I was talking with a friend about writing and the complexities of character development suddenly hit me. We are all on a journey and will be affected by positive and negative events… yes, even those of us who are blessed with good fortune. These experiences shape who we become. With this in mind, since our […]Writing Your Characters by Dennis Scheel￼
Today I have a guest post from Desiree Villena, who is a writer with Reedsy, a marketplace that connects self-publishing authors with the world’s best editors, designers, and marketers. In her spare time, Desiree enjoys reading contemporary fiction and writing short stories.
A dichotomy is often set up between plot and character-driven stories. In plot-driven stories, plot itself is the most important factor and characters may be interchangeable; in character-driven stories, character takes a front seat and the plot unfolds in a way that depends on their personalities and choices.
But the distinction between plot-driven and character-driven stories isn’t always so clear — and frankly, all the best stories have both exciting plots and well-developed characters. With that said, here are some particular things you can do to establish your characters more firmly at the heart of your story!
1. Get to know your characters
If you’re going to be writing about your characters deeply enough to convince your readers of their authenticity (and of your story’s authenticity in turn), you want to know them inside-out. One great way to delve into the depths of each character’s psyche is to do some character exercises. These need not be long or complicated! For example, you might:
- Make use of character questionnaires or interviews, which require you to think about how your character might answer particularly obscure questions.
- Come up with specific scenarios and write a short piece detailing how each character would think, behave, and react in such a scenario. What would your character do if they got stood up on a date? What if they accidentally locked themselves out of the house?
As well as thinking about what your character is like at the time your book takes place (for instance, do they find it difficult to trust people?) you should also think carefully about their backstory — how they came to be the way they are. This backstory can then be woven into your writing to lend context to your character’s behaviors and make them feel more real.
Carrying out this thorough groundwork as you plan your novel will give you a well-formed understanding of your characters to keep in mind as you write. This will be hugely helpful in terms of guiding the thoughts and actions you ascribe to them — which will in turn guide the overall arc of your story.
2. Remember that nobody is perfect
We all love our characters, and may even want to believe they’re flawless… but when a character is portrayed as completely perfect, they lose that believability and relatability that makes readers emotionally invest in and connect with them. In other words: making a character perfect actually dehumanizes them, and weakens your story.
And for a character-driven story to really come to life, simply giving your character a minor flaw or two won’t cut it. In a plot-driven story — where characterizations may not be as complex or relevant to the story’s action — we might expect the line between characters’ flaws and virtues to be well-distinguished. But in character-driven stories, characters are not just supposed to be imperfect, but a little bit messy as well.
Between their flaws and virtues, the difference might not be so clear-cut, adding to their intrigue. The journey from unawareness to awareness of their flaws and potential for change will make their character arc much richer, like Briony’s journey from immaturity and righteousness to recognizing her mistake and wishing to make up for it in Atonement.
Try thinking about your own characters’ personalities and what their corresponding flaws might be. For example, if they’re a hard worker, one of their flaws might be refusing to ask for help, or ignoring their family and friends in favor of getting ahead at work. Having a handle on these flaws will give you a much better idea of their natural progression through the story.
3. Make your character’s goals clear
As you build this in-depth picture of your characters, you will hopefully identify their desires and goals. To make their goals into focal points of your narrative and really lead the plot, it is important you establish them clearly and early. Goals, after all, motivate your characters to make the decisions they do, guiding the story on its path. Some more examples:
- Emma Bovary’s ambitions for excitement beyond dull everyday life drive her to engage in multiple affairs and excessive spending.
- Jay Gatsby’s desire to win Daisy back leads him to throw lavish parties in hopes of getting her attention, and to make increasingly reckless decisions to gain her love.
Where in a plot-driven story, the story’s ultimate destination would be a piece of action that would occur regardless of characterization, the destination for a character-driven story will be the protagonist’s goal or reaching the endpoint of their character arc. (In both of the examples given above, this is the character’s tragic downfall and ultimate death.)
Of course, character-driven resolutions are not exclusive to plot-driven ones — again, in any great story (and in the examples above), both characterization and plot should manifest in the ending — but in terms of ensuring your story is as character-driven as possible, try to think about character first and foremost. Still, you do want your strong, consistent characterization to feed into an excellent plot! On that note…
4. Don’t lose sight of the external world
Character-driven stories often focus on internal conflict. But while this is obviously very important, you don’t want to get so caught up inside your characters’ heads that you forget about external conflict.
In fact, external conflict is necessary to create internal conflict. As a writer, you have the joy of creating an interesting and challenging world for your characters to live in. By allowing your characters out into this world you have created, they will be faced with the inevitable complications it presents.
These external challenges then serve as a stage on which your characters’ stormy internal conflicts can play out. When they’re forced into making a hard decision, the push-and-pull factors that give rise to their internal conflict(s) will be brought to light. The focus on these internal struggles takes your story further towards the character-driven end of the spectrum while, again, not sacrificing plot.
5. Give consequences to actions
One tell-tale sign of an overly plot-driven story is when a character mysteriously gets away with something they probably shouldn’t. Here it becomes apparent that what the characters think or do is of little consequence to the plot, because the plot is pre-established and the characters are simply instruments that enable the progression of events.
To keep a hold on your characters’ actions determining your story, try to ensure that all your characters’ actions (no matter how small) have consequences. Be these consequences that hinge on other characters’ reactions or simply consequences that make sense based on the way our world — or the world you have built — works, doing this will ensure you don’t end up contorting your story just to hit a plot point.
For a final example, one of my favorite instances of this is the ending of the 2019 blockbuster Uncut Gems. Those who have seen it will remember that Adam Sandler’s character gets what was coming to him — a resolution that’s surprisingly satisfying for viewers because it’s absolutely realistic for his character.
Writing more character-driven stories comes down to how well you know your characters and remaining conscious that your plot should be built around them, rather than the other way round. I hope this helps, and best of luck with your writing!
If you would like to get in touch with Desiree, you may email her at firstname.lastname@example.org
Tip1: “My first rule was given to me by TH White, author of The Sword in the Stone and other Arthurian fantasies and was: Read. Read everything you can lay your hands on. I always advise people who want to write a fantasy or science fiction or romance to stop reading everything in those genres and start reading everything else from Bunyan to Byatt.” — Michael Moorcock
Tip 2: “Protect the time and space in which you write. Keep everybody away from it, even the people who are most important to you.” — Zadie Smith
Tip 3: “Introduce your main characters and themes in the first third of your novel. If you are writing a plot-driven genre novel make sure all your major themes/plot elements are introduced in the first third, which you can call the introduction. Develop your themes and characters in your second third, the development. Resolve your themes, mysteries and so on in the final third, the resolution.” — Michael Moorcock
Tip 4: “In the planning stage of a book, don’t plan the ending. It has to be earned by all that will go before it.” — Rose Tremain
Tip 5: “Always carry a note-book. And I mean always. The short-term memory only retains information for three minutes; unless it is committed to paper you can lose an idea for ever.” — Will Self
Tip 6: “It’s doubtful that anyone with an internet connection at his workplace is writing good fiction.” — Jonathan Franzen
“Work on a computer that is disconnected from the internet.” — Zadie Smith
Tip 7: “Interesting verbs are seldom very interesting.” — Jonathan Franzen
Tip 8: “Read it aloud to yourself because that’s the only way to be sure the rhythms of the sentences are OK (prose rhythms are too complex and subtle to be thought out—they can be got right only by ear).” — Diana Athill
Tip 9: “Don’t tell me the moon is shining; show me the glint of light on broken glass.” – Anton Chekhov
Tip 10: “Listen to the criticisms and preferences of your trusted ‘first readers.'” — Rose Tremain
Tip 11: “Fiction that isn’t an author’s personal adventure into the frightening or the unknown isn’t worth writing for anything but money.” — Jonathan Franzen
Tip 12: “Don’t panic. Midway through writing a novel, I have regularly experienced moments of bowel-curdling terror, as I contemplate the drivel on the screen before me and see beyond it, in quick succession, the derisive reviews, the friends’ embarrassment, the failing career, the dwindling income, the repossessed house, the divorce . . . Working doggedly on through crises like these, however, has always got me there in the end. Leaving the desk for a while can help. Talking the problem through can help me recall what I was trying to achieve before I got stuck. Going for a long walk almost always gets me thinking about my manuscript in a slightly new way. And if all else fails, there’s prayer. St Francis de Sales, the patron saint of writers, has often helped me out in a crisis. If you want to spread your net more widely, you could try appealing to Calliope, the muse of epic poetry, too.” — Sarah Waters
Tip 13: “The writing life is essentially one of solitary confinement – if you can’t deal with this you needn’t apply.” — Will Self
Tip 14: “Be your own editor/critic. Sympathetic but merciless!” — Joyce Carol Oates
Tip 15: “The reader is a friend, not an adversary, not a spectator.” — Jonathan Franzen
Tip 16: “Keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose. If you have the knack of playing with exclaimers the way Tom Wolfe does, you can throw them in by the handful.” — Elmore Leonard
Tip 17: “Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong.” — Neil Gaiman
Tip 18: “You know that sickening feeling of inadequacy and over-exposure you feel when you look upon your own empurpled prose? Relax into the awareness that this ghastly sensation will never, ever leave you, no matter how successful and publicly lauded you become. It is intrinsic to the real business of writing and should be cherished.” — Will Self
Tip 19: “The main rule of writing is that if you do it with enough assurance and confidence, you’re allowed to do whatever you like. (That may be a rule for life as well as for writing. But it’s definitely true for writing.) So write your story as it needs to be written. Write it honestly, and tell it as best you can. I’m not sure that there are any other rules. Not ones that matter.” — Neil Gaiman
Tip 20: “The nearest I have to a rule is a Post-it on the wall in front of my desk saying ‘Faire et se taire’ (Flaubert), which I translate for myself as ‘Shut up and get on with it.’” — Helen Simpson
Setting is such a crucial piece of a story. In order to have a great story, a writer must not only have dynamic characters, but a setting to put these characters in. All stories have some sort of setting, whether it is in an imaginary land full of mythical creatures or takes place during the 1800s. Setting helps paint a picture for the reader and initiates the main backdrop and mood for a story.
Setting is broadly defined as the location of the plot or where an event takes place. Setting is both the time and geographic location within a narrative or work of fiction. This includes region, geography, climate, buildings, and interiors.
Selecting an appropriate setting for your story must go beyond just you liking it. The behavior of fictional characters often depends on their environment. Setting sets the stage for what happens to your characters. Why does the character need to be there? What part does it play in your character’s journey or their past? Characters need to interact with the setting.
When building your setting, don’t do it all at once. World building should happen over the course of your entire novel, layered into every scene. The goal is to create a well-designed background for your characters without overwhelming the scene or interrupting the story. Carefully balance introducing readers to your world while maintaining plot. Let the setting unfold as the characters move through the scene. Build in elements of weather, lighting, the season, and time. A good rule of thumb is not to spend more than 3-4 paragraphs on setting at a time. Start with the bigger picture then zoom in on the details. Don’t try to include every tiny detail in your description. Focus on things your characters would notice, keeping in mind that different characters will see and interact with the scenery in different ways.
Help the reader picture themselves in the story. Include different senses when describing the setting. In real life, we explore and experience our surroundings through our senses. Through our experiences, we respond with an emotional reaction. Your characters need to do the same.
Utilize the internet and do research. Look up maps, tourist information, and photos of specific places you’d like to include in your setting. Gather information and use some of it when writing your description. If you are able, visit these places in person. It can add depth and flair to your writing.
For more information on setting, see the links below.
As writers, we’re always looking for tips to improve our craft. Here are 5 simple tips that can give your writing that extra punch.
- Know your character’s unique view. How does he or she interact with the world around them? Write through that lens.
- You don’t need as many dialogue tags you think.
- Don’t forget visceral reactions. Readers want to feel your character’s emotions.
- Use figurative language.
- Read. The more you read, the better writer you become.
If you’re struggling to get started or need that extra push to get through a tricky scene, this might be helpful.
You can read the full article at NowNovel.com