Until that moment, I hadn't realized that I had taken a distinguishing approach in the development of my characters, but once I thought about it some more, I understood what she meant.
There are really three central characters in the book. I introduced and developed them in a way in which I believe the reader will feel as if they know them on a personal level. I felt compelled, however, not just to create an intimate understanding of those three, but also of several smaller characters whose contribution to the story, in some cases, is limited to a single chapter.
In saying that, I'm not talking about the inclusion of a ton of background information on these characters, but rather a detailing of the thoughts that are dancing through their minds in reaction to the events that they find themselves caught up in.
I think I subconsciously went that route because I've always been drawn to the types of stories that really delve into characters' consciences, and not just their personalities and the conflicts they face.
One of my favorite film directors is Terrence Malick. I've always marveled at his gift for verbalizing his characters' intimate thoughts to the viewing audience in a way that goes far beyond spoken dialogue and body language. As evidenced particularly in his masterpiece, The Thin Red Line, he doesn't limit this approach to the main characters, but also spreads it to the bit players.
I suppose that's the same concept I ran with in my book, in a literary sense that is. However, I don't presume to place myself in Malick's league.
What I'm confident about, now, is that I've offered a differentiating style in the development of my characters - one I believe readers will find both appealing and refreshing.
