Hi! I followed your username from Men of no Country to here and right to your fic questionnaire, where you've said one of your strong points is writing OCs (and, considering Peter is '90% of my own devising', as you said). So as a fellow writer I wanted to ask you: how do you go about making your OCs? I always make them too bland, personally, but that might just be lack of practice.
Wow, what a question! Sorry for not seeing this earlier; I don't check Tumblr very often these days. I think coming up with characters is a process that varies wildly from one author to another, and there is no 'right' answer. Also, it's something that's always been fairly organic for me, so I don't know that I'm the best person to actually give advice if that's something you have trouble with. That being said, I'm flattered you would think to ask me, and I'll try to break down my process.
First, what is this character for? I don't mean this in a big, existential way, more of a 'what do I need this person to do in the story?' I pretty much constructed the Peter of Men of No Country while writing the first chapter, so let's start with that. I wanted to have someone who would ultimately be kind of an opposite to Thomas, so what does that mean? I came up with some things that I thought this person could be:
outwardly anxious
free with his emotions
awkward
Okay, that's enough to start with. From canon, we have that he's:
an artist
an aristocrat
he has a good relationship with his cousin
he's run off to Tangier
heavily, heavily implied to be gay
This stuff could just as easily be things that you or I came up with for a character that was 100% out of whole cloth, but we have it here so might as well use it. So, we're going to have a hyper-visual, somewhat flamboyant escapist, who, idk, doesn't like the cold?
At this point when thinking about a character, I like to step into their shoes for a bit. This guy is back in England for his cousin's wedding. Let's start on a minute alone with him. Maybe Bertie is coming to meet up with him in London so they can go north together, and he's waiting by himself. What is he doing? What is he thinking about? What is he looking at? Maybe he's cupping his hands around his tea for warmth. Maybe he's looking out the window, people-watching. Maybe he's worried that somehow he'll mess things up. Maybe he's excited to meet his cousin's fiancée. A lot of the specifics don't really matter in themselves. The point is that I try to become this person in my head for a while, and understand how it feels.
I find that at this point, for me, the character will start to get a voice and a life of their own. This is the part where I really couldn't tell you how to do it. Peter capitalizes Certain Ideas in his head. I didn't exactly decide that he does that. I didn't decide that he counts backwards to calm himself down, either. I can only say that I find it's a bit like starting a snowball and rolling it down a hill. If you get a big enough core packed properly, it just picks up more snow and adds to itself. The only sensible notion I can pluck out of it is not to just stick random quirks in where they don't naturally come up, and instead let the little things flow from the big things you decided at the beginning.
The last thing I do is steal. Peter gets extremely nauseous on ships, a little on trains, but not at all in cars speeding through winding city streets. That's someone I knew in school. Peter's hands shake so much sometimes that it interferes with his work, and it freaks him out even though he's dealt with it for a long time. That's me. Those are my hands, and that's my ruined drawing. They feel real because they are. Simple as that.
I don't know how much help this is, or if this is the kind of answer you wanted, but this is just about how I do it. Hopefully, you can pull something useful out of it all. Good luck, and I'm sure that one way or another, with practice, you will find you get better :)
