Get to know your characters as well as you can, let there be something at stake, and then let the chips fall where they may. Go into each of these people and try to capture how each one feels, thinks, talks, survives. … ask yourself how they stand, what they carry in their pockets or purses, what happens in their faces and to their posture when they are thinking, or bored, or afraid. Whom would they have voted for last time? Why should we care about them anyway? What would be the first thing they stopped doing if they found out they had six months to live? Would they start smoking again? Would they keep flossing?
Think of the basket of each character’s life: what holds the ectoplasm together—what are this person’s routines, beliefs? What little things would your characters write in their journals: I ate this, I hate that, I did this, I took the dog for a long walk, I chatted with my neighbor. This is all the stuff that tethers them to the earth and to other people, all the stuff that makes each character think that life sort of makes sense.
you probably won’t know your characters until weeks or months after you’ve started working with them. Just don’t pretend you know more about your characters than they do, because you don’t. Stay open to them.
Find out what each character cares most about in the world because then you will have discovered what’s at stake. Find a way to express this discovery in action, and then let your people set about finding or holding onto or defending whatever it is. Then you can take them from good to bad and back again, or from bad to good, or from lost to found. But something must be at stake or you will have no tension and your readers will not turn the pages.
you should be able to identify each character by what he or she says. Each one must sound different from the others. And they should not all sound like you; each one must have a self. If you can get their speech mannerisms right, you will know what they’re wearing and driving and maybe thinking, and how they were raised, and what they feel. You need to trust yourself to hear what they are saying over what you are saying. At least give each of them a shot at expression
You want to avoid at all costs drawing your characters on those that already exist in other works of fiction. You must learn about people from people, not from what you read. Your reading should confirm what you’ve observed in the world.