9 Ways to Develop Story Characters

with Terri Reed.

Thank you Seekerville for hosting me today. I love to talk about writing.  So let’s start with a question. What is the most memorable part of a story?

We might remember a setting, such as middle earth, a ship in space or a plantation in the Deep South. We might remember the dialogue, those pithy sayings that end up on memes. But for sure we remember great characters, like Scarlett O’Hara and Ret Butler. Frodo and Sam. Dorothy and Oz. Hans and Lea. Ironman and Pepper Potts. The list could go on and on.

There are so many different approaches to take when developing characters. There’s the throw everything at the wall and see what sticks method. Or there are more methodical ways to go about creating unique and unforgettable characters. In my opinion, no one way is better than another. They all work. They all bring out different aspects of characterization. I do a bit of both but lean more toward the methodical style. I use a variety of methods, blending them together to build three-dimensional characters that I hope will be remembered long after readers put down the book. Here some of the ways I build my characters.

1) Goal, Motivation and Conflict by Debra Dixon. 

When I first started writing I had no concept of GMC. Soon after I joined Romance Writers of America and the local chapter here in the Rose City, I attended one of Debra Dixon’s workshops and my mind was blown. It made so much sense. I immediately bought her book and devoured it.  Each character must have a goal for the story and for their lives. There has to be compelling motivation to make the reader care and enough conflict that keeps the characters from reaching the goal to make the story interesting.


2) The Plot Doctor by Carolyn Greene. 

 I learned about The Plot Doctor through another writer. I ordered the workbook, back then it came by snail mail. I was so excited to delve into the forms. Did I mention I love forms? The workbook provided is a wonderful tool for organizing the characters and explores deep into the characters psyche, expounding on GMC and adding in misguided goals and things to consider that help the characters grow. There are plotting charts as well as character charts and clear directions on how to use them.


3) Psychological tools such as Enneagrams with Laurie Schnebly and Archetypes (here’s a good list from author Jill Williamson). There are many more sites that list archetypes.

 These aren’t the only resources to draw from: there’s Myers-Briggs, Strength Finders, and a whole host of other personality tests and quizzes online. Whatever source you use, it’s only a tool, not an absolute. However, having a template for a character to draw from is an invaluable place to start.  Building upon the character traits for any of the enneagrams or archetypes can jump start the creative process. And even combining them help to round out the characters.  In my October release A Family Under the Christmas Tree, my hero is an Achiever/Investigator but also a bit of a Lost Soul while the heroine is an Individualist/Loyalist but also a bit of a Free Spirit.


4) The Writer’s Journey by Christopher Vogler is based on the work of Joseph Campbell, A Hero with a Thousand Faces.  Mr. Vogler outlines the 12 steps of a Hero’s Journey that help in plotting but also in creating the character arc.  You can also find a Heroine’s journey and a list of Archetypes on The Writer’s Journey website.

 I use the twelve steps in every book and when I am blocked in my writing I refer back to them to see if I’ve gone off course. One of the building blocks of the 12 steps is Tests, Allies, and Enemies. These can be interwoven throughout the story and help to reveal different aspects of the character. Meeting with the Mentor is a wonderful opportunity to show character growth within the story. 

In my other October release Identity Unknown, my hero has lost his memory so meeting with the Mentor in the form of people from his past helps him, and the reader, discover who he is. Using Allies and Enemies as a way to draw out intrinsic traits that reveal to the heroine who this man is was a wonderful device that allowed me to explore the characters in deeper ways.


5) Story Mastery by Michael Hauge. Hauge has it all. Story arc, plot, and characters. I highly recommend reading his books and, if possible, attending one of his workshops. I have learned so much from his methods on building story, from the logline/pitch to the very last line of the book. Hauge and Vogler have worked together and teach together as well. A potent combination of learning. They have a DVD of their combined methods and show how they complement each other.  Hauge also has forms that help to organize and deepen characterization. 

6) Techniques of the Selling Writer by Dwight Swain. This is the best book on writing fiction that I’ve ever read. I can’t stress enough how important it is that authors read this text. It can be a bit dry but worth devouring. I have two copies, one I read and reread that is highlighted and written in the margins on and a pristine copy for when the other disintegrates. 


7) The Five Love Languages by Gary Chapman. This is a great resource for showing how your characters love and feel loved. It’s also a good resource for personal growth. If your hero is constantly seeking ways to fix things (Acts of Service), the heroine can realize that he’s showing her his feelings even if he’s not saying them. Or if your heroine’s encouraging words (Words of Affirmation) make the hero feel special, he can understand that she is showing him she cares. Using the Love Languages is a wonderful way to enhance characterization.

8) Character interviews—peeling back the layers of the character, like the layers of an onion. I first heard of this from author Melissa McClone. I ask my characters to tell me their story. I write freehand whatever pops into my mind. Then I ask the characters to tell me their secrets. This can be anything from large scale to incidental. It all helps to round out the character and make them more three-dimensional. It’s also important to keep track of the physical details of your characters and their backstory. There are many different character sketch templates out there to choose from. I tend to write it all out longhand during my interview process. As well as find photographs of the character’s likeness to keep on my desktop for easy reference while I’m writing.


9) Observe Life—okay this seems like a no-brainer, but it’s important to watch how people interact, their body language, their mannerisms, the inflections in their tone of voice. This is a great way to pick up nuances of character that will add an extra layer of believability to your characters.  People-watching is an extremely valuable way to spend some time. Jot down notes of your observations and what you perceive to be going on in the people you’re watching. Though, a word of caution, don’t be creepy or obvious about it. You’ll lose the natural moment and could get in trouble.

This is by no means an exhaustive list and I’d love to hear from other authors if there’s something that works for you. And from readers (and authors), I’d love to hear some of the most memorable characters you’ve read and why.

In honor of Seekerville's Birthday and the upcoming Christmas holiday, I’m giving away one grand prize gift pack with my two new releases, Identity Unknown & A Family Under the Christmas Tree, plus a light up angel ornament, chocolate, a book bag and a journal, (compliments of author Pamela Tracy)!  

And to three additional winners, copies of the Love Inspired Suspense Classic—2 books in 1 volume—Double Cross and Double Threat Christmas. Per Seekerville guidelines, winners announced in the Weekend Edition.

Terri Reed’s romance and romantic suspense novels have appeared on Publisher’s Weekly top 25, Nielsen’s Bookscan top 100 and featured in USA Today, Christian Fiction Magazine and Romantic Times Magazine, finaled in RWA’s RITA contest, National Reader’s Choice Award contest, ACFW’s The Carol Award contest. Contact Terri @ www.terrireed.com or P.O. Box 19555 Portland, OR 97224

Harlequin has a HUGE sale going on until October 25th, so catch up on your Terri Reed Love Inspired Suspense here for $1.99!

Order Your Copy Here.

In this heartwarming tale set during the Christmas season, a single father and a fashion photographer are brought together by a young boy and a mischievous Bernese mountain dog—but first they must learn to set aside their differences if they are willing to let their relationship bloom.

David Murphy never knew much about kids. But when his brother dies unexpectedly, David is granted custody of his six-year-old nephew, Troy, who he’s only seen once a year since he was born. He already has his hands full running his business, and he has no idea how to help the grieving boy. When Troy runs off one day, David finds him at a park playing with an adorable and rambunctious Bernese mountain dog—who leads him to Sophie.

Sophie Griffith has spent her life travelling around the world as a photojournalist. She has never stayed in one place for long, and her new assignment—helping her grandmother for a few weeks—is just temporary. Once Christmas day comes, Sophie is off the hook and can leave for a new adventure. Caring for her grandmother is a piece of cake—but caring for her new Bernese mountain dog, Riggs, is a different story. It doesn’t help that Riggs strikes up a friendship with a lost little boy one day at the park—and leads her to David.

Neither David nor Sophie have time for romance. But as they spend more time together, they start falling for each other even though they know it can’t go anywhere. Sophie will be gone after Christmas, and the last thing David needs is another distraction as he tries to comfort Troy. But as their faith and growing love for the boy and dog unites them, they wonder whether it’s more than a holiday romance…and maybe Troy might finally get his Christmas wish for a family.

Put Meat, Not Fat, on the Bones of your Characters

Janet here. When we write stories, we need to grab readers immediately. A great hook in the opening is important, sure, but if readers don't care about our characters within the first few pages, they won't buy or finish the book. 

A sure way to make readers care about our characters is to give them goals that create problems. Problems that aren't easily resolved. Problems that add tension.

Characters that aren’t fleshed out are skeletal, bones, dry bones. Not a very appealing image, especially for a romance novel. To put meat on our characters bones we need to give enough description, introspection, back story, goals and motivations (Conflict may come later.) and faith issues that these people pop off the page. But we don’t want to fatten them up so much that we bog down the pace.

To have to flesh out characters early on may feel rushed, but we writers can’t be leisurely about it. If readers don’t see our characters as real people, they won’t care about them.

The hero fleshed out too much, too early
    

This hero needs some meat on his bones.

These two guys are extremes we're not aiming for. So how do we put meat on their bones without overdoing it? 

We put an ounce of meat here, an ounce there, small snippets and details that will connect the reader. 

Those snippets may be vague, even unclear, but they should intrigue.

I suggest making one thing very clear and that’s the characters external goal, what s/he wants. Be specific. Early on. (The external goal is something specific, tangible and achievable.) Then show why this goal is important. What is the motivation that drives the character to achieve it?

I’ll be sharing examples of putting meat on Carly and Nate’s bones, the heroine and hero in The Bounty Hunter’s Redemption, my giveaway today. If you've already read it, perhaps you'd like to try to win it for a friend or relative. 

1. Open the story with a hook: Create a couple of lines that intrigue the reader and show the character. If you'd like to study opening hooks, go to Amazon and look at opening lines of some of your favorite authors. Usually there's a peek inside or the publisher gives the first scene. Copy and paste these and study the different approaches. I'm guessing the good ones come back to the character. Some danger she's in. Some problem she's facing. Some hint at her wound. 

Here's the opening line of The Bounty Hunter's Redemption: I tried to write a line that would grab readers, but also set the tone and give a peek at Carly's situation.

A woman should mourn the loss of her husband. Or so Carly Richards once believed.

2. Add Details that Matter: The scent of spring and a graveside service are strong contrasts but by tying the scent of spring to Carly's dead husband, I gave a peek at her marriage.

Though the air carried the scent of mowed grass, spring flowers and fresh-turned dirt, the vile odors that had clung to Max filled her nostrils still, as if he stood at her side, not laid out at her feet.

3. Add introspection: Use the character's thoughts to put meat on their bones, to show them. Avoid long passages of introspection. Break thoughts up with action or dialogue. 

          Folks edged toward her, giving her and Henry a hug, mumbling condolences, avoiding her gaze, then hurried toward the wrought-iron gate in quiet groups of three and four, eager to escape. Not a single soul grieved Max. He had no family. No friends. At least none Carly knew of.

Add Actions/Reactions: Flesh out characters with actions. In this case, Carly's son Henry's action shows him and reveals his feelings about his father.

Her son gave a nod then stepped to the dirt piled at the edge of the grave and stomped the soil with his scuff-toed shoe.

Once. Twice. Three times.

4. Add Dialogue:

Henry pivoted back to her, lips quivering, eyes welling with tears. “He can’t hurt you now, Mama.”

5. Add Snippets of Back story: Use back story to reveal the wound, the trouble, in the character's past.

An oppressive weight slid from her shoulders. She’d no longer dread Max’s footfalls after weeks of unexplained absences. She’d no longer dread that every word out of her mouth could trigger his fiery temper. She’d no longer dread what the next day, the next week, the next month would bring.

6. Give the external goal: The external goal is something tangible, something concrete that the character wants. Here Carly thinks about her goal, to take care of her child and her shop. 

Whatever awaited Max, his eternal future was up to God. She would take care of herself and Henry. She’d run the shop. Earn a living. What she’d always done.

7. Give the internal goal: The internal goal is something intangible, not concrete.

She’d been a fool to hitch herself to Max Richards. She’d never trust a man again.

Never.

I hope these examples from the opening scene make Carly come alive, that you could slip into her shoes and feel the emotion of her situation and care.

In the next scene, I flesh out hero by putting some meat on his bones.

When writing a romance novel, both the hero and heroine are protagonists. The story may be more about one than the other, but the reader wants to see and care about both. I try to give an equal number of scenes in each point of view and make sure both have goals, motivations, conflicts and wounds. They both should have faith issues and should grow and change so their "happily ever after" ending feels real. 

The reader first sees what Carly looks like from Nate’s description of her in the opening of his scene. Nate doesn’t just notice her hair and eye color, he sees her attitude during this first encounter. Whenever possible, make descriptions do double duty. 

1. Add details that matter:

A woman stood between Nate Sergeant and a young boy like a petite, beautiful fortress. Pink lips, flushed cheeks, her fair complexion in sharp contrast to her coal-black hair, the delicate female couldn’t outweigh a hundred-pound bag of grain. Under slashing brows, dazzling blue eyes met his, sizing him up, her expression wary, alert.

2. Add introspection: I used action and dialogue to lead to Nate’s poignant thought, and a peek at his wound.

The widow groaned, rolling her head from side to side.

Her son gazed up at him, panic sparking in his eyes. “Something’s wrong with my mama. Help her! Please, mister!”

“I’ll help her, I promise.” As soon as the words left his lips, Nate knew he’d made a hasty promise to stop the boy’s pleading. A promise he couldn’t keep.

Once again. Another failure. More lives ruined.

3. Add actions/reactions: The actions they take should reveal something about them. In this example, I reveal Nate's tender side and give the first hint of attraction.

He brushed a tendril of hair off the widow’s pale cheek. Under his fingertips, her skin was soft as silk.

4. Add dialogue: What the characters say enables readers to see them more clearly. The last sentence reveals Nate's external goal, something tangible, concrete. He intends to take Carly's shop.  

          “Ma’am.”

          She turned back, eyes wide, as if surprised to find him standing there instead of heading for the door. “Yes?”

          A gust of air escaped his lips. No decent man relished bringing a woman trouble. “I’m afraid I have bad news.”

          “Worse than killing my son’s father?”

          At a loss for words, Nate merely stared at her.

          “I’m sorry, Mr. Sergeant. That was uncalled for, but I have a boy who needs my attention and a shop to run.” Her gaze traveled to the door, her desire for him to walk through it abundantly clear.
           No point in putting off what he’d come to say. “This shop is mine,” he said, settling his Stetson in place.

5. Add snippets of back story: Carly faints and triggers a bigger peek at Nate’s past and the wound that drives him. 

Nate caught her before she hit the floor. With the pale woman in his arms, his mind zipped back and remembered another woman.

“Mama!”

Nate’s head snapped up, his vision cleared.

Eyes wide with fear, the son ran toward them. “Is she dead?” he said.

Rachel was dead. Not this woman.

6. Add the motivation: Later in the scene Nate gives his motivation for seeing that his sister gets Carly's shop. 

A temptation to give back the deed slid through him. Only for a moment. Nate couldn’t sacrifice his sister’s future. Not after what she’d sacrificed for him.

Once Mrs. Richards had time to think about it, she would know, as he did, she’d lost the shop. Though he didn’t relish the pain he would cause, Nate would not help the widow as he’d promised her son.

All he would bring Carly Richards was trouble.

I didn’t put Nate's internal goal into the first chapter, nor did I give Nate's equally important goal of finding the killer he’s been after for years. Not everything has to be there but we have to flesh the characters out enough in the opening pages for readers to care, yet not so much that we ruin the pace with too much information. 

There are a variety of reasons for having trouble bringing characters to life.

• We may not know the characters well enough. 

• We may not have the plot figured out. 

• We may not have given them strong enough goals to cause them trouble. 

• We may not have made their pasts (their back story) bad enough to wound them and impact their lives now.

Even when I plan, I learn more about my characters and the plot when I write. That may necessitate going back and fleshing them out even more.  

For breakfast I brought a ham egg bake, fruit, coffee and tea. Enough food to give us strength without putting fat on our bones.   

Let's talk. Share an opening line that hooked you and reveals something about the character. 

Or share a thought, action, snippet of dialogue that fleshes out characters.

Leave a comment for a chance to win a copy of The Bounty Hunter's Redemption. 

Using Birth Order in Character Creation

By Lorna Seilstad

Are you a take-charge first born? A peace-making middle child? Or the attention- seeking youngest of your family?

Study after study shows birth order has a profound and lasting effect on a person. When we look at our families, it’s easy to see this, but have you considered using the information we know about birth order to create depth to your characters?

But why is birth order important in fiction? Can’t we make characters do whatever we want? Not if we want to connect with readers. To reach our readers our characters must ring true on every level. When you say a character is the oldest in a family, but then give him or her qualities of a youngest child, something about the character hits the reader the wrong way. The reader might not be able to put their finger on what seems off, but there is still a disconnect.

In my current series, The Gregory Sisters, I turned to birth order to help me bring the three sisters to life. I wanted each of the sisters to not only be individuals, but also to be so real that readers would say, “Oh, she reminds me of my sister.” In order for that to happen, I used some of the research available on birth order.

There are many factors which can affect birth order such as the size of the family, parenting styles, gender, and distance between sibling’s ages, and when you’re creating your character you need to take those things into account. For example, I’m a second born, but my brother is eight years older than me. Because of that, I have some oldest child and some middle child characteristics.

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In my Gregory Sisters Series, the three sisters promise to help each other achieve their dreams. The scene below is from my current release, While Love Stirs. As you read it, see if you can guess which sister is the oldest, the middle, and the youngest.

Bubbles surrounded Charlotte. She leaned back, closed her eyes, and let the warm water ease her aching muscles. Ah, heaven.

She felt someone staring at her. Opening her eyes, she found Tessa sitting on a stool with her elbows propped on her knees. “What was worse—the tornado or being stuck with Dr. Brooks all night?”

“Tessa!” Charlotte sat up, splashing water out of the tub. “Joel was a perfect gentleman.”

“Joel?” Hannah stepped into the bathroom and placed a fresh nightgown on the hook behind the door. “You’re on a first-name basis? I wasn’t aware you and the doctor had become friendly.”

“I wouldn’t say they’re friendly.” Tessa sat back. “They fight like Grant and Lee.”

“She’s exaggerating, Hannah.” Charlotte scrubbed her face with a washcloth. “Dr. Brooks and I have talked a little. That’s all. And for your information, Tessa, except for the tornado, we had a pleasant evening.” Charlotte flicked suds at her sister’s cheek.

“You know this means war.” Tessa scooped up a handful of suds and let them fly in Charlotte’s direction. She fired another handful at Hannah.

“Hey, what was that for?” Hannah held her hands out in shock.

“Payback.” Tessa giggled.

“For what?”

“Pacing insufferably until Charlotte came home.”

“Why, you little—” Hannah gathered a handful of suds and aimed them at Tessa. The suds war was on.

Did you peg Hannah as the oldest? She is the care-taker, the one bringing in the fresh gown and hanging it on the back of the door. The youngest? I’m pretty sure you had no trouble assigning that role to Tessa. She’s fun, disrespectful, charming, and wants to know everything. The middle sister Charlotte, who stars in While Love Stirs, is the peacekeeper.

Let’s take a look at some of the things that we know about birth order. Remember, these are tendencies. They are not set in granite.

Only Children tend to:

Create imaginary companions

Struggle with frustration

Want freedom

Spiritually want to settle issues of right and wrong

Strengths—demonstrative, organized, clarity of purpose, stable, academically successful, self-confident

Weaknesses—sullen, reluctant to share, not street smart

Gets mad when being intruded on

Qualities—prefer to work alone, extremely responsible or very helpless, stubborn, comfortable being the center of attention, stays on the beaten path

Oldest children tend to:

Wait for attention instead of demanding it

Struggle with guilt

Want love

Spiritually desire a loving church community

Strengths—agreeable, visionary, leadership, compromise, responsible, academically successful

Weaknesses—obnoxious, bossy

Gets mad when shown a lack of respect

Qualities—ambitious, achievers, trailblazers, conservative, people-pleasers, authoritative, leaders, plunges into things  and gets into difficulties

Second born children tend to:

Be perfectionists about what they care about

Struggle with inadequacy

Want emotional connections 

Spiritually wants everyone to be committed

Strengths—friendly, self-discipline, attention to detail, consistency, diplomatic, creative

Weaknesses--critical

Gets mad when criticized

Qualities—sensitive, verbal, social,  competitive, more risk taking than oldest, more adaptable to change, mediators, avoids confrontation, watches for trouble when moving forward

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Third born children tend to:

Be emotionally strong

Struggle with fear

Want protection

Spiritually wants to gain strength through prayer

Strengths—sympathetic, compassionate, imaginative, practical, can be outgoing, fun to be around

Weaknesses—aggressive, disorganized

Gets mad when being putdown

Qualities—more cooperative than competitive, easy to get along with, social, manipulative, demand attention,  can be charmers, can be rebellious, will risk to help others

Fourth born children tend to:

Not listen to themselves

Struggle with anger

Want to belong

Spiritually wants a personal relationship with God

Strengths—empathetic, thinking, understanding, ambitious, life of the party, not people pleasers

Weaknesses--anger

Gets mad when being blamed

Qualities—not taken seriously, manipulative, adaptable to change, risk-taker, attention seeker, charmers, demand attention, impatient, often rebellious, goes against the flow

Did you know two first-borns seldom marry? And if they do, they often struggle with power issues? Isn’t that great fodder for conflict? The most compatible marriages are between two third-borns and the most common are between an only and a second.

Birth order affects everything from the way we drive to the way we parent to the job we choose, so it’s vital that we consider the birth order of our characters so that they ring true with the reader.

How do you see using birth order can help you with your current characters? Have you considered this aspect before? As a reader, have you ever noticed when a character’s action didn’t seem to fit the person’s position in the family?

Leave a comment for a chance to win one of two copies of While Love Stirs.

Here’s a little bit about While Love Stirs:

As a graduate of Fannie Farmer's School of Cookery, Charlotte Gregory is thrilled to have the opportunity to travel, lecture, and give cooking demonstrations on the very latest kitchen revolution--the gas stove. And she certainly doesn't mind that the gas company has hired the kindhearted Lewis Mathis to entertain at her lectures. 

Lewis encourages Charlotte's work, especially her crusade to introduce fresh, appetizing, nutritious food to those convalescing in hospitals. But young hospital superintendent Dr. Joel Brooks is not convinced any changes should be made--especially by this outspoken young woman.

When Charlotte and Joel are coerced into planning a fund-raising gala for the hospital, will this combustible pair explode?

Follow the second Gregory sister as she looks for true love and makes her way in a rapidly changing world in this breezy, lighthearted love triangle that will keep you guessing. 

~*~*~

Lorna Seilstad brings history back to life using a generous dash of humor. After her first child was born, she quit teaching and became a professional wiper. She says she wiped noses, tears, skinned knees, and baby bottoms, but at nap time, she wrote. She is the author of the Lake Manawa Summers Series and the Gregory Sisters Series. She and her husband have three children and call Iowa home. Find out more at www.lornaseilstad.com

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BFF: BEST FRIENDS IN FICTION ... or Enriching Your Story with Friendship!

What do I do when my love is away,

Does it worry you to be alone?

How do I feel by the end of the day,

Are you sad because you're on your own?

—A Little Help From My Friends, by the Beatles

Julie here, and everyone knows that when it comes to life and its problems, we all get by with a little help from our friends.

So why should characters in novels be any different?

I know, I know … it’s more work to flesh out another character or two, especially when they may not be necessary to the plot. But even if your story has no best friends who are integral to your plot, I believe they are integral to both the story and the hero and heroine you create.

YIKES ... thirty minutes ago, I clicked “send” for my final edits on the final book in the Heart of San Francisco series, Surprised by Love (isn't my brand-new cover pretty?), before I begin a year-long break from contracts and deadlines to get back to the sheer joy of writing. In the revision letter from my editor, I was deeply touched by her comment that said, “You never cease to amaze me how your characters just jump off the pages, living and breathing.”

WOW! “Living and breathing” … exactly what each of us hopes to achieve for those special characters in our books. So how does one go about creating “living and breathing” characters who will wend their way into the reader’s heart?

You guessed it … with a little help from their friends!

When I began writing my debut novel A Passion Most Pure (which — shameless plug — is now available for free download HERE), a novel about a close-knit Irish family of eight (six siblings and two parents very much in love), I already had a ton of characters to flesh out for the reader. So why on earth would I risk overworking myself and confusing the reader by adding a blind neighbor, a copywriter friend for the heroine at The Boston Herald, a scruffy drinking buddy for the hero, and a whole other family and cast of coworkers in Dublin, Ireland?

Simple. Because “fleshing out” a buddy or best friend is, to me, one of THE BEST ways to “flesh out” a hero and heroine. There’s only so much one can do with dialogue and introspection to create heart-tugging “living and breathing” heroes and heroines in your reader’s eyes. So why not deepen your characterization by showing them through the eyes of the best friend as well?

Case in point. One of my favorite stories in the Bible is about King David and his best friend Jonathon because the loyalty and love between those two skyrocketed my devotion for David in so many ways. 1.) There’s just something about a deep and solid friendship between two men that enhances a hero. Women tend to have tons of BFFs, but men, not so much, which makes it all the more special in a story. 2.) David’s love for Jonathon gave him a sensitivity that is so attractive to women in a hero. 3.) Jonathon’s fierce love and loyalty to David strengthened David in my eyes as a man, a leader, and a hero.

In the following examples from my books, I will attempt to show how taking the time to create a full-bodied best friend can enhance your novel, giving the reader a glimpse of the hero or heroine in a way that will strengthen the reader’s bond with them too.

A.) Best friends Can Add Humor: My books are emotional roller-coasters, so they get pretty tense, which is why I like to sow humor throughout to lighten them up.

In this scene from A Passion Denied, John Brady’s best friend Collin uses humor to drive a point home, rounding out an almost too perfect hero with a human side to which readers can relate:

The bag hammered Collin’s jaw without mercy for fifteen seconds of bullet-fire pummeling. Brady’s breath was ragged when he stopped. “Michael may be my twin brother, but he’s the farthest thing there is from me. He’s a liar and a manipulator who has as much use for God as he does for Lizzie. He’s using her to get to me. I’m telling you, Collin, he’s no good for her.”

Collin stepped away from the bag to momentarily massage his jaw. “Well, no offense, John, but lately you haven’t exactly been good for her, either. And what do you mean, he’s using her? Do you really think so low of your own flesh and blood?”

“Lower,” he hissed, then followed it with a curse that sounded so foreign to his own ears, heat shot up the back of his neck. “I pray to God he goes back to the devil where he belongs.”

Collin arched a brow. “I’m not sure, but I’m guessing prayers don’t rise quite as well when anchored by a curse.” He butted his torso hard against the bag from his waist to his shoulders, obviously steeling himself against his partner’s wrath. “I could be wrong, of course, but it’s just an offhanded guess.”

“Shut up, Collin, this isn’t funny.”

In this scene from A Passion Redeemed, Emma Malloy is a quiet and gentle friend who uses quiet humor and truth to reveal an endearing side in a bull-headed heroine.

Charity’s face hardened. “Men. Worthless creations, the lot of ‘em.” She closed her eyes.

“Not Mitch Dennehy,” Emma whispered.

Charity grunted. “Especially Mitch Dennehy. It’s his fault I’m in this predicament in the first place.”

Emma didn’t answer.

Charity opened her lids a slit. “Don’t you? Think this is his fault, at least partially?”

Emma straightened her shoulders and clutched the bowl close to her chest. Her chin jutted the slightest bit, completely out of character. “No. No, I don’t. We make our own decisions, Charity, and you made a bad one. Just like I did with Rory. It isn’t Mitch’s fault that you fell in love with him. Nor is it his fault if he chooses to marry someone else. That’s his right, plain and simple. Just like it was yours to marry Rigan. Moronic as it was.”

Charity blinked. “Well, thank you, Emma Malloy. Now if you don’t mind, I think I’ll lay my moronic head down on this pillow and put us both out of our misery.” She plopped back and squeezed her eyes shut, lips clamped in a flat line.

Emma’s chuckle floated in the air, followed by a light squeeze on her shoulder. Charity ignored it and pinched her eyes tighter.

“I love you, Charity O’Connor. And just for the record? When it comes to being ‘thickheaded,’ I’m afraid you could teach our Mr. Dennehy a healthy thing or two.”

B.) Friends Can Show Fierce Loyalty that translates into the reader's loyalty for the character.

In this scene from A Passion Denied, the hero John Brady is suffering from a hangover—both from alcohol and from guilt over “unpardonable sins” he has committed in his past.

Brady continued to stare, his bleary gaze lost in a sea of bitter coffee. “I’m not hungry.”

“Yeah, well you need a little something other than vodka to sustain that thick head of yours.”

That woke him up. His head shot up, and the red in his eyes singed like fire. “Go to the devil, Collin. As if I didn’t pull your head out of the latrine more times than I can count.”

Collin eased back into his chair, all humor depleted. “That’s right, John, you did. Which makes this all the more upsetting. What’s going on?”

Brady closed his eyes and ran a shaky hand over his face. “I can’t tell you.”

“Why? From the very beginning, you’ve known everything about me—my past, my present, what I think, what I feel. The best of friends, closer than brothers. Don’t you think I deserve the same?”

Brady lowered his head. “You do, but I can’t tell you.”

Collin’s jaw tightened. “Why?”

“Because I’m not ready.”

Collin slammed his fist on the table. “Not ready for what? To be a friend?”

Brady’s head lunged up, his eyes swimming with pain. “No, Collin, not ready to lose one.”

Collin blinked. He swallowed the emotion lumped in his throat and nodded. “If I leave, will you promise to talk to Father Mac?”

Brady nodded slowly, his eyes dull.

Collin stood. He glanced at Father Mac. “Can you try to get him to eat? I want him healthy at work tomorrow.” Collin gave Brady’s shoulder a quick squeeze. “I’m tired of carrying him.” He started for the door.

“Collin?”

“Yeah?”

“I’ll have half of day’s work done before you even shadow the door.”

Collin turned, hand poised on the knob. His throat tightened. “I want you to know, John, whatever you did, no matter how bad you think it may be, I will stand by you. I’m proud to call you my friend, because I know who you are—a man of integrity, honor and passion for God. And nothing—nothing—you can say will ever change that for me. I love you like a brother, John, and always will.

C.) Best friends reveal truth, giving opportunity to show humility in a hero or heroine:

In A Hope Undaunted, the hero Luke McGee is a godly but stubborn man bent on his own way, but his best friend Parker Riley is able to pull the rug out from under him with a truth that humbles him on the spot, softening his bullheaded personality for the reader.

Easing his head back on his chair, Parker assessed him through dubious eyes. “You’ve never been concerned about making an impression in your life, McGee. You wouldn’t even own a suit if I hadn’t insisted on you taking my old ones for this job.” He paused, studying Luke with a degree of fascination. “It’s this new volunteer, isn’t it? You’re shining up your image for her, changing who you are to impress her, aren’t you?”

A scowl tainted Luke’s lips. He slashed his hand through his hair, wreaking havoc with the Brilliantine. “You’re out of your mind, Riley, I’m not changing who I am for anybody, especially some spoiled rich kid with her nose in the air.”

“Oh, really? And how much did that suit set you back, Luke?”

Luke bolted up from the chair, the heat from the blasted suit bleeding into his face. “You looking for a fight, Riley? ’Cause if you are, just give me the word.”

“Well, that would be one way to get you to take the stupid coat off, I suppose.”

Luke ripped it off and tossed it over the back of the chair. “There, does that make you happy? All comfy-cozy now?”

Parker scrunched his face and scratched the back of his neck. “Not really. As long as I’ve known you, you’ve always thumbed your nose in high society’s face. For pity’s sake, I practically had to put a gun to your head to get you to wear a tie to your first interview. Now you’re not only trussed up with one that looks like it costs a week’s salary, but it’s choking you to boot. That’s not like you and you know it. I want to know—what’s going on?”

Luke glared at his best friend and felt his eyes burning all the way to the back of his head. His sarcastic comeback got as far as his teeth when the truth of Parker’s words struck like a blow to the gut. With a faint groan, he doubled over and exhaled, finally sagging into the chair with a hand to his eyes. “Dear God, is it that obvious?”

There was a hint of a smile in Parker’s gentle tone. “Well, not to someone who doesn’t know you, but to Betty and me? Uh, we’re thinking that maybe you hit your head on the tub.”

D.) Best friends can put up with a character’s bad mood to show the reader that the hero/heroine is worth it.

In A Passion Denied, hero John Brady is in the foulest mood of his life when his best friend Collin wakes him from a drunker stupor, demonstrating to the reader that Brady is worth any aggravation Collin has to go through to get him back on track.

“Okay, ol’ buddy, I don’t want to do this, but we need to wake you up.” Collin grunted and heaved him up and over his shoulder. He staggered under his weight before steadying himself, then wrinkled his nose. “Besides, you stink.”

He hauled him into the bathroom and laid him in the tub, then took his shoes off and dropped them on the floor. With a flick of his wrist, he turned the cold water on and flipped the shower lever.

Cold spray pelted Brady’s chest and face like a hailstorm, causing him to jerk like a drunken marionette. A curse word gurgled in his mouth. “What the devil are you doing?”

Collin’s smile was grim. “Cleaning ya up. You smell like a sewer.”

“Turn it off, you no-good …” A colorful string of words burned Collin’s ears.

He fought a grin as he turned the water off. “Drinking and swearing. Tell me, John, what other bad habits did you pick up in New York?”

Brady groaned, eyes still pasted shut. “Shut up, Collin.”

“That any way to talk to a buddy who got out of bed at six a.m. on a Sunday morning to brew you coffee? Now, do you want to take your own shower, or do you want me to give you one?”

“I don’t want coffee, and I don’t want a shower. Leave me alone.”

Collin reached for the faucet handle. “Fine, a shower it is—”

E.) Best friends can Ache for a Character, making the reader ache for them too.

In this scene from A Passion Denied, the hero’s best friend Collin has just spent his last evening ever with the hero, the best friend he would die for. His grief over the loss of this friendship is so strong that hopefully it causes the reader to grieve too.

“Was Cluny there?” Faith asked, obviously hoping to steer his thoughts, no doubt, away from the sister he blamed for Brady’s departure.

Collin kneaded the bridge of his nose and sighed. “Yeah. Cried like a baby when Brady finally sent him home.”

“He’ll be devastated without him,” she whispered.

“Won’t we all,” he muttered. He pulled a clean pair of pajama bottoms out of his drawer and headed for the bathroom. “I need to shower. I smell like Clancy’s on a bad day.”

A bad day. The worst in two long weeks of bad days. He closed the door behind him and turned on the shower, rotating the lever all the way to scalding. He brushed his teeth unaware, his mind too absorbed in the events of the last sixteen hours—the day his life would change forever. He swished water in his mouth and took a drink, spitting it out like he wished he could do to the sick taste in his throat. He discarded his underwear and stepped into the shower. The billows of steam flushed tears from his eyes.

They had prayed tonight. For the last time. And after a day of moving and an evening of reminiscing, John Morrison Brady had once again proven himself to be the man of honor that Collin knew him to be. John had wanted to pray for Lizzie and Michael, but Collin had balked. “I can’t,” he had said.

But he did, because John had taught him how. How to forgive and how to let go, lessons John had learned well, in far harder ways than Collin had ever known. He was a man of principle with an unprincipled past, bent on a path in which God would use both for his glory.

He would be a priest. The revelation stung all over again, as biting and searing as the hot water that pelted his body. A mentor to many instead of just a few, and a mighty force in the hand of God.

F.) Best friends can beat some sense into a friend—literally—to teach a spiritual lesson.

In A Hope Undaunted, the hero’s mentor and best friend, John Brady, resorts to tough measures to beat sense into hero Luke McGee with a lesson that has quite a punch—both spiritually and otherwise, showcasing both the hero’s strength and humility in the reader’s eyes.

He rebounded quickly, circling Luke in ready stance. His fingers clenched and unclenched at his sides as if he were just warming up, and the faint smile returned while he stared at Luke with that familiar white-hot calm. “I can’t help but wonder, Cluny, where you and Betty would be right now if God had used a fist instead of forgiveness.”

Brady’s words stung his pride, detonating his temper. He rushed again, hurtling a punch at Brady’s face that earned Luke a fierce blow to his gut, doubling him over and stealing his wind. Before he could catch his breath, an iron fist to his cheek sent Luke staggering back, momentarily stunned.

“Come on, Cluny boy,” Brady said with a twitch of his fingers, “I whipped you as a snot-nosed kid, and I’ll whip you as a man.” The smile eased into a savage grin. “And it sure beats the stuffing out of boxing with Collin.”

Luke studied the man who had saved his life, not to mention his soul, his muscled body crouched and ready and as powerful and menacing at the age of thirty-six as Luke was at twenty-two. Strength shimmered from his face and arms, now glistening with sweat.

“I don’t want to fight you, Brady,” he said, his breathing heavier than it should have been and moisture beading his brow.

White teeth flashed in the moonlight. “Afraid you’ll lose?”

Luke flashed some teeth of his own. “Nope. Afraid I’ll hurt you.”

Brady’s grin curled wide, taunting Luke with a gleam of a dare. “Or get hurt . . .”

Swallowing the bait whole, Luke pounced, landing a powerful thrust that sent Brady reeling back.

The blow seemed to ignite Brady’s temper, launching him forward in a blur of muscled arms and fists. “Better me than Leo,” he said with a grunt, delivering a clip to Luke’s jaw that hurled him into the grass.

Rubbing his chin, Luke jumped to his feet and stormed forward, his good humor fading fast. “Don’t worry, I have enough for you both,” he rasped. He drove his fist straight for Brady’s face.

With a duck of his head, Brady undercut him, blasting an iron jab to his ribs that felled Luke to his knees. “Not when I’m done with you, you overgrown street punk.”

In a final thrust of his foot, Brady discharged a kick that slammed Luke flat on his back with a gargled groan.

Brady dropped to the grass beside him and yanked a handkerchief from his pants, his chest heaving as hard as Luke’s. He wiped the sweat and blood from his face, then tossed it at Luke.

“Here,” he wheezed with sputtering rasps, “you don’t look so pretty anymore.”

Luke sat up and touched the handkerchief to his jaw, wincing at the pain. “Shoot, Brady, what are you trying to do, kill me?”

Brady rolled his neck. The smile on his lips was as peaceful as the black sky above studded with stars. “Nope, bud, just beat a little sense into you, that’s all.” He looked up, moonlight sculpting his features with a quiet reverence that was uniquely Brady. His words, despite being carried forth on short, heaving breaths, were soft and low. “He’s forgiven you, you know, and so has Betty. It’s time you move on to be the man God has in mind for you to be. No more dancing around the edge anymore, Luke, living for God when it’s convenient, living for yourself when it’s not. Accept his forgiveness for what you did to Betty, and then give it back to those who need it. Like Leo. We’re all sinners, bud, some of us more than others. And nobody knows better than me just how hard some sins are to forgive, especially in yourself. But I wasted years beating myself up, robbing myself of peace when forgiveness was as close as the repentance on my tongue.”

Brady clutched an arm around Luke’s shoulder, giving him a firm pat. He rose to his feet and extended an arm. “Don’t make the same mistake I did, Luke. Refusing God’s forgiveness only did damage to me and those I love. Don’t do that to Betty if you love her.” A nerve quivered in the hollow of Brady’s cheek. “Don’t do that to me if you love me.”

GIVEAWAY:

So there you have it—a few ways how friendship can enrich your novel. Leave a comment telling me of a favorite fictional friendship or how you have used friendship in a story, and I will enter you into a drawing for your choice of a signed copy of any of my books. Good luck!

Hugs,

Julie

ABOUT JULIE:

Award-winning author of “The Daughters of Boston” and “Winds of Change” series, Julie Lessman was American Christian Fiction Writers 2009 Debut Author of the Year and voted #1 Romance Author of the year in Family Fiction magazine’s 2012 and 2011 Readers Choice Awards. She has also garnered 17 RWA awards and made Booklist’s 2010 Top 10 Inspirational Fiction. Her book A Light in the Window is an International Digital Awards winner, a 2013 Readers' Crown Award winner, and a 2013 Book Buyers Best Award winner. You can contact Julie and read excerpts from her books at www.julielessman.com.