My latest Locus column is "Where Characters Come From," and it advances a neurological theory for why fiction works, and where writers find their characters.
As a writer, I know that there’s a point in the writing when the engine of the story really seems to roar to life, and at that moment, the characters start feeling like real people. When you start working on a story, the characters are like finger-puppets, and putting words into their mouths is a bit embarrassing, like you’re sitting at your desk waggling your hands at one another and making them speak in funny, squeaky voices. But once those characters ‘‘catch,’’ they become people, and writing them feels more like you’re recounting something that happened than something you’re making up. This reality also extends to your autonomic nervous system, which will set your heart racing when your characters face danger, make you weepy at their tragedies, has you grinning foolishly at their victories.
In some ways, this is even weirder. For a writer to trick himself into feeling emotional rapport for the imaginary people he himself invented seems dangerous, akin to a dealer who starts dipping into the product. Where does this sense of reality – this physical, limbic reaction to inconsequential non-events – spring from?
I write books. My latest is a YA science fiction novel called Homeland (it's the sequel to Little Brother). More books: Rapture of the Nerds (a novel, with Charlie Stross); With a Little Help (short stories); and The Great Big Beautiful Tomorrow (novella and nonfic). I speak all over the place and I tweet and tumble, too.