Adding more characters to my WIP

I've been blogging about adding new characters to my work-in-progress, Through Charlotte's Eyes, so I thought I'd start a discussion about this very topic. Have you ever written a draft, only to realize that you need to add a character? Combine a couple characters? Or remove a character entirely?

I'm currently working on draft 3.5 (I call it this because I've rewritten/revised the first half of my novel more than I have the second half), and the idea of adding new characters seems a bit overwhelming. But then I think about how the novel will progress with these new characters and how these characters will influence the main characters, and it seems a tad less daunting.

Not only that, but as I revise my current draft, I notice scenes with plot holes that are filled perfectly by these new characters, as if I'd left a space for them at the dinner table and I was just waiting for them to arrive.

As of right now, I'm adding two characters in, each of whom play a pretty hefty role, along with a handful of minor characters.

One of the new characters is Leonoor, a girl from the States who is studying abroad in Paris. She runs into Anne a few times before they become friends. I'm still fleshing out her character's back story, but so far she's looking to be the antithesis of Anne's best friend from home. She's intelligent, driven, and always on the lookout to try something new. Unlike Anne's best friend, she knows how to take care of herself.

The second new character plays a large part in Charlotte's life. He is Aunt Bretteville's protector, who keeps track of the family's finances. But, unlike many people in Caen, he shares Charlotte's moderate views: he wants a revolution, but a peaceful one, and he doesn't believe in the authority of the king. While Charlotte never intends to marry, she finds a companion in Jacques [tentative name that will definitely be changed] that is nothing like the relationships she has with any other men in her life.

Biographies dispute whether or not such a figure actually existed in Charlotte's life, but as I write her story and the reasons for why she decided to murder Marat, it has become clear that Charlotte needed someone to talk to about what she wanted for France and why. Plus, her relationship to him adds an entirely new dimension to why she leaves for Paris in the first place.

As these characters develop and play larger roles in the lives of my main characters, my novel really feels like it's coming together the way I envision it. It's one step closer, and that's a great feeling.

I'm still not sure how I'm going to work on adding these characters in. Do I start from the beginning and work my way towards the end? But that means revising Chapters 1 through 11 again, without having touched Chapters 12 through 30. (I have the nagging feeling that I keep ignoring the last half of my novel, for good reason).

Or, do I add the characters in as I continue revising/rewriting the last half of the novel? But what if they change dramatically based on how they're introduced in the first half? Maybe, for now, I'll mark the spots where they'll play a large role and then go back? Then again, I worry, that will make the story too stilted. Ah, the decisions! I'm thinking I just have to suck it up and start revisions from the beginning... again.

Now, your turn! Have you ever finished a draft, only to realize that some of your characters needed to change in drastic ways? Have you added new characters? How have you gone about putting the characters into your next draft? Comment below!

Third-Grade Lessons

When I was a kid, I didn't always like to go outside during recess. Dorky from an early age, I know.

I begged my teachers, asking to stay inside and write. More often than not, my teachers of my earlier years - first and second grade - insisted I go out each and every day; you know, fresh air, physical activity, and all that jazz.

But in the third grade, my teacher - Mrs. Engle - let me spend a couple days inside to write. The stories I wrote generally revolved around ghosts. My best one, that I still keep in a pocket folder decorated in pink, purple, and green, is about a girl who discovers that a ghost lives in one of her books. Then there were the days that I didn't know what to write about; to solve this dilemma, I marched over to the classroom's library, chose an encyclopedia at random, flipped open the heavy book, and wrote a quick story about whatever entry I happened to land on. The most difficult one, I remember, was about the "sun".

I was scribbling one of these stories, on looseleaf lined paper, when Mrs. Engle approached me one day. She sat down in one of the small chairs and huddled over the table where I patiently worked.

"How would you like to start a writing group?" she asked.

I was totally game. The idea of sharing stories and working together with my friends to create stories sounded like fun. It was optional for everyone in my class, and, surprisingly to me, a handful of other kids were willing to forgo their Friday recess to join in. It was the first time I was able to share my passion for writing, and I have Mrs. Engle to thank. I owe her even more thanks than that though.

Back then, adults often asked what I wanted to be when I grew up. I honestly answered, "a famous novelist," and I'd often get a smirk or a laugh, or something else that equally showed they didn't take that dream seriously.

But Mrs. Engle did. She was the first - and one of the few elementary school teachers of mine - who believed I could do something with my writing.

After elementary school, I continued to write, but my interests grew and expanded, and I slowly found myself writing less often. By the time I reached high school, I wasn't writing anything (save for in my diary).

I started volunteer tutoring at some of the local elementary schools, and when I was 16, I was taken back to my old school. One day, after finishing up some English tutoring with a student, I was roaming the halls with a friend, as we reminisced about our years there, when we ran into Mrs. Engle.

The first question that passed her lips was: "Are you still writing?"

Ashamed, I told her I wasn't.

She asked why, and a conversation ensued about writing every day and working towards my goals of one day writing a novel. Even when you feel like you don't have anything to write about, she told me, sit down and try - like I used to do with that encyclopedia. You can't fulfill your dreams of writing, of becoming a novelist, if you don't try.

Not too long after this conversation, I set to work on my first novel. While this novel never got published, it did get written when I was sixteen years old. Plus, it taught me how to go about writing a novel, from creating outlines to sending queries out to agents, and I truly believe that I wouldn't have learned any of this had it not been for the encouragement of my third-grade teacher.

To Move Forward, Look Back

"The farther backward you can look, the farther forward you are likely to see."
~Winston Churchill

I can't attribute breaking through my writer's block to only putting my novel aside for a few weeks. Over the past month, as I tried writing - or working through my writing - in my head, I realized I was stuck because I still needed to know more about my characters, specific details about their past and not just generalities.

Developing my character sketches is one route, but I'm taking Ginger's advice (from a comment posted to an earlier post), and developing stories out of my character's background/history.

Right now, I'm working on Anne's childhood, specifically a story about dealing with the pain of losing her mother when she was eight-years-old. Ideas keep bubbling over, of things I should include, of things that will affect who she will become when she turns 18 and goes to Paris - and learns that what she once thought about her mother's death was completely false.

The issue I'm running into now is the complete opposite. I feel like I have too much information to include in the short story. (Don't get me wrong; I'd take this "obstacle" any day). Where does this story begin? End? Do I include Anne's struggles in making friends, partially due to her mother raising Anne to speak French and not English? Since I know her mother isn't really dead, as Anne believes, do I hint at it? Do I use third-person or first? (Since my novel is in third-person, I'm inclined to use that, but as I write this first short story of many, I find myself shifting back and forth between third and first... which is interesting considering the novel and how Anne switches between her own perspective and Charlotte's... definitely something to think about more).

My solution - for now - is to get down everything I can, and then start chopping the really unnneccesary stuff (and putting it in a separate file for possible later use in my novel).

It's interesting, "getting to know" characters, delving into their pasts, their histories, as if they existed. I once heard that a professor/author had a conversation with a passenger in his car late at night. It wasn't until he got home that he realized he was talking to a "character" from his novel. Creepy - in that he was really talking to himself, but interesting - in that all writers, I think, need to be able to "speak" to their characters, know how they'd react and what they'd say in any given situation, if they are really going to develop and depict characters that readers can truly believe in.

So, for me, I'm looking backwards, developing my character's backgrounds even more so that I can move forward in my character's life.

Sidenote: If anyone knows who that author was, that had that "conversation" with his character, please remind me, because it's really bothering me that I don't remember!