Sometimes characters have experiences we haven’t had. In my Food Lovers’ Village mysteries, Erin lost her father to a hit & run accident when she was 17. My father died when I was 30. Those are very different experience. I knew some of the emotion she might feel from observing people as a lawyer, in personal injury cases. But I needed to know more. I sat down and wrote by hand about every person I could think of that I knew – well or not well – who’d lost a parent when they were a child. I was drawing on my own observation, some incomplete, some 30 years old, but it turned out that I knew a lot. I wrote about the high school classmate whose father died the year after we graduated, and whose own husband died in his early 40s, leaving her with a small child, giving me a dual perspective. I wrote about my reaction and that of my classmates when a boy in our class was killed in a car accident our junior year, research that triggered a huge swath of the ms. that’s currently out on submission.
Talk to people who’ve had the experience, if you feel you can, or to people involved with it in other ways—your friend who teaches junior high, or your walking buddy who’s a social worker.
I searched online for guides for teachers and school counselors on dealing with students who lost a parent. You could also read memoir, personal accounts, or YA novels involving that situation.
And from all of that, I was able to see how Erin would have responded, the different ways her older brother and sister responded, and how the loss affected her relationship with her mother at the time, and how it affects their relationship Francesca still wants to protect Erin, who’s 32 now, and knows she can’t, any more than she could when Erin went off to college that fall. What does that lead her to do – and say – when she sees her daughter investigating murder?
This all has ripple effects. The loss led Erin to be a bit aloof in college, focused on school. She barely noticed a guy who was really into her. She meets him again, 15 years later. How does that history influence their relationship? And the impact on her relationship with her BFF is a big driver of the story as well, because the woman is now a sheriff’s detective in their hometown.
For Bitterroot Lake, my suspense debut written as Alicia Beckman (Crooked Lane, April 2021), I did the emotional research during revision in response to questions from my editor. I thought about people I knew who, from my perspective, were driven by bitterness and resentment. I read articles online in Psychology Today and other sources. All that helped me flesh out my personal observations. It gave me specifics on how such a person views the world, and the language they use, and helped me see what this particular character in this town, in this crisis, might do.
So when you’re checking on the time of sunrise and sunset and what wildflowers might be in bloom during your story time, don’t forget the emotional research, too.
I find simply writing an emotional scene by hand helps me develop the feelings [within me] necessary to mold that scene more deeply, and in a way, more honestly. The fictional characters in my stories are going to have just as many “different” responses as “real” people off the page. What I think most readers hope to find is a satisfying entablature they can rest their feelings upon and in doing so feels achingly real to them.
Daniel, you are absolutely right. The variation in emotional responses is what makes humans so interesting — and so frustrating! And therein lie so many story options. (Bonus points for the word “entablature.”)