How to create outstanding characters

Park on Park Street cr Judy DarleyWith her debut novel Someone Else’s Skin, Sarah Hilary has revealed a skill for creating characters you can really believe in. Here she shares her tip for the craft of inventing people.

Source the initial glimmers

I wait for the voice to come first. I’m with Val McDermid on this: we don’t choose our characters, they choose us. Very occasionally I’ll glimpse something in a character in a TV show, or (more rarely) in real life, which will give me the beginnings of an idea, but more usually it starts with a line of dialogue, or inner monologue.

With Marnie Rome, I wrote her first, then retro-fitted the research and fine-tuning. It was more important that she felt real to the reader than real as a police detective. But I did read a lot of first person CSI-type pieces to get a feel for how she might approach her work.

Someone Else's Skin by Sarah HilaryListen to your character

I don’t consciously devise patterns of speech. It’s character driven, always. Marnie tends to speak quite abruptly and plainly, because she doesn’t have a lot of time or patience for double-speak. But, at the same time, she can be very empathetic, especially to victims. I love writing dialogue, but I tend to do it instinctively; it’s the one part of my craft I’ve never really had to work at.

Get to know all the sides of your character

In my first drafts, Marnie tends to be angrier and tougher. She’s often on the defensive, physically and emotionally. I find I need to dig beneath that angry surface to find the layers of response needed for the reader sees her vulnerability as well as her strength, her compassion as well her determination.

Her traumatic backstory is an important part of who she is, as it drives the narrative arc of the series. Not just what she went through, but how she has coped with it in the past (by burying herself in work) and how she will cope with it in the future (by confronting what happened and what it did to her). It’s a classic rites of passage, in some ways, but it’s complicated because it’s not just Marnie’s journey. It’s Stephen’s, her foster brother’s, too. He’s both the cause of the trauma, and its potential resolution. One way or another, he’s going to lead the pair of them into new territory.

Seek out telling details (such as Marnie’s tattoos)

The tattoos are indelible proof of Marnie’s teenage rebellion, a thing that haunts her throughout the series. Few people have seen the tattoos, which is one of the reasons she acquired them (casual sex is not an option when you have writing all over intimate parts of your body). Stephen has seen the tattoos. Marnie is still learning exactly what that means.

Choose your supporting characters with care

Characters such as Noah, Ed and Stephen each bring out a different side to Marnie. Ed is the one with the hardest task, I think, as he’s trying to help her recover at the same time as respecting her privacy at the same time as being in love with her and wanting to make her happy. That’s a tough, tough gig. Noah is a little in awe of Marnie as his boss, and as an ace DI, but he’s earning her trust, which is good for both of them. Her relationship with Stephen is the most complex one, and it’s the one which will change the most over the course of the series.

In some ways, she’s at her most vulnerable when she’s with Stephen, because he has the power to keep hurting her, by reminding her of what he did and withholding the reason why he did it. Marnie knows she will be hurt, every time she goes to see him. His punishment (long-term incarceration) is her punishment, in that sense.

Likewise, for your periphery characters

For Marnie Rome, these are the women from the refuge, especially Ayana, Hope and Simone. Ed tells Marnie that these women are ‘not her kind of victim’. They ran, and hid. They had to. But Marnie comes to see the strength in the women, different in each one, and I think that helps her to put her own strength (and weakness) into perspective.

Use your settings to explore aspects of your character

In Someone Else’s Skin, the prison and the refuge are both essential for that: enclosed spaces where it’s hard to breathe, and harder to feel safe. It was interesting, also, to put Marnie into Hope’s ‘perfect home’ with its showroom furniture and its shiny surfaces, and to watch her reactions. And Ed’s flat, with its jumble of stuff and its comfy mess. Setting is great. London is an amazing backdrop to the series, and I’m looking forward to taking Marnie into Battersea Power Station in book three.

Relish the luxury of a recurring character

I found that with Marnie Rome, it gave me the great luxury of being able to uncover her secrets slowly. She’s still surprising me, which is great, as it means she’s surprising readers too.

Create compelling, believable characters

Set goals for your characters, and then put obstacles in the way of those goals. See how your characters react, physically and emotionally. Give them at least five senses, and show them experiencing the world through those senses (i.e. not just rely on dialogue and inner monologue; tell us how the world looks, sounds, smells, feels to them). Get right inside their head, and under their skin, so the reader is right there, too. Even the nasty characters. Never show your hand as the author; instead, wrap your readers up in the story and the cast, as if it’s happening to them and/or to people they know and care about. Make them wonder what happens to the characters even after they’ve stopped reading. That’s the holy grail.

Sarah Hilary1About the author

Sarah Hilary lives in Bath with her husband and daughter, where she writes quirky copy for a well-loved travel publisher. She’s also worked as a bookseller, and with the Royal Navy. An award-winning short story writer, Sarah won the Cheshire Prize for Literature in 2012. SOMEONE ELSE’S SKIN is her first novel, published by Headline in the UK, Penguin in the US, and in six other countries worldwide. A second book in the series will be published in 2015. Set in London, the books feature Detective Inspector Marnie Rome, a woman with a tragic past and a unique insight into domestic violence.
NO OTHER DARKNESS, the second Marnie Rome book, will be published in spring 2015. Sarah is currently working on the third and fourth books in the series. Follow Sarah on Twitter at @Sarah_Hilary

Movement in stillness with sculptor Sophie Howard

So Long © Sophie HowardSome sculptors have the power to halt you in your tracks. Like animals poised to pounce, the stillness of their creations suggests coiled strength, waiting to be released. That’s how it is for me with Sophie Howard’s work, where her explorations of human and animal, especially horse, forms, seem paused only for the briefest of moments while your gaze rest upon them.

And yet, Sophie’s early experience of sculpture was more about the mind than physicality, at least from her own point-of-view.

Nu back detail © Sophie Howard

“On my art foundation course I remember sitting and staring despondently at the first sculpture I made, thinking it was so, so bad,” she admits. “To move on from that most negative state I made myself list the shortcomings and imagine how it would be if it was really good. Then I saw a series of objects stretching into the far distance, right out of sight. I think that was it. It’s like they say about History: ‘Just one damn thing after another.’”

Sophie was just ten when she first managed to take what she saw and turn it into art. “I was painting a tree in my bedroom on a piece of paper with poster paints from glass jars,” she says. “The tree was the old imaginary type – like an upturned broom. I looked out of the window, and saw the extraordinary natural structures of the trees in my garden at once. So I made my trees like that. There was an encouraging response from my mother when I showed her, as she crashed about making lunch. Later I kept going back to look at this painted tree thinking there was something good there, and I was on to something, but not sure what or why. I remember the light in the room.”

Standing © Sophie Howard

Light and the ‘seen’ continue to drive Sophie’s work today, but she also seeks out ways to expose the unseen, as she puts it “nuggets of experience, connections. Last night I saw a singer, whose body sang and told the story of her song as much as the sound and words that came from her. We listeners were reached by her and connected up. That is what I want to make right now. The work I do is in finding the language. Sometimes it works, and connects us up – the subject, the viewer and me.”

Sophie finds herself increasingly interested in working with ceramics. “The way a sculptural style can be described is partly about the materials and what they let us do. I’m getting more keenly into ceramics, so that certainly will make my style more identified with the richly endowed clan of the clay. I’ve heard my style described as classic, though it was a surprise to me. If that means that I use form, line, texture, imagery and scale to communicate, I am happy about it. ‘In the style of Sophie Howard’ would be nice.”

Looking at Sophie’s body of work, it’s clear that the potential for movement is an enduring force. “If dance and horse sculptures are my poems or songs, then sculptures of the torso are the single words,” she comments. Horses and the way people connect with them seems to epitomise something deep in us. Natural magic would be a way to say it. I dance tango, so I witness and experience fine physical things with my body, and see and feel the dynamism, subtlety and power of other dancers. Making sculpture, which is static, of something that moves but has such rich form and meaning is what engages me.”

Rise detail © Sophie Howard.

Sophie is currently embarking on a new venture called Hours. “I’m building a new home and creative space,” she says, then amends: “Well, I’m one of the people commissioning builders and others to build it, not doing it myself.”

Hours is scheduled to open early in 2015. “It will be a place to show art and design, including work that has a positive ethical element. The space will also be available for people to meet, entertain, practice yoga, show a film or inhabit for other purposes. It will be a fine and flexible space with big windows, oak floor, underfloor heating and its own washroom and kitchen. It overlooks Lewins Mead, in central Bristol. We will live upstairs.”

That sounds pretty magical to me.

from the Lasses series cr © Sophie Howard

“For my own work, I’m bringing together some different strands,” Sophie says. “Horses are involved, and a collaboration  with a very special poet and performer. I am not sure what the outcomes will be, but for me it is about ideas that have come from mythology and archaeology, combined with positive psychological power, and how to manifest those things in sculpture. I am discovering that there are surprising and rich ideas about what goes on between people and horses.”


As she comments, these ideas are not really new, but rediscovered, she says, explaining that she’s interested in “the nature of the raw relationship between a person and an animal, rather than the functional model of a horse as beast of burden, performer, farm worker…. I have begun a series of sculptures that will include a wider range of possibilities than my horse pieces to date – and some have no horses in at all. So far the first arrivals are some pretty fierce lasses with a range of wild hair dos, and some very proud looking fat ponies. It’s surprised me how the figures have leapt to life.”

Find Sophie at The photographs of the sculptures shown in this post were all taken by Jen Lo.

Are you an artist or do you know an artist who would like to be showcased on Get in touch at judydarley (at) I’m also happy to receive reviews of books, exhibitions, theatre and film. To submit or suggest a review, please send an email to judydarley (at)

Midweek writing prompt – the end of summer

Tunisia cr JudyDarleyAs we reach the official end of the UK summer, here’s a dark holiday #writingprompt for you.

A couple are staying in a luxury hotel in Tunisia. Early one morning, the woman, or the man (or perhaps they’re a same sex couple – it’s your choice) wakes before their lover and meanders outside for a wander. But they’ve only just set foot on the tile path that leads to the private beach when they hear a hubbub break out just out of sight ahead.

Do they dare investigate? What do they find themselves caught up in? How is the situation resolved? And how does this impact on the half of the couple still in bed?

If you write something prompted by this, please let me know by sending an email to Judy(at)socket With your permission, I’d love to publish it on