So, this was my response to a blog post by S. Hunter Nisbet & R.R. Willica (links at the bottom) and I’m reposting it because it’s a really interesting topic and particularly relevant to me now as I’m drafting MIDNIGHT HOUR (I promise I’ll get a summary on the Writing page soon! Promise!). Three questions were asked:
Do you consciously choose the race, gender, ethnicity, etc. of your background characters?
Do you have a character with a backstory you choose not to share?
Have you ever had a background character try to push to the forefront?
Question the 1st: Do you consciously choose the race, gender, ethnicity, etc. of your background characters?
Not consciously, no. Much of it depends on the environment of the story and how well I know it. For example, IN SECRET KEPT is set in a very Anglo-Saxon/Norse inspired world so it’s pretty white. Regional distinctions are mostly based on life-span, hair, and eye colour. That being said, I have a broader sense of geography outside this particular part of the world and in the novella RHEDA (set a few hundred years before SECRET) the MC is (to put in real-world terms) half Saxon and half Arab. Ok, fine. That’s not a background characters. But. In MIDNIGHT HOUR, the entire setting is flipped and it’s a diverse steampunk city so background characters and main characters alike are all kinds of people. The thing with characters is that most of them just pop into my head with their faces already there and I don’t have to think too hard about what they look like. The challenge is in learning to write PoC well (seeing as I’m a white chick), but it’s a challenge I accept. The world isn’t white, nor was I taught to think that it was. Nor is it only male — and since my academic research is focused on women in Anglo-Saxon and Old Norse lit and I grew up on things like Tolkien and Nancy Drew…well, let’s just say my ladies and my men share the limelight equally. And I’m a sucker for women with swords. EOWYN AND BRYNHILDR FTW. Ahem.
Question the 2nd: Do you have a character with a backstory you choose not to share?
I don’t think so, no. All of my characters have a backstory and I need to know that in order to know who these people are. While the reader might not get the entire backstory as mapped out in my head, I try to weave in enough so that what is happening in the present makes sense and resonates emotionally. MIDNIGHT HOUR is especially challenging in that respect because all of these rogues (because they are all screwed-up sons-of-you-know-what to varying degrees) have connections with each other and backstory that is important to the present narrative (again, to varying degrees). Figuring out when and where to place a flashback scene or a comment in dialogue is tricky and sometimes I write a scene that I love and realize it’s actually not necessary and — more to the point — not doing what I wanted it to do. The thing about MIDNIGHT HOUR, though, is that I realized early on there’s too much story for one book so the sequel (HEART’S BLOOD) will touch on a fairly major backstory point that I can’t deal with in MH. It has me ridiculously excited.
Question the 3rd: Have you ever had a background character try to push to the forefront?
Oh, HELL YES. SECRET has one of those — actually, two. But they’ll be getting their own novella once I figure out what their story is. And actually, I wrote a short story called A ONCE & FUTURE KNIGHT and while it’s told from Gawain’s pov, the moment Jael walks onto the page I’ve been told she nearly upstages him. But that’s fine. Because that’s the kind of lady she is. In fact, the two of them are too big for a short so I’m going to rework it into a novel at some point. >:)
So those are my answers. What are yours? Leave me a comment or check out:
And sure to check out Part Two (coming this week!) on: