If there’s nothing else to be said about the Slipshot series, it’s that there are lots of characters who make up the story.

When I first started writing sci-fi novels, I thought that developing great characters was all about getting their personalities right. But, as we all know, characters do not exist in isolation. We are, after all, social animals, and who we are depends on what we are as much as where we are.

So what does all of this mean? Good character development, where characters are unique and distinctive and memorable, is also about their relationships.

I don’t think it’s an easy task, considering that this is an extra dimension which reaches beyond the facts of our characters, like how tall they are, how they dress, the color of their hair or eyes, and so on. If you think about relationships as an integral part of your character development, then you have to pay extra attention to those events and plotlines that help build the context in which they exist.

The Virtue of Connection

As a reader, I’m always drawn to stories where the relationships feel real. Compelling characters often come out of their banter, the way they argue with each other, the emotions that are elicited by a moment of tenderness, jealousy, or mistrust. I wanted to bring this same energy into the Slipshot, but I came to realize it wasn’t as easy as getting two people into the same room to talk to each other. Like two strangers who meet for the first time, what would they talk about? Weather? Politics? How unsatisfying is that?

Instead, it was always about their longer-term relationships. Those messy, unpredictable, surprising circumstances that brought them together, that divided them, or that caused conflict. Yes, even conflict is based on a powerful connection, usually due to a clash of wills and perspectives, a sense of diametric opposition.

What I Learned From Writing the Slipshot Series 

As I mentioned before, the Slipshot series is full of characters. Like a doting parent, I love all of them, even though I don’t necessarily like all of them. Here are a few.

‍Frederick Munchen and Opal Fremmitty: When I wrote Frederick and Opal’s first interactions, I focused on their differences—Frederick’s awkwardness and fear clashing with Opal’s messy, overwhelming and tiresome personality. Initially, they don’t trust each other, but as they face challenges with each other, as they constantly interact in ways that are annoying to them, as they grow to have more endearing interactions, their dynamic shifts. In them, I wanted to explore how they slowly built mutual respect, often in spite of themselves.

‍Cythiria and Chelss: Cythiria is one of my favorite characters in the story. I enjoyed developing her from a child to a full on angsty, self-doubting teenager who oftentimes feels like she has the world on her shoulders. Chelss is her polar opposite. She’s street-smart and bold. That contrast gave me plenty of opportunities for humor, friction, awkwardness, and heartfelt moments. I’ll admit, there were times I didn’t know if their relationship would lean toward friendship or romance, but that uncertainty made their scenes much more fun to write.

‍Rive Amber and the Engineers: One might characterize Rive Amber as the villain in the story. But like all good villains, there’s always another side to their story. Writing antagonistic relationships is a completely different challenge from those about friendship. With Rive Amber and the Engineers, I wanted to show how deep-seated resentment and mistrust could fester over time. Their conflict isn’t just about ideology; it’s personal, and that personal edge made their interactions more compelling for me to write.

Writing Relationships

1. Contrast is important:
   In visual art, contrast brings clarity. The same is true for good characters. I learned that opposites create tension as well as opportunities for growth. When I paired characters like Frederick and Opal or Cythiria and Chelss, I leaned into their differences to create sparks—whether it was through conflict, humor, romance, or mutual discovery.
2. The Reality of Real Life:
   I do think about my own relationships when I write, even though I’d have to admit that there is nowhere near as much drama in them as in the stories I write. Moments of miscommunication, unexpected kindness, or even the smallest gestures can speak a ton. Translating those real-life dynamics into my stories helped them feel more grounded.
3. The Evolution of Our Connections:
   In Slipshot, relationships are dynamic. Frederick and Opal don’t go from being strangers to allies overnight. Their bond develops as they face challenges together. I learned that letting relationships unfold naturally keeps readers engaged and invested.
4. The Little Things:
   Some of the most powerful connections aren’t built during big, dramatic scenes but in quiet, intimate moments. Glances, expressions, gestures, postures, an inside joke, a moment of vulnerability, a dampening of the eyes, all of these speak volumes if done well and also sparingly.

Writing the Character and then Writing More

Focusing on character chemistry in my writing has forced me to be more observant of the people around me in my daily life. Because it’s not just about storytelling, but rather about human nature. 

I go to a lot of conventions these days and I talk endlessly about my stories. When I see someone’s expression light up after I describe Fredrick and Opal’s contentious yet strangely respectful relationship, when I tell the story of how Cythiria tied a tattered purple ribbon around Blinky’s antenna in an expression of friendship (this in a later post), I feel the expression of a lot of visceral feelings.  

If you’re a writer and working on your own stories, think about how your characters interact and grow together. How they fight. How they like, love, and hate each other. It’s these in-between-spaces that make all the difference in creating someone who has true dimension.

Time: The Definer of All

If there is anything I have learned, and that I tell people over and over, is that character development takes time—it’s not something that comes together overnight. My own characters who make up the Slipshot universe took over a decade to fully form, evolving as I grew as a writer and a person, and as I explored the intricacies of their personalities and relationships. Developing chemistry is no different; it requires patience, experimentation, and a willingness to dig deep into the dynamics of your characters. It has to come naturally, and it needs to fulfill expectations. 

So, what’s been your experience with crafting character relationships?