Today I get to be part of the blog tour for Aaron Paul Lazar's new novel Don't Let the Wind Catch You. There is a short interview with Aaron about characterization and then a guest post written by him. I hope you enjoy.
Characterization
Q) Does a character
change as you build his or her part in the story?
A) I do believe in achieving what they call “character
arcs” in general, although I never start out a book thinking, “how can I make
Sam Moore grow and change based on the circumstances?” It just seems to happen
naturally as the stories unfold. But I hope my characters grow based on their
challenges and traumas. How could they not?
Q)Are your characters skeletons when you begin writing
or they fully fleshed out?
A) In the very beginning, when I start a series, my
characters are pretty well fleshed-out, with back-stories that are intriguing
and sad or difficult in some aspects. For example, Sam Moore starts out in Healey’s Cave (book 1 in Moore
Mysteries, otherwise known as the Green Marble Mysteries) as a man in torment.
He has been missing and mourning the disappearance of his little brother for
fifty years. No one knows what happened to Billy, whether he’s dead or alive,
and it tortures Sam every day of his life. There’s a long period of distinct
history, and he often thinks back to it, including in some flashback scenes. I
think when I began each of my three series (LeGarde, Moore, and Tall Pines) I
played around a bit with the characters to develop them. Gus LeGarde started
out being a testimony to my father, who was much like him. Then as time went on
and I edited and refined Double Forte’
(book 1 in LeGarde Mysteries), I ended up dispersing a lot of “me” into the
character. Of course, I was writing in the first person and I actually am a
great deal like my father was, so it was kind of a natural outcome. In time,
Gus LeGarde ended up being an amalgam of my father, me, and his own persona.
Q) Do you have a favorite in each book (other than the
hero or protagonist)?
A) In Moore Mysteries, I’ve started to fall in love
with Sam’s daughter’s lover, Penelope. She is a gay, prescient doctor of Native
American descent who really fascinates me. I think I’ll have to feature her in
the next book in Moore Mysteries. In other books I would say, yes, I have
“special” feelings for certain characters who crop up – sometimes they are
featured characters and sometimes they fill the main cast. In LeGarde
Mysteries, my favorite has always been Siegfried, my “gentle giant.” In Tall Pines
Mysteries, my favorites are Quinn and Callie.
Q) Have you created characters so attractive that you
hate to kill them off and miss them when they're gone from the book?
A) Absolutely! First of all, I adore Billy, Sam
Moore’s little brother who died at age 11 in Healey’s Cave, and who still comes into play in the rest of the
series. Although he’s dead, he still is influential in the series. In LeGarde
Mysteries, it was very difficult to kill off Elsbeth, the sweet and fiery wife
of Gus LeGarde. I had the chance to bring her “back” so to speak in the prequel
to Double Forte’ (where she’s already
been dead for four years) in Tremolo: cry
of the loon. It was nice to get to “see” her alive and active as an
eleven-year-old in this lakeside summer prequel that takes place in 1964 in the
Maine lakes region.
Q) Are there some characters you find yourself
disliking, even though you may not have intended that?
A) There are some characters who frustrate me, like
Freddie (Gus LeGarde’s daughter) in Double
Forté. It takes her a long time to reject her philandering husband, Harold.
I hate that she tolerates his abuse for so long. Most of the time, however, I
feel deep and strong connections to all my characters, whether they are heroes
or villains, straight or gay, powerful or weak. They are all so “real” to me
that I probably could be committed tomorrow based on my feelings toward this
parallel universe.
Q) Do you find it difficult to create an attractive,
likeable but truly villainous villain?
A) Maybe it’s time for me to actually do this. So far
my villains have been understandable but really nasty. Sort of like operatic
characters. I think my next challenge will be to create a likable bad guy. ;o)
My colleague Sonya Bateman does this so well, I always
admire the fact that she’ll get me hating and fearing her villain in the
beginning, but feeling a camaraderie and sympathy for him in the end of the
story.
Q) How much of real people do you put into characters?
Could they recognize themselves or do you mix and match?
A) If they were still alive, these characters would be
quite outraged, or terribly complimented. Most of the people who appear in my
books have passed away, like my grandparents or my father. The rest are
admittedly often based on my wife and my grandchildren. I love them all and
can’t help but include scenes from our lives or aspects that are poignant and
meaningful to the stories. Parts of my wife were the inspiration for Camille
Coté, Elsbeth Marggrander, and Rachel Moore, in various aspects. My grandmother
Coté was the inspiration for Maddy Coté in LeGarde Mysteries. My two maternal
grandparents were the models for Oscar and Millie Stone, in the same series.
The other characters, however, are completely imaginary.
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| Aaron Paul Lazar's novel collection |
2) Thanks,
Downton Abbey – You Made Me a Murderer
First
of all, I have to blame my mother for getting me hooked on Downton Abbey. While
visiting her last November, we spent several days enjoying walks in the woods,
cooking together, playing scrabble, and yes—watching Downton Abbey every
evening.
I’d
heard about it, of course. But I had no
idea.
I
mean, NO idea.
This
series is so addictive I was riveted to the television—a very unusual situation
for me, mind you. We started out with season one, and by the time I was ready
to fly home I’d already ordered the first two seasons (I HAD to own them) and
pre-ordered season three.
I
was seriously hooked. I adored the
characters.
Bates.
Mrs. Hughes. Anna. Sybil. Thomas. O’Brien. William. Daisy. Mrs. Patmore. Oh, I
could list the whole darned cast here, they are all so good. If you’ve watched
the show, I’m sure you know what I mean.
There’s
a lot of history and gorgeous countryside, stupendous shots of the inside of
this authentic marvelous home in England. Horses. Dogs. And drama.
Oh,
the drama. The superb conflict. And last, but certainly not least, the
unrequited love…
I’m
a terrible sucker for unrequited love, and I feature it continuously in my
mysteries, including the LeGarde, Moore, and Tall Pines
series. I love the aching, the longing, the never-quite-making-it-there
sensation of one loving another, but the other doesn’t quite get it. And maybe
the guy really loves the gal but she thinks he hates her… you know exactly what
I mean, don’t you?
There’s
a slight soap opera-ish quality to the Downton Abbey storylines, but they’re
much more dignified and told in such a classy setting that it doesn’t seem
over-the-top, it seems just right. In Downton Abbey, one’s emotions are pulled
and stretched taut in the opposite direction—usually during only one episode.
This
program is so invasive, that I couldn’t stop thinking about the huge cast of
family and servants. I’d ached for resolution. I pined for the characters. I
dreamt about them.
I
watched the first two seasons night after night with my wife, who to my delight
also became hooked. During Christmas, all I could think of was the DVD set due
in January. Season three was on its way.
When
it arrived (shortly after I finished with Murdoch Mysteries, season five,
another absolutely addictive and
marvelous series!), we watched every night.
That’s
when the producers blew me away by starting to kill people.
Okay,
so they did kill one very dear and sweet character earlier on. (I won’t mention
his name here in case you haven’t watched yet.) I was heartbroken, lamenting
his loss for months.
Seriously,
I was SO upset. I couldn’t help but rant about it. Eventually, I got over it
and realized maybe the young actor had greener pastures to pursue. I forgave the
producers for killing him off.
Then—to
my horror—they killed yet another character! This one was one of my all time
favorites. A brave, sweet, innocent, darling girl. I was furious! My wife and I
stared open-mouthed at each other, sputtering, “How COULD they?” It took a
while to get used to this travesty until the last episode of season three
rolled onto the screen.
Guess
what? They did it again, only this time to one of the main characters who had
shaped the series from day one. A MAJOR character, one without which you could
never imagine the series going forward.
As
a writer, I’ve been thinking about how much this upset my wife and me, and all
our family and friends who also follow Downton Abbey. We talked about it for
days, still horribly upset about the losses.
It
was at that point I started to think about how much of a splash those killings
had started. Boy, did they get good press out of it. And, in my author’s brain,
I started to think the unthinkable.
Should
I kill off one of my main characters?
Sure,
I’ve “killed” before, I write mysteries, after all. Some feature characters
have been hurt or even murdered. And in For
Keeps, I killed off a beloved main character, only to bring her back again
through some pretty fancy time-travel footwork into Sam Moore’s past. But in
general, I have promised my readers “I’ll never hurt or kill one of the main
characters you have come to love” in either LeGarde Mysteries, Moore Mysteries,
or Tall Pines Mysteries.
I
seriously wondered if I should I break my promise.
When
this all turmoil and upheaval in Downton Abbey took place, I was smack dab in
the middle of writing my seventeenth book, the fourth in my Tall Pines Mystery
series. (Book 1: For the Birds (2011,
Twilight Times Books); Book 2: Essentially
Yours (2012, Twilight Times Books), Book 3: Sanctuary (coming soon); book 4: Murder on the Sacandaga).
I
started to consider doing away with Quinn (Marcella’s beautiful Seneca
husband), or Sky (her ruggedly handsome ex-beau from her youth), or Callie (my
protagonist’s agoraphobic best friend).
I
pondered the impact of how these deaths would shape the future of the series.
How would the dynamics change? Would it be too dark? Too maddening? Too damned
sad?
I
expanded my sights to Copper, the six-foot tall black policewoman with an
attitude who had rescued Callie from her sadness and become her soul mate and
partner. After all Callie had endured—and her past traumas were extreme—could I
now deprive her of the one woman she’d found to love?
I
decided to do it.
I
wrote the chapter. The serial killer went on a rampage and in the heat of
trying to escape, killed Copper.
I
kept going, not allowing myself to think too much. But inside, I kept thinking how could I do that? What’s Callie going to
do? She’ll be totally destroyed!
Since
I did this horrific thing, I’ve been second-guessing myself to the point of
obsession. I’m already obsessed to the point of lunacy about my characters, but
this is getting bad, really bad.
I
might “undo” it now. I think I have complicated the plot a little too much with
this murder. On top of all the other poor victims of the serial killer… it may
be just too much.
So,
thank you, Downton Abbey, for messing up my focus and making me into a
senseless murderer.
(And
seriously, thank you Downton Abbey for giving us such a thrill ride this year!)
