On Writing Siblings

From the March sisters to Sadie and Carter Kane, sibling relationships can be captivating to both read and write about. However, they seem to be criminally underrated, especially in YA. Personally, this is the type of relationship I tend to gravitate towards the most, as I think there is a lot of potential in it. Sometimes, it might include tough competition and unexpected betrayals. But, in hopes that we get to see this relationship more often, I have decided to talk about how to write healthy sibling bonds.

Portraying the past
It is no secret that, in most cases, siblings will share a background. Their backstory will be intertwined with a depth no other relationship can achieve. These characters have been brought up in the same environment, with the same values and mindsets, and that will impact each one in a different, yet linked way. Think about Encanto’s main sisters; Isabella, Luisa, and Mirabel. They all grew up with the same traditions and values. But each one’s talents, perspectives, and even age have made them absorb these bases differently. Plus, this has affected their relationships with other family members. In the end, you get to decide how their upbringing will impact each character, and give them different drives and motivations that all derive from the same backstory.

Now you have the backstory, but how can you show it to the reader?

With siblings, the backstory goes from being something individually to a dynamic element with multiple perspectives. There are plenty of ways to show their background, apart from classic flashbacks (that, despite interesting, can sometimes be overused). You can showcase snippets of their past through dialogue, and characters reminiscing on a childhood memory. There are also objects and senses to use, like a family relic, a scent that reminds them of their old house, or a certain food that used to be served during family dinners. And finally, my personal favorite, a fun way to show backstories is inside jokes.

Growing together
As with any relationship, sibling connections are not linear. They are bound to have differences and disagreements. Maybe at the beginning of the plot, they won’t get along, or they will be holding a grudge. But what sets healthy relationships apart is your characters’ ability to work their problems out together. Siblings will understand each others’ past better than anyone else, they will know their mannerisms and pet peeves. That is why communication becomes more sincere. It also gives you the chance to develop two character arcs side by side. They can support each other, they can be partners in crime, and they know the other’s pain and laughter, and maybe they share it too.

There is something just so compelling about having two or more characters that have seen each other change since before the plot even starts. 

Sibling dynamics and prompts
There are numerous dynamics, and not all of them will fit every character. The core, the knowing each other, remains the same. When choosing a dynamic, try to consider their age gap, hobbies, personalities, and parents’ expectations. Maybe there will be a brother that looks up to his sister, sisters who have completely opposite goals but will still lend a helping hand, brothers that know how to work together without having to speak, and siblings who challenge each other to be the best versions of themselves. Possibilities are endless since there are few sibling tropes out there. 

It takes time to portray siblings realistically, so here are some prompts that might help:

• Your characters cooking - because I think humans bond through food.
• Training sessions - works particularly well paired with fantasy and a couple of swords.
• Going back to their childhood home.
• Helping each other get ready.
• Watching reruns of old shows.
• Borrowing clothes from one another.
• A race, or having another kind of healthy competition.
• Helping one of them to move into a new house.
• Celebrating a birthday, wedding, or holiday.
• Standing up for each other.

​​​Paula Argudo

is a young planster with too much passion and too little time on a day. She has been telling stories for as long as she can remember, whether they are thoroughly researched flash fiction pieces or improvised bedtime stories.
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• Writing Theory of Ancient Greece (Part One)
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• Pacing