A little bit ago, I created a thread in which I asked advice on how to make my short stories longer without making them longer (adding unnecessary scenes, words, monotony [which is never necessary], etc.) — A lot of you gave me helpful advice, which I've implemented into my writing, but, while reading The Stone War earlier today, I realized something. The captivating events, Spoiler New York coming under chaos, Jit, some form of telepath, is introduced. Tietjen returning to the city, etc., don't begin happening until a few chapters in. It goes on about the relationship he has with his wife, his work, his kids, and (most important) the city. Now, the things regarding his relationship—when I think of them—I really couldn't care less about, but the fact is: It served to develop the character (and perhaps, aside from the point, foreshadowed a bit). My characters, stories, etc. are rather well-played out. . . . . . in my mind. A lot of the things I write lack actual character development. They take place in the midsts of something already happening, or immediately before something is about to happen. When I write, I want to write about something spectacular; something captivating, moving, enlightening, or at the least riveting. I write in short, eventful and (hopefully) exciting bursts, a habit I'm to break immediately. This was just (as the title suggests) a personal thing I've realized, but, does it apply to you, as well?
Indeed you have found something very promising. I also find that you say "I couldn't care less" very funny. Honestly, do you really care what you think or what your audience thinks? I think, at the risk of getting ripped apart, the show Lost does character development very well and in the way you state.
Ah! Lost. When I said "I couldn't care less," it was more in reference to Teitjen's relationship in the book The Stone War, not my own character's relationships. My mistake.
I think it's fairly plain. The more you let the reader invest time and care into your characters, the greater suspense will arise when those characters become threatened. You may discover that you'll no longer be forced to write every scene into maximum life-and-death action in order to make the reader feel excited, since they now care much more for the characters.
