Introduction of a new character

[hmmnmm]

poses definite challenges.

bring in bit by bit, so to avoid interruption of momentum?
go ahead and compose a sketch of the introductee?
jump ahead to a later event and work back?

multiple ways to choose, but can only choose one.
didn't expect this difficulty.

 

[Topanga_Blue]

I usually try to give a brief intro of the character at the get go. Then build on it later. Giving a three paragraph bio of the character at introduction always seem awkward and forced to me. But at the same time, I don't like to leave the character so open ended that the reader has to completly build their own character in their mind with no help. Then when I do start filling in details it probablly wont jive with what the reader in their mind. That also ruins the flow.

 

[Stella_Omega]

I like to do it in stages, telling the reader only what the other characters know.

First things you notice; He's tall, carries himself well, dresses like a total slob, but there's an air of authority about him.

Next, when he speaks, you hear the unexpected stammer and the hint of some sort of accent.

As he talks with the other people, he mentions that his wife and family are abroad, but it's not until the seventh chapter that they-- and therefore we-- find out they were drowned on a beach in Thailand....

Did he done it? Or was it the butler after all?

 

[only_more_so]

Almost all of my stories are from a first person perspective or third person observer (or whichever is the one who only sees through one characters eyes). That makes it very easy, since I only introduce the parts that the main character knows.

Doing a bio on a new character always seems awkward to me. Even doing a whole paragraph describing their appearance is a bit much to me unless it is critical to the story. I'll sprinkle all of that over a whole page, bit by bit, sneaking the details in as discretely as possible. If it is done right, the reader will form the mental picture of the character how the writer sees the character without realizing the character has been described. I can't say that I can do that, but I sure try.

 

[Weird Harold]

bring in bit by bit, so to avoid interruption of momentum?

go ahead and compose a sketch of the introductee?

jump ahead to a later event and work back?

I introduce characters in the same way that new people are introduced in real life -- that's usually bit by bit, but sometimes it's a long-winded MC who takes fifteen minutes to introduce someone who is just going to take a bow and sit back down.

If I need to add more information that the main character already knows the bartender, I can do it by introducing two characters at once -- the "keeper" and a "throwaway" so that the main character can perform a "formal introduction" with any details needed immediately in whatever amount of detail fits the main character's style.

In fact, I think I almost always use dialogue to introduce new characters without running up a "reward poster."

 

[hmmnmm]

I introduce characters in the same way that new people are introduced in real life -- that's usually bit by bit, but sometimes it's a long-winded MC who takes fifteen minutes to introduce someone who is just going to take a bow and sit back down.

If I need to add more information that the main character already knows the bartender, I can do it by introducing two characters at once -- the "keeper" and a "throwaway" so that the main character can perform a "formal introduction" with any details needed immediately in whatever amount of detail fits the main character's style.

In fact, I think I almost always use dialogue to introduce new characters without running up a "reward poster."

Actually I did use a little dialogue to introduce the existence of the person. One telling another about that person. Thought it time for the person mentioned to make active appearance, but the action takes place away from the main setting, and with other minor characters, who will eventually come into the main setting and in contact with the major characters. The main setting and major characters are coming along pretty smooth by now, and it feels like a risk to back away from that for a few thousand words. Of course, it's all a risk.

 

[elsol]

How do I meet new people...

Either

a. Someone I already know introduces me to them.

or

b. We're stuck together somewhere and we have something in common.

--Generally, I write very closed off characters so a secondary character has to introduce a new character to both the protagonist and the reader.

 

[Weird Harold]

Actually I did use a little dialogue to introduce the existence of the person. One telling another about that person. Thought it time for the person mentioned to make active appearance, but the action takes place away from the main setting, and with other minor characters, who will eventually come into the main setting and in contact with the major characters. The main setting and major characters are coming along pretty smooth by now, and it feels like a risk to back away from that for a few thousand words. Of course, it's all a risk.

IF you've already "introduced" the character by mentioning him in a conversation, then just write his/her/its scene as succinctly as possible -- if a thousand word detour to set up the character's merge with the main story line, then cut it back to 500 or 750.

I suspect the problem is not introducing the character, but the segue from the main storyline to the merging story line.

It's hard to make suggestions blind, but perhaps you simply don't need a segue; Simply show a scene break (three asterisks, a blank paragraph, or however you mark scene breaks) and begin, "Joe Newguy made a quick check for Spectacle, testicles, wallet and watch before striding confidently into the story."

Perhpas an off-screen phone call (or even an on-screen phone call) from the main character's POV before the scene break and you can begin, "Joe Newguy hung up the phone and turned to Peter and Paul Minorguy. 'That was Harry Maindude. We've got parts int his story after all.;"

 

[Rumple Foreskin]

Many may find it frustrating, but there is no best way to handle character introductions. Long intro's are rare these days, but if a writer can create one that becomes an organic part of the story instead of being an info dump, then why not?

That said, sometimes an observer's brief impression works best:

(Lady Brett Ashley) "was damned good-looking [and] built like the hull of a racing yacht." (Hemingway, The Sun Also Rises)

"It was a blonde. A blonde to make a bishop kick a hole in a stained glass window." (Raymond Chandler, Farewell, My Lovely)

Rumple Foreskin

 

[hmmnmm]

In this case it's the bad guy. In a previous scene a minor character comes to warn one of the majors that the bad guy has just become involved in the story, so be careful. The scene finishes without further mention of the bad guy.
Then, the idea was to shift to a short scene involving the bad guy and another minor character who gets involved with the bad guy, to that minor character's regret. It is also revealed that the bad guy is aware of and interested in involving himself in the lives of the good guys/main characters. The minor character and the reader gets an idea just how nasty this bad guy can be, but the major characters are less aware, or less appreciative of the peril, and proceed with their fun and frolic. While the bad guy is already making plans to spoil their fun.
Something like that.

 

[Weird Harold]

In this case it's the bad guy. In a previous scene a minor character comes to warn one of the majors that the bad guy has just become involved in the story, so be careful. The scene finishes without further mention of the bad guy.
Then, the idea was to shift to a short scene involving the bad guy and another minor character who gets involved with the bad guy, to that minor character's regret.

So, I'd guess the phone call gimmick is a no-go?

You're looking at a "Meanwhile, across town, the Joker was plotting against Batman," sort of scene?

I think I'd wait a scene or two before the cut to the villian after the first mention of him.

It is also revealed that the bad guy is aware of and interested in involving himself in the lives of the good guys/main characters. The minor character and the reader gets an idea just how nasty this bad guy can be, ...

Perhaps you're trying to stuff too much information into a first appearance? Is there room for a couple of "cameo's" before you get to the blood and violence?

Maybe Something like, Bruce Badguy watched Harry Maindude and Linda Mainsqueeze leave the restaurant. They had to have seen him but didn't show any sign of fear. Surely, they knew he had a recipe brewing with their livers as the main ingredient. They should show fear. Bruce threw a couple of bills on the table and grabbed Lushiss Armcandy by the arm. "Come on, Dummy. We're leaving."

Add that short viewpoint at the end of a restaurant scene (or after the main characters end a scene by leaving for the restaurant.) You can even make it obvious that they did NOT see him before shifting to his POV.

It doesn't have to be a restaturant, it could just be a busy street where they pass in one direct while the villian passes in the other. Two or three of those small "encounters" would either set the stage for the scene you're contemplating, or could replace it completely.

 

[hmmnmm]

Think I found the way to go. just gotta piece it together now.
I appreciate the generous input here. Really do. It was helpful.
Take care.