Character Crafting

Quandary

In my third book, When Kings Clash, I encountered a snag when re-writing the prologue from omniscient author to third person limited POV.

How do I introduce a new primary character (the Gor King) without revealing his identity/background?

The obvious answer was to tell his story through another person, but this too was a challenge. Books I & II are full of characters, so I had to make sure that a new voice was not only warranted but captivating.

In my noodling, I decided to take a people group I’d used previously, the Wurmlins, and develop them beyond what I’d established: nomadic tribe; hunt in groups of three; excellent trackers; ruthless thieves.

Now what?

Next, I needed a new character. Since my audience is YA, I opted for a 13-year old boy I named, Mälque.

How’d I come up with that name? I made sure I didn’t have too many other characters with the letter “M,” wanted it to be one syllable (I think short names sound strong and are easier for readers to grasp) and chose the umlaut because, well, it looked cool. Boring answer but there you have it.

But who is Mälque?

When I create a character, I have to visualize them first. I don’t use a character fact sheet (although I see the merit of doing this) but instead, mull over their psyche for quite some time. For me, this IS the nuts and bolts, the gumption, that drives them through the story. In other words, I’m more interested in my character’s home life than in his favorite color. In the case of Mälque, who is our example today, the fact that his mother was very superstitious had a huge impact on him. Although he denied her influence and even tried to navigate life by denouncing her beliefs, like gravity, he was unable to pull away from her power. But I’m getting ahead of myself.

Borrowing From Another

Around this time, I watched a spooky-good Indie film called Winter’s Bone, based upon the chilling book by Danielle Woodrell. In his novel, Woodrell captured the Ozark language and family dysfunction and made his characters jump off the page.

What if Mälque and the Wurmlins were similar?

An image of Mälque popped into my mind…long, greasy, disheveled hair (perhaps in a mullet!) soot covered face, hardened personality (to avoid getting hurt again), a survivor instinct whose weakness, that only the reader sees, is that he’s very vulnerable.

Rules Are Meant To Be Broken

In regards to dialect, the rule of thumb is to infer it. For example, if your character is a Cajun, then you inform your readers he talks with this accent and let their imaginations do the rest.

I tossed this rule out the window. Why? The other rule of thumb per fantasy, and I would argue trumps (not Donald Trump!) the dialect rule is that you NEVER break the fantasy spell. So for me to let the readers know that Mälque talks with an Ozark accent would jettison them from the fantasy world. Besides, I was having way too much fun writing this way!

Next, I decided to give Mälque a key phrase, one he utters to reflect his cynical heart as well as to bolster his courage:”Ain’t nothin’ but dyin’ around here.” And like a chef using a strong spice, I used it sparingly so as to not overpower the story.

Proof Is In the Pudding

As I wrote and crafted Mälque, I became excited. My gut told me I was on to something; Mälque was taking on a life of his own. If you’ve ever experienced that as a writer, you know exactly what I mean. It’s WONDERFUL!

But would my readers like him?

The first test was my publisher, a former Green Beret, who is not one to shy away from brutal honesty. He too loved Mälque and felt he was a great addition.

So we published the book and I waited…

Although When Kings Clash has only been out a short time, the initial response for Mälque has been a big thumbs up. I hope that doesn’t sound arrogant, but as a writer, it’s a great feeling to have your gut instinct confirmed.

I also received praises for another new character, Phinnton, as well as the Worms of Bal-Malin.

But that’s for another time!