Writing: Steal Characters

A lot of writing revolves around characters. For some writers, characters are central, and they’re drives, decisions, history, and idiosyncrasies move the story. A popular series character can be the jackpot for a writer, especially a genre writer.

Great characters are all around. How do you find them? Do as your predecessors in inventing great characters. Steal them.

I’m not suggesting that you actually steal characters. Nor am I suggesting that the writers I’ll be discussing stole their characters. It’s a matter of looking around in literature and life for real and fictional people then reworking them, consciously and unconsciously, into your own character.

Let me draw an illustration. Let’s take a popular character and see how other popular characters are in some way a reworking of it. These connections are my invention. I have not idea what the creators of these characters were thinking. I doubt most of them were thinking along these lines.

Let’s start with the Lone Ranger. Created by George W. Trendle (written by Fran Striker) in 1933 for the radio, the Lone Ranger saw success in several media, especially television. Before looking at the masked strangers successors, look at his predecessors. There were white-hatted cowboy heroes before the ranger. His contribution was the secret identity and the avoidance of lethal force. These heroes were white knights transformed for the gunpowder age. You might see those chevaliers as vaguely Christianized versions of mythological questers like Odysseus and Hercules.



Now imagine that the Lone Ranger is an antihero, his bullets are deadly lead and he uses a lot of them. You might picture something like Jonah Hex. John Albano and Tony DeZuniga created Hex in 1971. He is a scarred frontiersman who roams the West, not necessarily protecting the innocent, but collecting bounties or dealing deadly justice.

Maybe you like that the Lone Ranger avoids deadly force. Let’s keep that, but make him a pulp-era vigilante. That is what Trendle and Striker did in when they created the Green Hornet for the radio in 1936. They even made the Hornet a distant relative, though not a descendant, and imitator of the Ranger. The Hornet is darker, though. Instead of riding a white horse, he drives the Black Beauty. He sometimes pretends to be a criminal, but it is mainly to allow him to infiltrate gangs and break them apart from the inside. In spite of this, he avoids killing just as his predecessor did (I guess Seth Rogan didn’t notice that).

What if the Lone Ranger was a costumed superhero? He might be Batman, created by Bob Kane in 1939. Bruce Wayne’s identity isn’t hidden from the audience, but his costumed crusade against crime could have been modeled on the horseman. Batman writer Bill Finger gave Batman a code of ethics that would have made the Ranger proud. Not only did Batman eschew deadly force, he rarely used a gun at all. In appearance, at least, Batman resembles Zorro more than the Lone Ranger. (Batman comics tie him to Zorro, too. Several authors have depicted it as the move the Waynes had just seen when Bruce’s parents were killed by a criminal). Zorro himself might be taken as a Latin American spin on the Ranger, except he was created 14 years earlier by Johnston McCulley.

Not all of these ostensible progeny are as good as Batman. Put the Ranger in a talking car and you might end up with something like Knight Rider. Put Jonah Hex on a motorcycle in a futuristic megacity and you might get Judge Dredd. (The Judge Dredd comics weren’t bad, just not my cup of tea. The Sylvester Stallone movie was bad.)

The Lone Ranger is an archetypal hero, which is how we can so easily draw connections between him and characters that came before and after. It doesn’t denigrate Trendle and Striker to say they drew on archetypes, or even specific characters or people, in creating his own character. It’s a compliment that they created a character that was so popular, enduring, and inspiring to other writers.

Think of your own twist on the Lone Ranger archetype. You might have other characters you love that you could call on. Take your favorite romance heroine and put her in a completely different setting (Charlaine Harris put Sookie Stackhouse in a Louisiana full of vampires). You could put a detective in the far future (Isaac Asimov did in Caves of Steel). Bring a dragon into the atomic age (yeah, Godzilla). You could make a dragon a slave to the boilermakers in a steampunk fantasy—hey, maybe I’ll do that.

Miss Mizzou by J. B. Winter

Miss Mizzou was a secondary character in the Steve Canyon comic strip. She may not have stood out from the other bombshells in the cartoon pilot’s adventures, but she made quite an impression on the university from which she took her name (my alma mater, the University of Missouri) and the town that proudly housed it (Columbia). J. B. Winter talks about the girl in the overcoat (and maybe nothing else) and her impact in a mid-Missouri community in his book Miss Mizzou: A Life Beyond Comics.

Milton Caniff was a very well regarded cartoonist. His work on Terry and the Pirates was an inspiration to many in the field. He left that strip in 1947 to start another adventure comic, Steve Canyon, which he would own. He spoke at the University of Missouri in 1949. It bore the nicknamed Mizzou even before then though the university did not officially embrace it until 2004. Caniff apparently enjoyed the trip because he chose Mizzou as the name of a character he introduced in 1952, and made Columbia her hometown.

Caniff took inspiration from waitress he knew as a student at Ohio State University, Marilyn Monroe, and, more directly, dancer and model Bek Stiner. Miss Mizzou, played by Stiner, appeared was introduced on television before appearing in newspapers. Caniff and Stiner, in the characters overcoat, appeared on the Bob Considine Show about a month before her adventure with Canyon ran.

Columbians and Mizzou students jumped on the opportunity to celebrate. The Missouri Student Government Association organized publicity events that Stiner attended over a weekend about a month after the character appeared in newspapers. In 1954, a journalism fraternity proposed a Miss Mizzou-themed contest and calendar as a fundraiser; Caniff agreed to let them do it. The contest ran from 1955 to 1971, and the skits that became associated with it were popular.

Winter’s slender book is a quick read, but still very informative. He concentrates mostly on the character’s impact on the titular school and city than on her adventures in the comics. Even so, comics fans may enjoy the book because few character have been embraced by community in this fashion or had such an influence

If you’re interested in this book, you may also be interested in

Men of Tomorrow by Gerard Jones

Superman versus the Ku Klux Klan by Rick Bowers

Will Eisner by Michael Schumacher

Winter, J. B. Miss Mizzou: A Life Beyond Comics. Lexington, KY: CreateSpace, 2014.