When writing a novel, how can a character be developed well, but QUICKLY?

After Eunice and I finished London Under Veil, I entered the first chapter in a contest at a convention where you could submit something and have it critiqued by a professional book agent.

“Yep!” Claire chirped. “There’s this schoolboy, see, and he’s homeless, so he lives in this boarding house that used to be a hot springs bathhouse, which is cheap because it’s haunted, so he decides—”

“I need to do laundry.”

What have I done wrong? How can I start over?

In the kitchen, Claire set out a battered pair of mugs: May’s black, with “PEBKAC: Problem Exists Between Keyboard and Chair” in white letters; Claire’s white, with “This must be Thursday. I never could get the hang of Thursdays” in dark blue. She carried both mugs into the living room. “A moggie followed you home? Is this some weird Internet slang I’m not current on?”

The agent had only one bad thing to say (the synopsis was crap; writing synopses is hard!), but praised the characterization and particularly how well we introduced a character’s personality quickly.

“I know! That’s why I’m putting them under you!”

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They both burst out laughing. “I’m right, though,” Claire went on.

Here’s how we presented the character Claire when she was introduced, which the agent particularly singled out:

“Exactly.”

You found a love potion, and your friend tried to use it on an attractive popular girl, but he accidentally dropped it on the neighbors dog. Now the dog won't stop following him. How would you help him?

“No way.”

Claire, one of May’s three flatmates, former university roommate, and best friend in all the world, shrugged expansively. “It’s a Saturday night. What else would I be doing?”

“Perv.”

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“Yuuna and the Haunted Hot Springs!” Claire turned the book around.

“I’m glad my sex life is so entertaining.”

“It’s not looking at you.”

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“You know what? Never mind,” May said. “I am way, way too drunk to be having this conversation.”

“May! You’re home late! Early, I mean. Well, I mean, it’s early in the morning, but you’re home before I expected. Er, after. Before?”

Engaging in conversation that also shows something about their intelligence, personality, wit (or lack thereof); and

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“Why is that always your first suggestion? I do not need some tea. It’s three o’clock in the morning! If I have tea, I’ll never get to sleep.”

Doing something they enjoy, that expresses their personality, and that is in some way unusual or noteworthy;

“Yes way. It’s washing itself under the street light. Uh-oh, I think it spotted me. It knows I’m watching it. I swear it’s looking at me.”

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Create a context between this character and other characters.

“I don’t know. Partying. Going to a pub. Anything besides sitting on the couch reading…” She squinted. “What the hell are you reading?”

“Hang on, are they playing ping-pong?”

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“Exactly.”

“Well, maybe if you’d wear more clothes, they wouldn’t feel so cold. Hussy!”

“Well, maybe if you didn’t spend all day reading—” May prodded the book with its garishly-coloured cover with her foot. “Bizarre comic book porn…”

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“Claire! Why are you still up?”

Claire sat back down, legs tucked elegantly beneath her. “You are looking a bit sloppy,” she said, inspecting May through narrowed eyes.

“It’s a cat. All cats are weird.” May sipped from her mug, inhaling the warmth. She closed her eyes. The room spun. She opened them again. “Ugh. I think I drank too much.”

Why are perceived or real slights interpreted as rejections and reality by pwBPD?

“So you didn’t meet any cute boys at the club tonight?” Claire called as she bustled about the small kitchen.

“Nary a cute boy in sight.”

“They are! He broke the rules of the boarding house by petting this character while she was in cat form, so they invoke the ancient rules of single combat via ping-pong, and—”

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“You need some tea!”

“Thanks. You’re looking pretty ratty yourself. Have you been in that bathrobe all day?”

“About wearing more clothes? How am I supposed to catch any fish if I don’t show off the bait?”

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“Cute girls?”

“I’m serious!” Claire said. “It’s staring straight at me.” She let the curtain fall. “Weird.”

“Nope, I mean a cat followed me home. A black cat, to be exact. All the way from the club. Probably still out there, for all I know.”

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“I try not to, but thank you for reminding me. I know I don’t need a cat. I don’t want a cat. What would I do with a cat?”

“I’ll put the kettle on.”

“You don’t need a cat. You can’t take care of a cat. You can’t take care of a ficus.” Claire flopped on the other side of the sofa and wriggled her feet beneath May.

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“Claire, I—”

“Number one, it’s not porn, it’s ecchi, and number two, why would I waste a perfectly good Saturday doing anything else?” Claire pulled at her tea and sighed. “The only thing that could make this day better is if you'd come home with some cute boy, so that after you kicked him out tomorrow I could live vicariously through you.”

“Damn straight. So get to it! This time next week, I want to hear some moans coming through that wall.”

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“I’m just a fan of your catch and release program.”

“Fine.” May collapsed into the warm spot Claire had just vacated.

“But they’re cold!”

May yelped. “Hey! Your feet are cold!”

“From the look of you, if you try to sleep now, you’ll spend the next three hours hanging onto your bed trying to stop the world spinning. Since you’re not going to sleep anyway, you might as well keep me company.”

May pushed Claire’s feet away. Claire rose to peer out the window. “Huh. It’s still there.”

“No, about the cat. You don’t need a cat. You remember what happened to your spider plant, right?”

“None of those either. Look upon the wasteland that is my sex life, and see that it is barren. Naught but a moggie followed me home.”

Essentially, what you do is show the character:

“Tart!”

Do that and you can ground your characters quite quickly.

May studied the black and white comic panels. “Oh, my. She looks…anatomically implausible. What is she doing to that poor man? Wait, are those cat ears?”