Think of Characters like Speed Dating

Who is This Guy and Why Should I Care?

Writers often fall in love with our characters before their names ever appear on a page. They’re charming, intimidating, scrappy, and clever. Most of all, they matter to us.

But how do you get the reader to agree that this brainchild of yours is worth checking out? Like all good first impressions, shaping how your character enters the story is important.

This introduction will shade every other moment the character will have. Here are three tips to give your characters the best chance at a second date.

Lights, Camera, Action!

When the character enters they need to be doing something important. Maybe it’s key to the plot, maybe to themselves or another person—or, even better, both.

We see characters through their actions: What they’re capable of, what they’re willing to do, what they want. And seeing what someone is in a position to do tells the reader almost everything they need to know about the role that person will play in the broader story.

In her sci-fi novel A Closed and Common Orbit, Becky Chambers introduces the character Owl by having her save a young girl’s life.

She felt some spit hit the back of her leg.

The voice changed. ‘Hey! This way! Come towards me!’

There was no time for questions. Jane 23 ran at the voice.

A machine stuck out from one of the scrap piles, a huge machine with thick sides and — and a door.

Though Owl is only known as a nameless, disembodied voice at this point, she’s already a meaningful character—a sanctuary of kindness in an otherwise horrifying ordeal.

This immediately establishes a dynamic between Owl & Jane 23—savior and saved. With this foundation, Chambers develops a deep and resonant relationship between the characters, as Owl guides Jane 23, encouraging her to keep going despite all the danger and hardship around her.

This introduction also serves the function of pushing the plot forward. Jane 23 has her first real chance at survival. She escapes the beasts—for now.

While not every character needs such a dramatic entrance, consider whether some of your characters might be well-illustrated by emphasizing them first with action. This may be delivering a casserole to a grieving widow, binding a magical beast in chains of cold iron, or stuffing a wedding invitation deep at the bottom of a cluttered drawer.

And speaking of drawers…

In what environment do we first find your character?

A prison cell implies too much to list here. Go deeper. Ask yourself what does your character have on the wall of their prison cell? This is a great opportunity for contrast. You can show how your character relates to the world around them, how they clash or are at peace with it.

This tells the reader what kind of power they hold. Remember, that also means what kinds they clearly do not. If your character visits wealthy distant relatives, are they put in an opulent guest room or are they relegated into the former servant’s quarters?

Loren Eiseley opens his short story, The Star Thrower, with an impactful example of contrast and powerlessness. The protagonist muses on how he’s come to a place called Costabel, concluding that his arrival there might have been simply inevitable. He immediately relinquishes his agency, which is given significant meaning by the description of the beach itself.

The beaches of Costabel are littered with the debris of life. Shells are cast up in windows; a hermit crab, fumbling for a new home in the depths, is tossed naked ashore, where the waiting gulls cut him to pieces. Along the strip of wet sand that marks the ebbing and flowing of the tide, death walks hugely in many forms.

He isn’t just resigned to the idea that he would inevitably end up somewhere—but here. A place where uncaring fate casts vulnerable creatures to their deaths. It’s easy to see the kinship he shares with them.

This gloomy introduction reveals his lack of self-worth and deep sorrow, which, crucially, frames the protagonist’s experiences and transformation through this story.

What’s Your Problem?

Characters are most interesting when they’re actively dealing with their big conflict!

This is obvious with protagonists, but especially consider also how you can flesh out the side characters or antagonists. A conflict-focused introduction establishes  where a character stands in the plot as well as their strengths and weaknesses.

Armistead Maupin opens Tales of the City by immediately connecting us with the inner conflict of the protagonist.

We meet Mary Ann just as she’s made the decision not to come home to the Midwest, and instead stay in San Francisco. She has no job here, no apartment, but when she calls her mom about her decision, she’s resolute—more than resolute, she’s excited.

“Her mother began to cry. ‘You won’t come back, I just know it.’

‘Mom… please… I will. I promise.’

‘But you won’t be… the same!’

‘No! I hope not.’”

In much of Mary Ann’s following story, she embraces and struggles with the culture of 1970s San Francisco, as she’s pulled along by the bay winds of fate. And right here at the start, the contradictions in her character are established.

She’s impulsive, terribly so. Desperate to be part of a wider world. Perhaps careless, maybe unprepared, a stranger in the place she now calls home, but she’s alive! Readers fall in love with Mary Ann because she needs to be free from the world she came from, and because she has the bravery to take that risk.

This leads to a hint of trouble yet to come. As Mary Ann claims her adult life, she’ll struggle with new and changing relationships. Her impulsiveness enthralls the readers and stresses her emotional connections.

Best Foot Forward

Next time you introduce a character revisit these three tips. Even if you choose a different introduction method, examine the essential parts of your characters and how those elements shine through in their first appearance. That spark—what makes them curious, important, worth reading a story about—will seize your readers and carry them through to see not only what becomes of those characters, but what they become.

•  A Closed and Common Orbit by Becky Chambers
•  The Star Thrower by Loren Eiseley
• 28 Barbary Lane: Tales of the City Books 1-3. by Armistead Maupin

Even better, find a new Chanticleer Reviewed Book with a great introduction!

• Elodia’s Knife by Robert S. Phillips
• The Claiming by J. A. Nielsen
• A Grave Every Mile by David Fitz-Gerald