Published Character on the Couch: Tara from Brighid’s Flame

1. If your character were to go to a psychologist – willingly or unwillingly – what would bring them in? 

Yes, a court order is a valid answer. If Tara were to see a psychologist, it would be because she was ordered to by her superiors. Being in private security in an apocalyptic New York, she is essentially military during a shattering era of human history. That’s a lot of pressure for a girl from the Central Park Shanties! 

 

2. Is the presenting problem one of the main internal or external conflicts in your book? If so, how does it present itself? 

Tara’s issues are combination of both, but mainly internal. She was with her mother when she died in the first attacks of the Seven-Year War, and she a majority of the war either in the system in a series of horrible homes, being very angry and restless and unable to control any part of her life. She was a fighter, that’s for sure! When she was rescued from the Shanties–a whole Lord of the Flies situation–she was safe for the first time years. Then her world is turned upside down when she learns those she loves and admires have been keeping some pretty dark secrets from her, and she feels betrayed. And–here’s the kicker–she discovers that she’s not entirely human. And yet she has humanity’s fate quivering in the palm of her hand.

 

Tara stands to attention and looks straight ahead until asked (or ordered) to sit. When she sits, she does so bolt upright, on the edge of her seat, ready for action at a moment’s notice.

 

She has trust issues, so she doesn’t say much. She’ll answer direct questions because she must, but she won’t give away a whole lot. not even in body language. She may admit to being weary, however, because there hasn’t been a single day of her life since the War started that she hasn’t been fighting.

 

Tara doesn’t really drink, and she doesn’t have any other vices other than really bad coffee, because she doesn’t like to be out of control. If she’s in a bar, it’s to meet someone–her best friend Stephen, a contact. She’ll order coffee, and get right back to business, or talk to Stephen about the session.

 

6. When you’re building characters, do you have any tricks you use to really get into their psyches, like a character interview or personality system (e.g., Myers-Briggs types)? 

It’s pretty rare when a character more or less downloads themselves into my brain to tell me their story. (In fact, it’s a little disorienting when they do.) And every book is more or less different as far as my prep work and drafting process is concerned. But, generally, I have four things that go into a character’s profile, all sourced from theatre techniques:

 

1) Character Sketch–not just physical appearance, but notes on their body language, where they live, any objects that are close to them. Their wants and desires.

 

2) Back Story–birth, background, childhoods, first kiss, relationships and friendships, all the way up to the point where the story starts.

 

3) Dream–this is fast-drafted, an almost stream of conscious depiction of one of my character’s dreams. It usually runs a page or two at most, and I highlight all the repeated images and symbols to help me tap into that character’s psyche.

 

4) Wardrobe–what would the character for certain occasions? What rituals do they perform in their dressing or grooming that stand out? Why? Is their closet messy, or perfectly organized? I’ll refine this as I get plot points down and a scene list. But they all have that one object or wardrobe piece that defines their character. For Tara, it’s her uniform.