There are two answers to the question: a short answer and a long one.

The short answer:
Kill them. If the writer can’t relate to them, they won’t portray that character as a three-dimensional being and the reader won’t relate to them either.

1. Take them out. Remove them. Cut their scenes completely.
2. If the scenes are necessary, combine that character with another character if you can, so that one character does the lot.
3. If you can’t do that, replace them with someone who works.

The long answer:
If the character is your main character, you have a greater problem. You need to work out why your character isn’t working, and fix it. I use a gateaux approach to this problem: layers, upon layers.

1. Go back to the character’s Goal, Motivation, Conflict (GMC) statements. If you don’t have any, write them.
2. Make sure the GMCs dovetail into the plot. If your plot doesn’t support your character’s conflict, or strain their motivation, there’s no reason for that character to be in that book.
3. Make sure your plot provides lots of opportunities for your character to show their strengths and weaknesses.
   1. If all they’re doing is stepping through the plot points, with action and response related only to the plot, not the character, the reader (and the writer) aren’t going to have any opportunity to get to know them.
4. Your character has to be more involved in the plot than the reader.
   1. There has to be personal risk for them. Make it happen.
5. Check your writing.
   1. Read through all the action scenes involving your character.
      1. What do their actions tell you about them?
      2. Why do they react the way they do?
   2. If your character is a POV character, find all their introspection.
      1. What do their thoughts tell you about them? Do they waffle? Are their thoughts related to the plot?
      2. Do they go round and round on one particular problem without moving forward at all?
      3. Make them work out how to fix their problems, then stick to it.
      4. If they must revisit the same thing, make sure they’ve moved forward a little bit at least, or that there’s a believable trigger that sends them back to where they started from.
   3. Look for passive verbs, long sections of beautiful prose that don’t advance the plot—anything that slows the action.
      1. Remove them.
      2. Rewrite it so it’s more closely linked to the action.
      3. If the writing is too beautiful for you to change it or delete it, remove it from the story and make it into a promotional post on cut scenes.

Now it’s time for me to take my own advice. The main character in one of my stories has a tendency to cycle through the same old problems without moving forward. It’s got to the stage in the story where I’m rolling my eyes and telling him to build a bridge and get over it—and I created him.

Once a month, I host a write-in. This month, a fellow writer suggested I write a series of blogs addressing writerly problems. Today’s topic is knowing your characters.

Most writers know all about creating character profiles and writing GMC (Goal, motivation, conflict). They know that characters need believable backgrounds and both internal and external conflict. Yet I still read books where the writer has mixed up the characters’ names because they can’t remember who’s talking or whose head they’re in.

They don’t know their characters.

As a reader, that’s really irritating. It makes me think the author doesn’t care enough about their characters to know them properly and doesn’t care enough about their book to double check all those things and make sure it’s right. The fact that the book has generally gone through several rounds of editing and no one has picked it up tells me that the characters being confused are too similar to each other.

So how do you know when you know your character well enough that you won’t get them mixed up or forget who they are?

Many years ago, my writer friend attended a workshop run by Gary Crew who said he knew the character when he could hear his voice. Other authors might say they know their characters when they can see their walk or the way their eyes crinkle at the corners when they smile. That last description has been overused in the last three books I’ve read (one series by one author) to describe one of the major characters – a different one in each book.

For me, I rarely know my characters thoroughly enough to finish writing a book until I’ve written at least three chapters. It doesn’t matter if the chapters are from their point of view, or another character’s. What matters is that I learn how my character walks, talks, responds to other people and situations, and how they do those things differently to everyone else in the book.

By the end of three chapters, I’ve begun to think about my characters as real people. Their personalities have settled and their reactions to things that happen in the book match that. By the end of three chapters, I’ve worked out where the holes are in the character profile and how I need to change the character background or plot to account for the way the character responds to situations.

Of course, most of those three chapters end up on the bin, but at least I know who my character is.

One example of this process is Heath in Warrior Pledge. The book opens with Checa sitting on the mountainside watching the sunrise, waiting for Heath to arrive. Heath’s arrival is much anticipated and heralded by nature with as much fanfare as the new day. He bursts onto the scene in a bubble of joy which swings mercurially through hurt to anger. The scene shows Heath’s personality perfectly and lets the reader know exactly who he is and how he might respond to things that happen during the book.

That scene was one of the last scenes I wrote in the first draft.

I needed to write myself into Heath before I could portray him so accurately.

A challenge for you:
With the next book you read, make a note of when you thought you saw the true personality of the main character. Did you see it straight away? Was it revealed in a series of carefully or brilliantly scheduled actions? Were you told what the character was like, but he never lived up to the promise, always feeling two dimensional?

Which of those books did you like best?

A while ago, I agreed to do an interview for someone else's blog. For a number of reasons, that interview was never posted, so I decided to share it here. I've edited it to reflect the current status of my works-in-progress.

The Interview:How did you start writing ‘GENRE’.I’ve never really had an interest in writing literary fiction. Literary fiction doesn’t provide the escape from reality that I read fiction for. I don’t look for realism or esoteric philosophical musings. If I want that sort of thing, I’ll read research papers on the topic. Fiction, for me is an escape, and that means genre.
 
I’ve always been interested in writing but never seriously considered a career as a fiction writer until, as an adult, I read several books in a row that were really badly written, yet still managed to be published. I decided I could do better than that, or if I couldn’t, at least I’d have a better understanding of the process and more compassion for writers.
 
It turns out that writing a book isn’t as easy as I’d originally thought. My academic writing history actually hindered my development as a fiction author because academic writing requires precision and proof, and is passive. Fiction writing has a different sort of precision, needs to feel believable but doesn’t always need the proof of it, and is most effective when it’s active. My first dozen or so stories have long since been relegated to the ‘too dreadful to ever look at again’ folder, but they got me hooked.
 
I don’t like not being able to do something so I keep working on it until I know I can do it. Some things I stop once I know I’d be able to do it well if I practiced enough. Other things, I keep working on because I love it. Writing is one of those things.
 
Plotter or pantster?By personality, I’m a pantster, but it only works well with short stories and short novellas. With anything longer, the multiple plot elements and more complicated character arcs mean there are a lot of things for me to keep track of and to make sure I resolve before the end of the story. That means I have to write things down and keep track of them.
 
Learning to be a plotter has been a years-long process (I’m still working on it). I began adding achievable elements and going to classes and workshops to learn the skills I’d need to be able to do it well. I’m still not a complete plotter, but I do now write from a fluid outline and I know what the main story arc is before I begin. There are still lots of things I have to make up as I go along but I have fewer random things thrown in at the end of the book just because I think it’ll be fun to do so.
 
What are three things you have on your writing desk?My desk is not tidy. The most common response from anyone who sees my desk is to ask for a garbage bin. The second most common response is for them to immediately turn around and leave the room. Three things most people would see and take note of on my desk are:

• A purple unicorn. My daughter painted the model when she was in school and gave it to me because she knew I’d love it.
• A stack of dictionaries and thesauri. I use online dictionaries and thesauri a lot, but I also have my print editions. There’s an old one from the 1960s that has a lot of words in it that modern dictionaries don’t. It’s really useful when I write historical stories.
• A calendar. I keep track of my day-to-day appointments etc on my phone. The paper one is primarily to keep track of when I’ve paid particular recurring bills so I don’t have to go online and check that I’ve done it. I also write other reminders to myself for things I need to do while I’m at the computer. The calendar is the first thing I check when I sit down at my desk so I know if there’s anything I need to do before I begin writing. It also has images. Last year’s calendar was Dr Who in cartoon form. This year’s is Floriade, a spring festival in Canberra, so I’ll have lots of photos of tulips to look at.
  
  

Tell us a little about your new release. What character in the book really spoke to you?Warrior Pledge is a fantasy story that explores the themes of self-worth and true love in a world at risk of invasion. Checa and Heath are in love but can’t complete their Mate-Bond for various political reasons that threaten their lives if they do. They’re under threat of invasion and believe the legend of the Warrior Pledge is the only thing that will save their people.
 
A couple of things the blurb doesn’t mention are the dragons that LOVE adventure and that one of the main characters (not one of the romantic interests) can change gender at will. That was fun to write!
 
Checa is the main character in the book. He’s a tortured soul—literally. I love his strength and his honour, but I had some problems making sure I wrote his motivations clearly. It took a few rewrites to get Checa right, so that readers would also see how strong he is and how wonderful.
 
Finish this sentence: I write because ____...I write because I have people in my head doing things that I have to write down before I can think clearly. I write because somewhere out there, there are people who need to read something that will tell them they’re okay just the way they are. I write because my stories might bring other people joy, or escape, or something else they need to maintain balance in their lives. I write because if I don’t my family comes to me and threatens to lock me in my office until I write something and can behave like a nice person again. I write because it’s the perfect excuse to avoid doing housework. There are many reasons why I write. Some are important reasons, some are ridiculous. They all mean something to me and keep me writing.
 
What is your favorite type of character to write about?I have a couple of favourite types of characters and they tend to fit well together.
 
The first one is The Tortured Soul. This person has had to deal with some kind of trauma in their past which influences the way they interact with others in the present. They either can’t see their worth or have decided they don’t want to risk sharing themselves with anyone. There’s lots of potential for angst with this sort of character. Checa is this sort of character, and he’s noble with it.
 
The second type of character is the lonely one craving his own true love. He’s lonely even if he’s surrounded by friends and family, and he’s a romantic, whether he’s prepared to admit it or not. In a lot of cases, he’s just an ordinary guy with his own personality quirks, who knows himself reasonably well, but still learns a lot about himself as he gets to know the one who’ll be his love. Heath fits this character trope. He’s comfortable with who he is. He even knows who his true love is, but he can’t achieve nirvana because Checa won’t accept it. Even once they’ve Bonded, tied to each other for eternity, Heath doubts Checa’s commitment.
 
What is the sexiest scene you ever wrote?Every sex scene I write is sexy for its own reasons and in its own way. For me, I need to get the balance of emotions written around the sex and the physical aspects of it right. Sometimes I succeed, sometimes not so much.
 
A gentle sex scene that has stayed with me was the beach scene with David and Bernard in The Courage to Love. It’s 1920, they’re in a public place, risking arrest and jail time, and they simply can’t help expressing their love for each other.
 
A different sex scene that is just as powerful but more raw than the one from The Courage to Love is the cave scene with Checa and Heath in Warrior Pledge. Heath demands Checa take him, love him, never leave him. Checa gives him everything he can but can’t complete the Bond because it would risk Heath’s life. The way their need batters against the barriers to happiness gets me every time.
 
What is next on your writerly horizon? I’m currently editing (again) the sequel to Warrior Pledge. I took six months to write and, so far, eight months to edit.
 
Dragon God is the story of Fisher, whom we met in Warrior Pledge. Fisher is branded a traitor for kidnapping Rim and Ardelle in Warrior Pledge so he flees to the Lonely Isles in the south. He’s immediately arrested and incarcerated where he meets Gaelan, the dragon god. The two men escape and, through a series of tragedies, Fisher realizes he has to return to the land of his birth or thousands of people will die and he’ll be responsible. Risking his life to save others is a new thing for Fisher, and he’s not always happy that he’s decided to do it. Luckily Gaelan is there to help.
 
The dragons introduced in Warrior Pledge play a greater part in this story, at least the concept of them does, and of course Gaelan is the dragon god. I’ve really enjoyed working out how they’re born from rock and what special powers they have. 
 
Warrior Pledge is available from:
Dreamspinner Press
Amazon
 
Author Bio:
E E Montgomery wants the world to be a better place, with equality and acceptance for all. Her philosophy is: We can’t change the world but we can change our small part of it and, in that way, influence the whole. Writing stories that show people finding their own ‘better place’ is part of E E Montgomery’s own small contribution.
 
Thankfully, there’s never a shortage of inspiration for stories that show people growing in their acceptance and love of themselves and others. A dedicated people-watcher, E E finds stories everywhere. In a cafe, a cemetery, a book on space exploration or on the news, there’ll be a story of personal growth, love, and unconditional acceptance there somewhere.
 
Author Links:
Web, blog and free short stories: www.eemontgomery.com
Email: eemontgomery11@gmail.com
Facebook: https://www.facebook.com/ewynelaine.montgomery
Twitter: https://twitter.com/EEMontgomery1
Goodreads: https://www.goodreads.com/author/show/5347023.E_E_Montgomery
Amazon: http://www.amazon.com/E-E-Montgomery/e/B008LO3SBA/
Pinterest: https://www.pinterest.com/eemontgomery11/
Dreamspinner Press: http://www.dreamspinnerpress.com/AuthorArcade/e-e-montgomery
Escape Publishing: http://www.escapepublishing.com.au/author/ee-montgomery

​Every now and then, I decide I need to shake myself up and try harder with my writing. I want to break out of any mold that has begun to form and keep my writing fresh—without losing my voice. I have a group of friends who are only too happy to join me with that.
 
This week we wrote poems about ourselves where nothing is true. Responses ranged from naughty limericks to teenage-angst free verse, to shape-shifter odes. The next time we meet up, we have to bring along something very different.
 
Our task:
 
Take someone else's poem and use those words (and only those words) to create a vignette that has nothing to do with the original poem.
 
So far, I've created a table listing all the words and what part of speech they are. 
 
I’ve posted my poem on the Free Stories page.
 
Below is my table from the poem I’m dissecting.

There’s a family of cross spiders in the back yard. They’ve been there several years now and every year we watch as they lay their eggs and the new generation hatches. Every year the webs expand to accommodate the spiders that remain. Every year the position of the webs change as the oldest generation stops spinning. That space remains vacant until the next season when a new spider moves in and makes it their home.

It’s winter now—what passes for winter in sunny Queensland—and some mornings are crisp and dew-laden. The webs hang like tattered lace between the trees, heavy with dew, and the spiders rest under the overhang of the trees until the day warms enough for them to venture out and repair their traps.

All the webs are separate but interlinked, relying on each other for support, but the spiders usually remain on their own patch. Once a year they come together, meeting in the middle, then separate again to lay eggs and spin cocoons to hold the food for their offspring. It’s a busy couple of months.

Then everything settles again and their sedate, community-but-separate personalities once again come to the fore.

Last time, I stopped fighting what my characters wanted. The romantic interest became the bad guy and the underground leader became the love-lost. I thought I had it all figured out and the writing would flow magically from my fingers onto the page.

Yeah—not so much.

No sooner had Lonnar met up with love-lost than they were separated again. He went willingly with the bad guy because he thought he could be trusted, then nearly died. Of course, he’s the hero and can’t die, so he escaped and has now met up with love-lost again—without the bad guy.

It’s first kiss time.

Of course, it’s not really their first kiss, but it’s the first kiss that Lonnar can remember.
I always get bogged down in this sort of thing. I want to move the story on, find out what’s happening next, so I tend to rush the romantic elements. I forget to put in the emotional connection—the thing most people want to know about when they read romance. That’s when I realise what I’ve written is absolute rubbish and have to do it all again. One kiss that I think should take half a page ends up taking three or four pages to do it properly.

That’s where I’m at this week—writing a kiss. It’s going to take me half the day to get it right. And that’s just the first draft. Of course, it'll need editing later.

Here's the first draft of it:

Joy exploded inside Lonnar, like he’d been floating in limbo and, with that laugh, he now knew where he belonged. He stepped forward and pulled Freeman to him.

“Why does this feel right?” he murmured as his gaze roamed over Freeman’s face. “Why do I feel like you’re the only person I can truly trust?” He brushed the backs of his fingers over Freeman’s smooth cheek. “I don’t even know you.”

Freeman lifted his hands to cup Lonnar’s face. “You know me,” he whispered as he closed the distance between them. 

Freeman’s pillowy soft lips pressed against Lonnar’s. He knew this. He knew the thickness of his lips, the way they moved over his, the way his tongue slipped out and tasted, the way he nipped and sucked. Lonnar fell into the familiar sensations, gave himself over to them, allowed nothing but the kiss inside.

Freeman licked into Lonnar’s mouth and the kiss changed from introductory to welcome home.

Pain blossomed in his temples and Lonnar’s forehead pinched, his brows drawing close against it. He nearly pulled out of the kiss, the pain becoming too much to bear, but Freeman pulled him closer until their bodies stood flush against each other. Freeman’s pebbled nipples pressed tantalizingly against Lonnar’s chest. Their thighs slotted together, feet woven, their rapidly hardening cocks nestling into the dip between hip bone and stomach. 

The pain bloomed and burst, disappearing as quickly as it began. Lonnar’s groan turned from one of torture to one of extreme pleasure. 

It had been too long since he’d had this. Exactly this, with this man. The perfection of it.

I’ve been working on Memory for Loan for quite a while now. The story has changed a lot from it’s inception a few years ago to now, when I’m working solely on it, rather that fitting it in around other projects that felt more important at the time. It’s still evolving.
I’ve written about one third of the story so far and came to yet another dead-end. I have a plan but, while the plan looks good on paper, it doesn’t always work once I start writing scenes.

The change I’ve had to make today is with Milo, Lonnar’s love interest. It wasn’t working. I’d written Milo in because I thought he’d be a good partner for Lonnar, but they just haven’t clicked. They don’t even feel like they could be friends. Milo is coming across, more and more, like the antagonist.

Today, I figured: why fight it.

I’ve made some notes to changed sections in the early chapters so any hint of a true relationship between Milo and Lonnar is shrouded in suspicion. I’ve decided which character is actually better suited to Lonnar as well.

Changing the love interest will mean Milo’s physical appearance will have to change, Freema (the leader of the underground) will have to become Freeman and change his appearance too (as well as his gender). I also have to work out a way to have Freeman appear in the first third of the book. I have some ideas about how to get him onto Lonnar’s ship and what he’s doing there, but I don’t know how to get him off quickly and back to Tolifax before Lonnar meets him in the swamp. I’ll fix that later.

The change is working. Milo writes much more easily as the bad guy, and Lonnar is writing better now I’m not trying to force him into a relationship that’s all wrong for him.
It means editing is going to be an absolute bitch, but that’s par for the course for my books. I had thought forward planning would reduce the editing but my pantser style of writing is stronger than I’d thought.
​
It’s a good thing I don’t get bogged down in trying to make the story work to the plan, because that never works. I have to keep myself open to change, even major change, for the story to be the best it can be.

Life happened this week. That means there were a whole heap of things that became more urgent than my writing. I haven’t finished all those things yet but I had to stop for a while.

Meanwhile, my head totally lost my story. I’m at a part where my characters are travelling on a world that has high technology but is also a forgotten space. There are a lot of contradictory technologies there. I wanted to find a way of showing that clearly.
The space ships and surveillance technology is easy, but what about older things?

I decided to accomplish two things with one action: some research and some presents for the little ones in my life.

I pulled out a 1953 Singer treadle sewing machine, bought some poplin and I’m sewing. While I do that, I’m thinking about everyday life for the poorest of the population on my planet.
​
This morning, I’ll make a dress for a little girl; this afternoon, I’ll write.

I spent about an hour yesterday blowing bubbles in the back yard. I had a chainsaw bubbler that was filled with soap. There was enough wind that the bubbles were caught and blown around the entire yard, round and round in a rough spiral. It reminded me a little of the movie “Twister”.

The sun caught the bubbles and my yard was filled with floating, blowing spheres of iridescent blue, pink, green and purple.

It was magical. Like a fairy wonderland.

My mind has been caught on it ever since. At first, I simply enjoyed the experience. Then I enjoyed the memory (I wish I’d got photos). Now, 24 hours later, I’m wondering what kind of creatures would live in a world of iridescent bubbles.

I’m asking myself questions:

1. Would they live inside the bubbles?
2. Would the bubbles only happen at certain times?
3. Are they a sign of extreme joy in the land?
4. Are they an alarm system?
5. A reaction of a plant or animal that finds itself threatened?

I have to stop now. I’m in the middle of writing one of the Tolifax Rising series (The Planet Whisperer) and I can’t let myself get distracted.

I’ll write a few notes, create a new Scrivener file and put it in the Books to be Written folder (there are a lot in there).

With Dragon God with the editor and Memory for Loan moving ahead, I decided I'd earned a reward, so I bought a book: the first paper book I’ve bought in months.

I’d forgotten how nice it is to hold a book, feel the weight of it in my hands. I can turn the pages and put a bookmark in. I can write notes on sticky notes and place them around the edges of the pages, then close the book and look at all my tags.

Then I come across a date I want to check…

and I stab my finger onto the page to bring up the dictionary and Wikipedia…
​
It’s been a long time since I’ve bought a paper book.