Greetings! It’s now only a few weeks until the official release (10th November) of Human Resources on ebook, in paperback and in hardback! Please favour me and pre-order a copy. I happen to think it’s not half bad and would do a very nice job as a wonky-table prop or as a coaster.
To celebrate the release I’m going to do a series of blog-posts about different aspects of the novel; first off, here’s a little ramble about Character. In the weeks that follow I’ll write about things like plot, setting and POV – and maybe even more, depending on whether I can think of anything else. If you want me to look at anything in particular, please comment or hunt me down on Twitter (@robintriggs – not so hard, really) and I’ll see what I can do.
Big thanks to Fiona Glass – a lovely person and top class author – for the inspiration for these posts.
Let’s get one thing straight straight off. Human Resources is the sequel to Night Shift and, as such, features some of the same characters. Primary amongst these is our point-of-view character, Anders Nordvelt.
I don’t want to go into great detail about him as you’ll all know him from the first novel. Suffice to say that there’s a lot of me in him; socially awkward, with unresolved mental health issues, an observer as much as a participant, he’s an unusual protagonist and it’s all my fault.
I never realised this at the time of writing, of course. Hindsight is a wonderful thing. I never knew what I was doing.
The supporting cast of Night Shift – those that survived – make their reappearances in Human Resources. They are, however, joined by a new cast of characters that all bring their own neuroses, obsessions and paranoias.
The story revolves around the growth of the isolated mining base from the first novel into a city and the problems that brings. Thus we have an Executive Committee that have their own motives; a new security service – headed by Anders – that are trying to work out how to enforce laws never tested in the field; and a population of immigrant labourers, not all of whom want to be in Antarctica in the first place.
How do I come up with my characters? In a variety of different ways. Some, like the executive committee, came in the initial worldbuilding prep – I knew I needed a ‘ruling class’ and thus there had to be people to occupy these roles. Others, like my own personal favourite, Sergeant Bartelli, came more spur-of-the-moment: I needed a policeman and he arrived more-or-less fully-formed in my head just in time to fill the role I’d created.
Then there’s the in-between characters like Shakil Mithu, unwilling immigrant and rebel leader. He’s a big personality and prime suspect in the murder of… but I don’t want to give too much away. For now let me just say that he’s an example of a character that I had to come up with before setting pen to paper; he’s a plot-character, integral to the story. But he didn’t really come alive until I reached him in the story and had circumstances and other characters for him to play off.
Most characters arrived before or during the first draft, and stayed fairly constant. Others were created – or at least significantly retooled – in the editing. Sergeant Nascimento was a late arrival, whilst Engineer Prashad and Professor Holloway both underwent significant revision in later drafts.
I guess what I’m trying to say is that I have no set way of creating characters for a novel. I don’t sit down and draft in-depth character sheets for everyone; I don’t have everyone set before I put pen to paper for the first time. Some key figures I have pre-prepped but it’s often the ones who take me by surprise, who come from somewhere deep in the subconscious, that I end up falling furthest for. Yet others take work and require multiple drafts before they ‘fit’ properly.
Human Resources is a combination of all of these and it took time for me to get it right. For me the genius is in the editing, not in the first-drafting.
I’m always more interested in the Everyman rather than superheroes, the sidekick more than the main event. I like the underdog and favour the dogged rather than the inspired and the influence of film noir over me has far exceeded the amount I’ve actually seen.
That gives me free rein to create a cast of flawed and – hopefully – realistic characters.
Next week – Plot!