| Before you even begin writing your novel, you need to | | | | help each other overcome their character flaws by |
| know who your characters will be. Minimally, you would | | | | the end of the story. Through their love for each other, |
| want two major characters, the hero and the heroine. | | | | they help each other grow as human beings, and at |
| They will interact mostly with each other throughout | | | | the same time, accept each other's flaws and |
| the novel. How they interact with each other will | | | | imperfections. Of course, there will be some type of |
| determine the outcome of the story. Will they resist | | | | conflict in attaining their love. What story exists without |
| each other in the beginning of the story and by the | | | | conflict? But by the end of the story, they realize the |
| end, fall in love? Or will they fall in love in the beginning | | | | importance of each other in their life and cannot live |
| of the story and then be driven apart by conflict? | | | | without the other, no matter what the price. Ahhh, true |
| Once you've chosen them, then you need to decide | | | | love! |
| what age they are, their personality traits, and their | | | | NAMES |
| names. | | | | Once you have the age and personality trait of each |
| AGE | | | | character, then you need to give them a name that fits |
| Age-appropriate actions are paramount to | | | | them. If the male character is a warrior or has a |
| development of the character. If the heroine is in her | | | | tough-minded personality, you wouldn't want to give |
| teens, she will react differently to situations than if she | | | | him a name that sounds feminine, like Jean or Francis. |
| is in her late twenties. The same goes with the hero. In | | | | Also, be sensitive to the setting, locale, and the time |
| a romance novel, the typical heroine is in her early | | | | period, when deciding upon names. In addition, the |
| twenties, while the hero is older. If he is in his twenties, | | | | names of your other characters should not overpower |
| he shouldn't be shown as a tycoon, unless of course, | | | | the hero/heroine's names. |
| he inherited the wealth. If he is in his thirties, he shouldn't | | | | OTHER CHARACTERS |
| be shown doing activities that are immature for his | | | | Once you have your main characters, then think about |
| age. | | | | whom else will be in the novel. What role will these |
| PERSONALITY TRAITS | | | | other players maintain to help the hero or heroine go |
| A character in your novel needs to have distinct | | | | forth? If you just add someone in the novel because |
| personality traits that make them unique. By | | | | you like him or her, but they don't help the story, then |
| distinguishing them from the other persons in the novel, | | | | rethink on how they could be useful to the story. |
| you can create all kinds of situations based on those | | | | Maybe they know something that might be useful to |
| traits. Personality traits are typically revealed in the | | | | the hero or heroine, then add that into the story. |
| story through actions, dialogue with other people in the | | | | Cardboard characters are a result of focusing on one |
| story, and sometimes through flashbacks that may | | | | dimension of a character. The cardboard character |
| reveal how that person became the way they are. | | | | can be either totally evil, good, funny, sad, etc. They |
| If you are not familiar with personality traits, you can | | | | don't waver much from that description. Sometimes |
| begin by studying the psychology books that describe | | | | they are added in the novel to prove someone's |
| them. Some examples of personality traits are | | | | character. For example, an evil cardboard character |
| introvert/extrovert, obsessive-compulsive, Type "A" | | | | makes the hero look good by battling with him. That's |
| Type "B" personalities, etc. For example, an introverted | | | | the only purpose the evil character has, to show the |
| person would appear shy, doesn't speak much, and | | | | hero's good side. We don't try to develop the evil |
| shuns being in social situations, whereas an | | | | person's character so that he/she is less evil. |
| extroverted person would be gregarious, out-going, | | | | However, in recent literature, one sees more |
| and usually a partygoer. | | | | sympathetic looking evil people doing their bad deeds, |
| There are many types of personalities that you can | | | | yet somehow managing to make the reader feel sorry |
| choose from for your heroine, but typically, a "romantic" | | | | about them. Those complex types are not considered |
| female would include the following: kind, young, | | | | cardboard characters. |
| nurturing, loving, warm, single, sensual, doesn't fool | | | | BALANCING ACT |
| around, and attractive. For your hero, the | | | | No matter how well you think you are writing, always |
| characteristics could vary even more, and usually | | | | go back and double check your work for consistency. |
| include being: older, decisive, powerful, kind, caring, | | | | Make sure that if your hero has blue eyes in the |
| single, gentle, and handsome. | | | | beginning of the story, that he still has blue eyes by the |
| Typically, you should have well-rounded characters. | | | | end of the story, etc. Also, make sure you know your |
| However, beware of making them too perfect. | | | | characters before you write. If you don't, it will show up |
| Readers prefer reading about realistic people, and yet | | | | in your writing. Throughout the story, you have to |
| at the same time, want to escape a little. Leave some | | | | carefully describe the real person in all their glory, as |
| room for improvement to allow character | | | | well as their character flaws. When I went back and |
| development to take place. As a writer, you will have | | | | read the first draft of my romance novel "Lipsi's |
| to do some mental gymnastics to allow this to happen. | | | | Daughter, I found that I tended to lean more towards |
| Maybe she is stubborn and headstrong, and doesn't | | | | making my characters too good. I then went in and |
| listen to other people's advice. Maybe he doesn't trust | | | | deliberately inserted a fault or two. Those faults also |
| anyone, so he is wary and cautious. That's fine. Once | | | | help with the conflict. Conflict drives the story forward. |
| you decide on the traits of each character, then the | | | | The final balancing act will come at the end, where you |
| next step would be to envision how they would react | | | | will have created, or synthesized a whole new person |
| to certain situations. For example, an impulsive person | | | | that has evolved into a better human being from the |
| would probably react differently than a cautious | | | | lessons they learned in the story. So now that you've |
| person to the same situation. Be prepared to get into | | | | read this section, go ahead, write your characters. |
| the shoes of your character and feel what they would | | | | Make them come alive! |
| feel. When a hero and heroine get together, they may | | | | |