I’ve talked about how secondary characters can reveal essential information about primary characters and move a story’s plot forward. And I revealed what happened when a secondary character insisted on a story of her own. My philosophy is that it often takes a village to paint an accurate picture of how two characters meet and fall in love.
I love character-driven stories. Getting inside the heads of the primary characters. Discovering the people, places and experiences that form the hero and heroine’s intricate personalities and relationships.
Experiencing those interactions firsthand provides insight into the character in a way that hearing them secondhand can’t.
In Making the First Move, after a five-year absence, my heroine returns home and begins rebuilding relationships with her family and friends. Through those interactions we learn more about Melanie, and she discovers unnerving truths about herself.
Jamie Charles, the heroine in Love Me Not can be brusque, and she doesn’t trust easily. When characters from her past resurface, layers of the hardened exterior she’s constructed slowly begin to crumble. Those relationships, for better or worse, are a catalyst which prepare her for something she would’ve thought impossible–opening her heart to the hero, Miles Copeland.