Today we’re chatting about character dynamics. Here with us is April, creator of the sci-fi psychological thriller, Nocturne 21!
SHARON: So April, which character dynamics are your favourite in Nocturne 21?
APRIL: I have a lot that I really enjoy, but I think my favourite is the dynamic between Kuro and Yoshiko. In the old iterations of the story, both characters were kind of sidelined and their only purpose was to exist for the MC. Kuro was there to provide a house and Yoshiko was there to be a constant suppor, like a lot of anime girlfriends unfortunately. Neither one of them had much personality and they barely interacted with one another. This time it was important for me to establish, not only interesting personalities and backstories, but a relationship between the two that felt organic and close. Since Kuro can be childish and Yoshiko is very mature for her age, they are almost on equal ground, providing some good laughs and an established connection. Their interactions have been a favourite for readers and for me too. I feel like I made up a little bit for shafting them in the past.
SHARON: That’s beautiful! It’s inspiring to hear how you were able to greatly improve some of your older work. I feel like I had similar issues in early versions of Sunstrike and Bluemist with characters like like Derek, and even Kairo. And I’ve really liked the Shimizu dynamic as a whole myself, they’re so supportive without feeling unrealistic or like useless side characters.
When writing character dialogue, what are some ways you like to distinguish the characters from each other in the way that they speak?
APRIL: Dialogue was always a problem I had in the past. All the characters would speak in my voice and basically had no differentiating personalities. This time around, I wanted to make sure I didn’t make that mistake. I took a lot of time really thinking about each character, their upbringing, certain ticks they might have, etc. Every detail I came up with helps me build a character profile, how they talk, their mannerisms and body language. Kai, for example, doesn’t appear to have much education or confidence so he slumps a lot, grabs the back of his neck when he’s confused or shy and he often talks like a sailor. So, despite his amnesia, the way he behaves can give you clues to his background. Then there’s Yoshiko, who had to basically raise herself (and her father) for a good chunk of her youth. She speaks more maturely, lightly swears, and often talks to adults on their level, while either feeling awkward around kids her age or talking down to them like she doesn’t like them. Again, knowing each character’s background gives me a lot of context in how they conduct themselves and is vital to creating individual voices.
SHARON: This is really solid. Unfortunately I didn’t think about different talking styles much at all until I was partway into making the story. I should think more about character backgrounds like you’re doing, it’s very realistic. I tend to just ask myself things like “would he say that or is that just me talking?”
Family dynamics can be complicated! How would you describe the family dynamics in Nocturne 21, such as the Shimizus and the Yamagatas?
APRIL: It’s a really good habit to get into, to build characters before the script. It’s so easy to accidentally slip into your own voice when scripting. I still do it, lol.
Something I started doing that’s helped a lot is that after I write a script, I let it breathe for a month or two. Then I go back to it with fresh eyes. It’s a lot easier to find my mistakes and rework the dialogue doing that.
(In response to the question) Haha, definitely tense…but very loving. They all have habits that drive each other crazy, they all have secrets and insecurities, but at the end of the day the Yamagatas and the Shimizus love each other unconditionally. Quite often, their love for each other can have negative consequences. Kuro and Kai, for example, hide their secrets to protect their loved ones, or not to inconvenience them, all while suffering internally as a result. Shin, on the other hand, doesn’t have a lot of secrets, but he also doesn’t want to push Kuro too hard to open up about his own, ultimately enabling him. Yoshiko is too busy trying to take care of everyone else’s emotional needs that she often forgets to take care of herself. Then of course, there’s Kiri, who loves his family but has been abandoned enough that he has trouble getting close to them. So he acts like an asshole and keeps everyone at arm’s length. They are a very complicated, loving family with a hell of a lot of issues.
Despite the Yamagatas and Shimizus not being blood related to each other, their choice to stay a family through thick and thin makes their bond stronger. And even with their explosive problems, they would still do anything for each other.
SHARON: I really love the two families being close to each other in spite of their differences and issues. Good job on all of the different factors that make up the character conflicts!
If it’s not a spoiler: How much do the character dynamics between the “good guys” and the “bad guys” contrast each other?
APRIL: I think I can answer that without spoiling. The two sides are about as diametrically opposed as it gets. The good guys—the Shimizu family—are about unconditional love, forgiveness, taking what’s broken and putting it back together. They aren’t perfect, but their imperfections lead them to look out for one another and hold each other up. They represent a bright future. The bad guys on the other hand—which I can’t discuss too much—are the opposite. They are about control, manipulation and taking advantage of weaknesses. They create insecurities and guilt, using that to crush their victims into submission. They represent a dark past that more often than not, burdens the good guys.
Kai is trapped in the middle of it all; a crippling past filled with pain and despair, and a promising future holding all the things he’s ever wanted, but isn’t sure he deserves. He’s left paralyzed, with one foot planted in each of the two worlds.
SHARON: I remember there being a similar contrast between the foot clan and the ninja turtles in the 90s movie. A good family message never gets old.
The last question is a freebie! What else would you like to add about character dynamics in storytelling?
APRIL: A freebie, huh? Dear lord—I guess if I had to add anything, it would be to draw from real life. I mentioned earlier how it’s easy to get stuck in your own head, and unintentionally make all the characters sound like you. A good way to avoid that is to think about people and relationships interesting in real life, and draw inspiration from them.
As a kid, I used to spend a lot of time at my friend’s house, and her relationship with her parents was a fun one of mutual respect. She would banter and crack jokes at them and they’d dish it out right back, but it was always in good fun. She respected the house rules and they respected her enough to trust her to be a good kid and make good decisions. And as a friend coming over, I was always welcome and treated like family. That was the kind of relationship I really admired and wanted to reflect when building the Shimizu family and their dynamic. I really believe that the best relationships and the best details in a story—big or small—are ones that you pull from real life experiences. They allow the reader to appreciate and connect with the story on a deeper level.
SHARON: I couldn’t agree more! We write what we know, and dialogue that doesn’t feel real just doesn’t resonate with us as much. I love how inherently human all aspects of storytelling are.
Thank you for all your time with this interview, I appreciate it!
APRIL: No worries! Thank you for this, I really enjoyed answering all your questions!
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