Brian Friel brings together two of Chekhov’s
characters 20 years after their original plays were set. Afterplay is an affectionate portrayal of two people who suffer unrequited
love. In a bid to impress his companion, Andrey (from The Three Sisters) exaggerates the truth. As the evening progresses, he timidly confesses to every little fib. A tender bond develops between the
characters, creating an opportunity to fulfil the voids in their lives....
Chekhov’s characters are so perfectly constructed
that it is no wonder they became the inspiration for an Afterplay. A great writer makes ordinary people fascinating. We become
compelled by what will become of them, intrigued by the hidden meanings behind
their language and mannerisms.
As a crime writer, I need to break down labels such
as Rapist or Psychopath into a list
of traits. An attention seeking self-centred person can also be described as
vain, extrovert and uncommitted. Clearly, this character can be summed up as a narcissist.
Add the word ‘sadistic’ to that, and you’ve got a whole new kettle of fish: depraved,
disturbed and dangerous. The serial killer can be glib, callous, manipulative
and almost certainly unafraid of punishment. They might not be clinically insane,
but capable of reasoning. An organised individual can hold down a job, get
married and provide for children. These offenders treat murder as their work:
making meticulous plans, preparing tools for their trade and going to great
lengths to conceal the crime. They might, however, become rather sloppy and
disorganised towards the end of their killing spree.
Some like to wallow in the glory and might get
slightly annoyed if their victim isn’t discovered. They might choose to point the
police in the right direction by moving the body to a more exposed location.
Then, they’ll sit back to watch the investigation unravel on the news. Perhaps with a cup of
cocoa or a glug of beer - maybe even a glass of Chianti.
Try to steer clear of stereotyping your murderer. Not
all serial killers live with their widowed mothers, who have a penchant for
black gowns and rocking chairs. While next door’s psycho is stabbing someone in
the shower, his neighbour (the polite mild mannered accountant) might be
hacking his wife to death for an insurance claim.
To make a feasible antagonist, it’s essential to consider
their childhood. To create a murderer’s profile, the crime writer should
examine early signs of deviancy. Don’t presume all would-be murderers are
withdrawn children. Watch out for the reckless ones – those who are surrounded
by followers. Beware of the child that dares others to commit acts that
demonstrate their power. Maybe they’ve suffered neglect and/or abuse. Remember
that not all siblings become sociopaths. Birth order might be a factor. The
‘evil one’ might have endured a different influence along the way.
There are so many questions that need to be
addressed when creating a monster. Should I make them handsome or creepy - rich
or poor? What tipped them over the edge: humiliation, failure, or some
overbearing urge to kill which is beyond their control? Do they have friends
and family? Where did they go to school? What were their hobbies: did they earn
rosettes for pampering their pets or derive great pleasure out of disembowelling
Tiny Tears?
How do you make fictional antagonists believable? Try making murderers by
piecing together people who have pissed you off in some way. Play around with this idea: screw
on another head, change the body and rearrange their insides until you’ve blended
them into one nasty piece of work. Then, take great pleasure in dragging the
antagonist towards their sticky end.
Of course, we need to empathise with the murderer before
giving them their comeuppance - just as we sympathise with a tragic protagonist. A
writer has to get inside every inch of every character. Then, our fictional
beings will live on in many ‘afterplays’. It’s an enormous honour for someone to
take inspiration from your published work. Friel does Chekhov proud.
