Accidentally In Love – On Series Characters
By Angel Colon
There’s a kind of magic that happens when a character finally “clicks”. Dialogue and action are second nature—of course he/she would do this because this happened. There’s a familiarity present that feels nearly physical, as if the character were a friend that hasn’t called in a while. That attachment lends itself to series writing in a similar way. When that friend does indeed give a call, you pick up right where you left off. All those warm and fuzzies are present; every inside joke lands. This character is real.
That was never an intent when I first took pen to paper (or fingers to keyboard) on any of my series or short stories. As a writer, I felt a clinical coldness was necessary because I wrote the type of fiction where people got hurt and punished; where people felt trauma from all fronts. How could I possibly allow myself to get attached? Wouldn’t that lead me into writing characters that were projections of myself; what readers at times deem “Mary-Sue” or “Gary-Stu” characters?
I was missing the point. Those traumas, from a reader’s view, required strong character work to fully jump off the page. A character must matter to a reader and I found that out during my editing and revision phases. Those were the times I had to be cold and clinical but as a reader—thoroughly detached from my writer self. It’s almost being at odds with oneself and oddly enough, over a person that doesn’t exist. It wasn’t the book or the story that required a lack of emotion, it was the process itself.
I fell in love with my characters. I struggled to put them through hell and back because it hurt me too. I saw myself in different aspects of their actions or quirks. I even saw my traumas emerge in different forms for the characters; not necessarily the same events or pains but amplified through the funhouse mirror—juicy enough for readers to thrill over but relatable enough to evoke more than just excitement. Those adjustments opened the door to other possible paths that enhanced the story and really added an amount of emotional depth I had not anticipated when I first started the project/s. It feels good to find that sweet spot as a writer.
Unfortunately, love isn’t enough to keep the characters moving. There’s a level commitment a writer must maintain when the decision is made to continue with a character’s story. This is where it can get dangerous. This is where it’s possible to write yourself OUT of love with a character. How much gas does this story have in the tank? How much possible growth can a character possibly maintain? In the real world, growth and change are constant but sometimes that doesn’t jibe quite well with series characters. Too much change risks readership souring on the character as well.
There’s learning to love the character and knowing when the love should continue or when the love should stop. Case in point: my character Blacky Jaguar. I know I’ve got one more story for him and that’s it. The guy’s a cartoon character and as fun as it is to write him, I also know that there’s only so far, I can go with him. That’s a good thing too! It keeps me from hating what I’m writing because I know there’s a finish line. On the flip side, my character Fantine Park, who I assumed would be a one and done character, seems to have the potential to carry a series. I don’t see an end in sight for her and I have a blast writing her. I see her growing and changing in her world and that’s exciting—especially not being able to necessarily “see” an end for her.
The biggest gain out of these experiences—for me—has been a sense of confidence. Each project doesn’t have to be one and done or meant to be a series. I can navigate with my characters for that specific story. If I never return, that’s fine. If I do, that’s also fine. I need to let the characters charm their way into my brain and I in turn need to have the ability to be charmed. Making assumptions based on past prejudices isn’t wise, especially if I’m writing for people other than myself.
Obviously, I reserve the right to change my mind if I ever get tired of the character. That’s part of growth, right?
Angel Luis Colón is the Anthony and Derringer Award-nominated author of No Happy Endings, the Blacky Jaguar series of novellas, and the short story anthology Meat City on Fire (and Other Assorted Debacles). His fiction has appeared in multiple web and print publications including Thuglit, Literary Orphans, and Great Jones Street.
