Creating the Hero
We've had a villain post--and a heroine post. So what goes into creating a hero? For me, in my darker books, the hero is usually morally ambiguous. I am not one for knights in shining armor. Because there are nearly always chinks in the armor.
Besides, knights aren't terribly interesting.
Give me a man who can kill if the need arises.
I don't mean that to sound as harsh as it looks in black and white, but in a complex world--and all novelists should be striving to create that in their works--sometimes morally ambiguous things must be done. Sometimes when the most brutal things are brought to bear on a character, the hero must make a choice that in any other light would be unheroic--but given the circumstances, there doesn't seem to be any other way out.
I usually make my heros tormented. Just to keep things evolving and complicated. Interestingly enough, I was away for a couple of days, and when I got back I had four or five emails from readers looking for the release of the third Billie Quinn book, because unfortunately, I left things in a rather dark spot for Billie (the books were a planned trilogy). In light of the Bombshell line's demise, I don't know if Trace of Malice will see the light of day. However, if you read Trace of Doubt, then you know I introduce Ben Sato, a detective from Tokyo. Ben is the intellectual soul mate of Billie--and both are in a world of grief. Ben lost his sister to a rare Japanese serial killer, and if you know a little about the Japanese legal system, then you know that murder investigations are handled totally differently there. Ben is tormented--but is very inner, so you would have to know him very, very well to even have an inkling of this.
In my comedies, the heros are always brilliant, because dumb men may be hot to look at, but what the hell do you have to talk to them about in the morning?
And on that note . . . what are YOUR thoughts on creating a hero?
Peace,
E
Besides, knights aren't terribly interesting.
Give me a man who can kill if the need arises.
I don't mean that to sound as harsh as it looks in black and white, but in a complex world--and all novelists should be striving to create that in their works--sometimes morally ambiguous things must be done. Sometimes when the most brutal things are brought to bear on a character, the hero must make a choice that in any other light would be unheroic--but given the circumstances, there doesn't seem to be any other way out.
I usually make my heros tormented. Just to keep things evolving and complicated. Interestingly enough, I was away for a couple of days, and when I got back I had four or five emails from readers looking for the release of the third Billie Quinn book, because unfortunately, I left things in a rather dark spot for Billie (the books were a planned trilogy). In light of the Bombshell line's demise, I don't know if Trace of Malice will see the light of day. However, if you read Trace of Doubt, then you know I introduce Ben Sato, a detective from Tokyo. Ben is the intellectual soul mate of Billie--and both are in a world of grief. Ben lost his sister to a rare Japanese serial killer, and if you know a little about the Japanese legal system, then you know that murder investigations are handled totally differently there. Ben is tormented--but is very inner, so you would have to know him very, very well to even have an inkling of this.
In my comedies, the heros are always brilliant, because dumb men may be hot to look at, but what the hell do you have to talk to them about in the morning?
And on that note . . . what are YOUR thoughts on creating a hero?
Peace,
E
posted by Erica Orloff at 8:02 AM
7 Comments:
I need to know what my hero is willing to sacrifice FOR, and how MUCH is he willing to sacrifice for it.
It does explain why soldiers/cops are popular heroes. In choosing to become a soldier/cop, you're saying, "I'm willing to die to protect my fellow citizens, people on the street etc."
So he'd be willing to sacrifice anything at all for the love of his life.
I also need to know what's the worst thing he has done or will do. Will he lose it and slap the heroine? Or is he willing to sacrifice his integrity to keep his heroine safe?
May:
Wow . . . a really great way to summarize it. I had not thought of that, but yes, definitely. I have a family predisposition to distrust cops, so I don't often use that hero . . . if I do, it's always the cop who bends the rules. But that idea of sacrificing all for the heroine or the family . . . I really embrace that in my books. Or for the truth--even though as an adult I understand that truth is shades of gray.
I think the hero has to be, if not downright likeable, at least interesting. Give him some background, quirks, scars and calluses, deep beliefs and desires, and then let the MF talk.
You'll get to know him better as time goes by. :)
Jude:
Ah, but does the hero drink tequila?
:-)
Sounds like a GREAT description for how to let the character EVOLVE. Just saw Children of Men. Clive Owen's character went through an evolvement right there on the screen that I found nothing short of brilliant. But the process was very much like what you describe.
ALL respectable heroes drink tequila. ;)
And if they can't Salsa, they're at least willing to learn. :)
Keep 'em dumb and pretty...and if they're not dumb enough, give 'em lots of tequila.
Joking, of course. ;-)
Like you, I am not keen on the hero who has armor that immediately blinds you. When they start out gorgeous, rich, successful, romantic...Bleck! Kind of reminds me of those guys in high school that you wish you could have liked because they fell all over you, but really they sort of nauseated you with their 'niceness'.
For me, interesting is the key word. They can start out mildly unlikable, provided I'm interested in what makes them that way.
I can't believe Bombshell bombed on the series books! Everyone I know who read "Trace &Trace" wanted to see Billy get hers. Now that they have so many writers/readers up in arms about 'the end of the line' I think they would do well to have a decent marketing campaign of a 'Bombshell Blast' and at least tie up the series books. IMO, they'd sell like the proverbial hot-cakes.
Lainey:
Thanks. The problem with Billie is she doesn't fit anywhere else. She's too different. And originally, I had interest from another publisher for her . . . (William Morrow), but I was loyal to my existing publisher . . . and now I can't take her anywhere else because her origin sotry has already been told.
But I digress.
Yes, I'm with you. Those rich, perfect men do nothing for me. I was once romanced by old, old, old money--nice guy, wanted to get married. And I wanted to run shrieking the other way. Too perfect.
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