because if they’re just props, we’ll all know it and none of us will feel very good about it.
Here’s the thing: you can’t go any further in your novel without these temperamental jerks. They hold the fate of your story in their stubborn little fists. And sometimes they like to make you sweat for a while, wondering if they’ll ever tell you what makes them tick. So you wait (im)patiently, fingers crossed, hoping that eventually they’ll help you flesh out this world of yours.
My minors finally came to chat over coffee this weekend. They told me their secrets. Some went deeper than I expected. I am thrilled to finally know them.
And (just like that!) all those loose ends tied themselves up. There’s nothing in the way of the book, now.