Character Development: How does a plot hook become a person?

How many times have you read a book with a fantastic plot but been let down by the characters?

What makes a great character? They don't have to be a perfect hero, in fact it's usually better when they're not. To stop your characters feeling shallower than a puddle in August they have to stop being characters and start being people.
You don't have to over analyse every action (I'm guilty of that sometimes - I hold my hand up and admit it) but a little thought and back story to flesh a person out make them feel more real and helps you to write more rounded reactions to situations.

That minor character who needs to drink the poisoned coffee - is he going to drink it just because you need someone to die a horrible death that stops your hero from suffering the same fate, or is he drinking it because he had a late night last night (the baby wouldn't sleep again) and he needs the caffeine?
You don't need to tell the reader that unless you want them emotionally involved, but if you are involved you're more likely to write what happens in an emotive way that makes the death more important.

I've had minor characters turn into major ones because I've fallen in love with their back story, I've had good guys turn bad because they've suddenly gained a motive and bad guys who've become good in their own mind because they believe they're doing the right thing.

Yes, it slows down your writing, yes you spend extra hours on that Chapter you really need to finish, but I would rather invest that time creating a real person rather an a pretty plot hook.


Name: The name is normally gender and culture specific, it gives an instant impression. You may deliberately choose a misleading name or nickname but be sure not to deceive the reader for too long!

Harold Finley-Windsor is an articulate gentleman who in his younger years was quite the regular on the social scene.
Harry Fin was was the bloke down the road who spent his evenings in the pub propping up the bar and doing trick shots at the dart board.

Description: Don't go crazy, but give important details early on. Don't wait until half way through the book to tell the readers your romantic lead is covered head to toe in tribal tattoos. Unless she's been taking great pains to hide them from everyone of course, just allude to some odd behaviour early on.

You could tell straight away she did not follow the crowd with her style, an intricate climbing rose tattoo traced its way across her chest and up her neck all the way to nape of her electric blue hair.

Emotion: This often falls into the "show, don't tell" category of writing, but like all rules it can be broken if you feel the need.

Instead of: He was angry and everyone around knew it.
Try: He slammed down the coffee mug and growled as scolding liquid splashed onto his hand.

A person's actions speak volumes. You don't need to be told this man's upset, if he was your Boss you'd delay asking for a pay rise until tomorrow.

Back Story: Firstly, do they need one? The taxi driver in the book for one paragraph probably doesn't, but if they hang around for a chapter or more they should be fleshed out.

Harold Finley-Windsor was disinherited when he fell for the beauty with the rose tattoo who danced at the gentleman's club. He took the name Harry Fin and made a name for himself as a prize fighter before retiring on his earnings and enjoying the simple life.


Give it a try. Don't be afraid of falling in love with a character, they came from your mind after all.