The most common question I hear is, "Are your characters real people?"

The answer is Yes--and No.

Yes, my hero might have an old friend's sexy moustache, my father's scowl, or my husband's wry humor. But my hero is NOT any one of these men. He is a composite of interesting characteristics, with my personal preferences thrown in.

My heroine could very well harbor some of my own fears--things like deep, dark water or bees. She could have some of my pet peeves: rude drivers or barking dogs. Many of the things I love might find their way into my character's perception of her world: sunsets, gardens, music, children. But she is NOT me.

It is important to understand that an author builds a world and her characters based on a wide variety of experiences and acquaintances, then personalizes them with her own imagination.

When I start thinking about a story line, I have a vague image in my head of how the main characters will look. Based on that, I search for pictures of people who most closely fit that image, then I pin the pictures over my writing desk. This helps me to always visualize my characters as I write, and also makes me feel as though I know them personally. Then I begin to fine-tune the physical appearance, mannerisms, and personality of each character. I keep a written profile so I don't get confused and change someone's eye or hair color halfway through the book. Once I'm well acquainted with my characters, I start molding them to their surroundings and the challenges they'll face.

The great thing about writing is you can build the most wonderful or horrible human beings imaginable, then make them do anything you want--within reason for that character's personality. You've all heard the theatrical directive, "stay in character." In fiction, it is extremely important to adhere to this, and I'll give some examples in a few minutes.

Main characters in most novels consist of a villain (or antagonist), a hero, and a heroine (either of which can be the main protagonist).

In Gambling with the Enemy, the VILLAIN, Samir Mahfood, is a multi-faceted character. My intent here is to appeal to the reader's sympathy and tolerance.

"The outraged rumblings of Samir's companions further incensed him, but he remained silent. Since the attacks in New York, the shadow of discrimination hovered over his countrymen, his friends, his family. What did it matter that he'd lived in America for almost twenty years? Been a good citizen, a hard-working businessman?"

And Samir has his own personal desires and weaknesses.

Samir beamed, listening to his precious daughter's delight.

"Papa, I will be able to ride my new horse on Thursday!"

He stroked her shiny black hair, and love surged through his chest.

"Quy-eesa, Habibi. Insha'Allaah."

Dania planted a moist kiss on his cheek, then disappeared into the next room, leaving him to his thoughts.

He rose from his easy chair, and peeked into the kitchen. Zada hummed as she prepared the midday meal, her fingers nimble and skilled as she filled tiny eggplants and peppers with savory rice. A twinge of sorrow, then another deeper emotion surged through Samir's heart. When this is over, I will take her home where she belongs."

As the story progresses, Samir begins to lose control, and is well on his way to becoming a villain the reader will despise.

In the casino coffee shop, Samir concentrated on his friends' angry conversation. Because they wore the features of the Middle East, they felt scrutinized, suspected, and feared. They had a right to their indignation-most of them had lived in America all their lives, but now felt like strangers compelled to prove their worth.

Fury burned in Samir's chest. These were good men, devout Muslims. They should be afforded more respect. But what did Americans know about respect? They entertained themselves with filthy books and films. The women were careless of their bodies, wearing immodest clothing and displaying bare flesh to the world, painting their faces like harlots-even the young girls. No self-respecting Muslim man would allow his wife or daughters to shame him with such actions.

When I start working on a story, I'm thinking about the plot. But of course a plot has to have people to carry it along, so once I know the core of the story, I have to fabricate characters that would find themselves IN that plot. Again, those characters MUST do things in keeping with the personalities I've given them. For instance: Samir cannot do anything that would run against his deeply ingrained Muslim beliefs. If I were to depict him as a drunkard, that image would yank most readers out of the story, since it is well-known that Muslims do not ordinarily drink alcohol. While some Muslims might go against their religious beliefs, it is clear that Samir would not.

In most women's fiction, the protagonist is female. My HEROINE in Hearts Over Fences is a tough, independent woman who's never needed anyone. In order for her to grow through the story, her obstacles must be almost insurmountable. Being in a wheelchair fills that requirement quite well.

Bethany Webb's frame of mind is all important in this story, because everything depends on how she will handle her new circumstances.

The telephone was Beth's only access to the barns and daily activities. Daily reports from the instructors and the construction supervisor confirmed that her life's work continued without her. A looming depression threatened to engulf her and quench the very spark of her soul. Losing her favorite horse-and the harsh probability that she'd never ride again-sent despair at her helplessness coursing through every thought. She could manage only the simplest personal tasks, and required other people to shoulder the burden of her existence. For someone who'd spent her life as a mover and shaker, the situation was intolerable, and her resilient nature was fading as surely as the peonies in her garden.

A little romance is good, but old habits are hard to break and, in the next passage, we see Beth struggling with self-doubt.

More and more, Beth's personal thoughts about Connor made her wonder if her fast-track life had been artificial. She glanced out the office window at the landscape strewn with equipment, building materials, and construction workers. How did one work another human being into a frantically busy life? Was it something she could schedule and manage like any other project? She sighed. Like it or not, he was already there.

Her throat tightened painfully at the memory of their last conversation. Why had she cut him off? Because you're afraid. Because Connor Hall has a power over you that you can't control, and you know how much you like to be in control. She smiled sadly, recognizing her own guilt of the very thing she'd accused him."

Which brings me to the HERO. Everyone has a different idea of what a hero should be, but one thing is certain: if the hero doesn't grab the reader at the first meeting, the story is doomed.

In Winning Ways, the heroine meets Kurt DeVallio in a horse's stall.

The man didn't respond to her challenge. He tenderly smoothed his hand over the animal's neck, murmuring reassurances, then dropped to one knee. The filly stood quietly, her muscles quivering beneath her satiny coat, her breathing shallow, as he probed her injury. A minute later, he shook his head and stood up, turning to pin Liz with the darkest eyes she'd ever seen.

Her heart stumbled in its path at his exotic appearance. Skin the color of olivewood kissed by the Mediterranean sun. Gleaming blue-black hair sculpted against his skull, accentuating strong cheekbones and a wide forehead. An elegant moustache shadowed an aristocratic mouth. She took a deep breath, now aware of a new, stirring odor in the close quarters-the scent of a male ready to do battle for his territory.

His jaw relaxed, and he spoke gruffly. "Okay, thanks for your help. I need to get a vet."

This first introduction to Kurt leaves an image in the reader's mind. He is a true Alpha Male. As the story progresses, more insights appear about this man.

Kurt lifted her hand to his mouth, and caressed her fingers with soft kisses that threatened to invade her resolve. A bold smile sharpened his handsome features.

"Come on, Liz. I know you're attracted to me. Don't play games."

Oops! Now we're not so sure about this guy, but he sure is exciting.

Here again, staying in character is important. Kurt would never join you for afternoon tea, but he'd sure invite you out for a beer. He'd notice your shiny new car before he'd notice that you'd changed your hairstyle. These Alpha types are the darling of fiction.

Though he'd thrown himself into his work for long, exhausting hours during the day, dreams of Liz had haunted his idle evening hours and his sleep. He couldn't keep the image of her tantalizing body and sweetly sensual face out of his mind. When the dreams came, he ached inside as though he'd again lost everything. Many nights had been spent staring into the darkness and wishing he knew what the future held in store.

Okay, dark and handsome has a tragic past, and now we want to like him again.

There are two main types of story: plot driven and character driven. I've found that one begets the other: without a good plot, characters have no story to tell the reader. But outstanding, memorable characters can carry a simple plot to amazing heights to engage the reader.

So, the next time you read a story, think about the long journey the author made to bring you into her world.