{"id":466,"date":"2011-08-07T23:15:00","date_gmt":"2011-08-07T13:15:00","guid":{"rendered":"https:\/\/allisontait.com\/fibro-qa-how-to-create-characters-and-give-each-their-own-voice\/"},"modified":"2020-08-25T11:31:14","modified_gmt":"2020-08-25T01:31:14","slug":"fibro-qa-how-to-create-characters-and-give-each-their-own-voice","status":"publish","type":"post","link":"https:\/\/allisontait.com\/2011\/08\/fibro-qa-how-to-create-characters-and-give-each-their-own-voice\/","title":{"rendered":"Kylie Ladd on how to create characters (and give each their own voice)"},"content":{"rendered":"
\"\"<\/a><\/div>\n
One of the things I love about Australian author Kylie Ladd’s writing are the tiny composite pieces that make up her characters. The smallest details are often the most telling.<\/p>\n

Here, Kylie answers questions about how to create characters. Specifically, how she creates such three-dimensional characters – and how she keeps all those voices straight!<\/p>\n

In both After the Fall<\/i> and Last Summer<\/i>, you worked with multiple\u00a0<\/b>viewpoints. What is the key to keeping all those different voices straight?<\/b><\/p>\n

Kylie Ladd<\/b>: “Planning! I’m a bit of a planning addict, as you know, and I certainly love\u00a0a spreadsheet or two. I use notes to keep track of character attributes, but\u00a0I also keep a fairly detailed running spreadsheet that summarises what’s\u00a0happened in each chapter (whose point of view (POV) it was, what happened but also any\u00a0particular themes and emotions I wanted to convey or develop) and I can also\u00a0use to look ahead and sketch particular developments for particular\u00a0characters. Sometimes with all those spreadsheets open my laptop makes me\u00a0look like an accountant rather than a novelist, but whatever works… ”<\/p>\n

I know that you do a lot of work on your characters before you even\u00a0<\/b>begin. How do you build them?<\/b><\/p>\n

KL<\/b>: “Actually I’m not sure I do, or that I do enough… I think that while I\u00a0often have ideas for characters and sketch them down before I start the\u00a0novel, the character only really evolves and becomes clear to me as I get\u00a0into the writing. As a result I find that the bulk of my edits are usually\u00a0in the first third of the book, where I’m still figuring out exactly who I’m\u00a0writing about.<\/p>\n

Kelly in Last Summer<\/i> is one example… I had planned her\u00a0first chapter, where she gives Rory’s eulogy, and thought it – and she – were\u00a0fairly straightforward. But then I got almost to the end, where she returns\u00a0to her seat in the congregation next to her husband Joe:<\/p>\n

“Joe reached for her as she shuffled down the pew, the arm that went around\u00a0<\/i>her shoulders as solid as marble. She squeezed her eyes shut and breathed in\u00a0<\/i>his scent: timber, sweat. Girls were supposed to marry someone who reminded\u00a0<\/i>them of their fathers, weren’t they? Yet here she was holding on for dear\u00a0<\/i>life to someone who smelled just like her brother.<\/i>”<\/p>\n

That bit just came to me as I was writing, but once it did it made Kelly,\u00a0and her relationship with Rory, so much clearer to me. I went back and\u00a0re-wrote the chapter, but after that Kelly was set in my mind, and her\u00a0subsequent scenes were far easier.<\/p>\n

Something I also want to mention briefly is character names. I agonise over\u00a0choosing these, but to me (rightly or wrongly) names are important, and can\u00a0define a character, can give you a start on getting to grips with them.\u00a0Sometimes names are attached to an important personal history, as in\u00a0Trinity’s case, but even if the name is as straightforward as Joe’s I still\u00a0think (or hope) that that conveys something – in this case a lack of\u00a0pretension, of frills; a straight-shooter. That said, I have never, ever\u00a0liked my own Christian name… maybe I’m trying compensate when I name my\u00a0characters.”<\/p>\n

How do you get into the right mindset to write your male characters?\u00a0<\/b>What are the keys to keeping a man ‘real’ (so to speak)?<\/b><\/p>\n

KL<\/b>: “To be honest, I don’t approach or even think about writing male characters\u00a0any differently than I do my female ones. Maybe I should, but to me gender\u00a0is secondary- we’re all people first, we all have fears and hopes, regrets\u00a0and ambitions, and that’s the stuff that really interests me. I don’t\u00a0believe that deep down men and women are really that different, so I don’t\u00a0approach writing them any differently.\u00a0 OK, men talk about cricket more – but\u00a0that wasn’t hard to bring to life in Last Summer<\/i> because I live with one\u00a0like that!”<\/p>\n

Do you find that everyone you know looks for themselves in the\u00a0<\/b>characters you create? Do you ever use tics and foibles of people that you\u00a0<\/b>know?<\/b><\/p>\n

KL<\/b>: “Of course I do. Any writer that says they don’t is lying! How can you not,\u00a0even if only subconsciously? I would never model an entire character on\u00a0someone I knew – that feels like cheating, somehow, as well as being bound to\u00a0play havoc with your personal relationships – but I’m not at all averse to\u00a0picking up the odd tic or foible, as you say.<\/p>\n

As a literary device, they’re\u00a0useful for delineating characters, but more importantly I think they also say a lot about who a character is – in Last Summer<\/i>, Kelly’s habit of driving\u00a0through roundabouts in third gear, too impatient to change down, or Anita\u00a0fretting about letting her only child eat junk food. And yes, I’m sure\u00a0people I know look for themselves in my characters… but that’s the danger\u00a0of being friendly with a novelist. As Nora Ephron once said “Everything is\u00a0copy.” She’s damn right. They’ve been warned.”<\/p>\n

Are you working on a new novel? What was the ‘spark’ for it?<\/b><\/p>\n

KL<\/b>: “I am about 1000 words off finishing my (fingers crossed) next\u00a0novel. After near-drowning in a sea of my own words for the last 18 months\u00a0or so it’s a huge relief to finally see land. Of course, this is only a\u00a0first draft, so there’s heaps of pain to go yet – nonetheless, I’m pleased\u00a0that (until I see my editor’s report, of course) I think I’ve achieved what\u00a0I wanted to.<\/p>\n

I am hideously superstitious about talking about work that\u00a0isn’t contracted to be published, so sorry, but I can’t say much… I will\u00a0say though that this novel is about the different ways we make – or find –\u00a0family, and whether or not blood matters. At this point it’s called Into My\u00a0<\/i>Arms<\/i>. I hope Nick Cave doesn’t mind.”<\/p>\n

Visit Kylie Ladd at her website<\/a>, or go say hello on Twitter<\/a> (she’s worth it!).<\/p>\n

\"So<\/a>Are you new here? Welcome to my blog! I\u2019m Allison Tait and you can find out <\/strong>more about me here<\/strong><\/a> and more about my <\/strong>online writing courses here<\/strong><\/a>.<\/strong><\/p>\n

Subscribe to <\/strong>So You Want To Be A Writer podcast<\/strong><\/a> for more amazing writing advice. <\/strong><\/p>\n

Or check out So You Want To Be A Writer<\/em> (the book), where my co-author Valerie Khoo and I have distilled the best tips from hundreds of author and industry expert interviews. <\/strong>Find out more and buy it here<\/strong><\/a>. <\/strong><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

One of the things I love about Australian author Kylie Ladd’s writing are the tiny composite pieces that make up her characters. The smallest details are often the most telling. Here, Kylie answers questions about how to create characters. Specifically, how she creates such three-dimensional characters – and how she keeps all those voices straight! […]<\/p>\n","protected":false},"author":2,"featured_media":6295,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[24,700,5],"tags":[721,714,710,716,713],"class_list":["post-466","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-advice-for-writers","category-questions-answers","category-writing","tag-australian-author","tag-author-life","tag-author-qa","tag-tips-for-writers","tag-writing-tips"],"yoast_head":"\nKylie Ladd on how to create characters (and give each their own voice) - Allison Tait Author<\/title>\n<meta name=\"description\" content=\"How to create characters: Australian author Kylie Ladd talks about how to create characters and give each their own voice.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/allisontait.com\/2011\/08\/fibro-qa-how-to-create-characters-and-give-each-their-own-voice\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kylie Ladd on how to create characters (and give each their own voice) - 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