Generally when I give a crit regarding the need to fully develop the character, it’s because the author failed to let me into the character’s head enough. If I don’t care about a character, then I won’t give a rip about what they’re experiencing. A lot of writers over-think this and wonder what they’re doing wrong.
Don’t sweat this – it’s a lot easier to fix this than you think.
Think about what it’s like to meet someone new. You don’t know anything about them, so when they say they’re going skiing for the weekend, you’re probably making a mental note to go buy dental floss. Who cares? However, when a friend tells me the same thing, I instantly know that she’s freaking out about it because the last time she went, she broke her leg. Since I know her very well, she’s a fully developed character to me. I know what makes her happy/scared/excited/worried/etc because I know what’s inside her head.And more importantly, I have a good idea how she’ll react.
In this same fashion, it’s the author’s job to introduce the reader to his character(s) and expose enough about that character so we care what happens to her. But this means that you need to know your character very well – something I blogged about in How Well Do You Know Your Character?
In getting to know your character, you may think about The Dangling Carrot, which will help you flesh out your character on a deeper level.
The mechanics of how this is done can be through dialog, inner dialog, and deftly used exposition…
Speaking of dialog, it’s a cool way to show your character rather than tell your character. What I mean is this:
Telling your character:
Jane was the quirky sort who looked at the world through a skewed lens. She was on a few degrees off plumb.
On the face of it, the sentence is fine, but what if her dialog never reveals these characteristics? Then I have no choice but to take your word for it; and I won’t. Ah, the beauty and importance of excellent, smart dialog!
Here’s an example of showing your character through dialog:
“What’s the fun of attending this stuffy tea if we can’t have a little fun? I say we spike the teapot with cheap gin and watch those university wives get down with the funk. With a little bit of luck, they’ll hike up their skirts and splash about the marble fountain. It’d be the most fun they’ve had since having their braces removed.”
The dialog makes the first example sentence (tell) unnecessary. The reader already has it figured out that the character is a few degrees off plumb…and someone I instantly care about. In just that one paragraph, I want to know what else this crazy character is going to do or say.
In truth, it actually takes very little to make a reader care about your characters, but you have to know what you’re doing, and you have to do it consciously.
I always appreciate authors who show rather than tell because this adds an extra layer to character development. You’re getting the idea across about your character by letting her speak, rather than giving your readers a menu. As I always say, you can tell me something ’til the cows come home, but until you show me, well…I’d rather go cow tipping.
Make ’em care.