quote:

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Posted by Inkwell (as J. D. Ford):

"Letting Your Characters Write Themselves," or "Engaged Synthetic Identity"

So you may be wondering, "what kind of metaphysical, split-brained mumbo jumbo is he ranting about now?" I really wouldn't blame you for thinking that, because the concept I am about to discuss is not exactly black and white. It's a grey area involving creativity, POV, backstory, world creation, and characterization. In a word, it's complex.

There is an ideal point one can reach early-on in the writing process. That point is, as reflected in the title of this article, when the characters begin to 'write themselves,' or 'write for themselves.' Those of you who know me know that I've been touting this in comment threads for some time. I finally decided to better explain what I meant in those posts.

When your characters (or perhaps just one character if it's not an ensemble cast story) reach a certain level of development in your mind, it is possible to let all the little quirks, facts, and motivations of the character(s) determine what their actions and words will be. In turn, this can determine what the opposing action and dialogue will be, initiating a snowball effect in your story that will more often than not ring true for the reader. Why? Because you've set up a dynamic, organic, changeable story structure. One that is flexible...like real life. Inflexible story structures can get you into trouble. I'm sure many of you have run into this when you hit a brick wall and couldn't think of a way out, or simply ran out of steam in the middle of a project.

Letting your characters, themselves, determine their courses of action and speech will help prevent such obstacles. The concept is not 100% foolproof, but what is in this wonderful art form we call 'writing'? Not much, that's for damn sure.

However, I can confidently say that thinking of a line of dialogue from your character's point-of-view, rather than your POV, will make that line of dialogue far more natural, applicable, and acceptable for the reader...nine times out of ten. I know that from experience. The same is true for action (and reaction).

Needless to say, this kind of thinking is more...organic (as I said); more free-form than most writers are used to. There are many preferences when blocking out a new story. Some people outline. Some people just sit down and see what flows out of their head. Some people bounce back and forth, waiting to see what path stands out above the rest. Regardless of how you start writing, getting into this particular mindset can be a great asset if you want to invest a high degree of realism in your work. THAT I can definitely guarantee.

It's a little like getting into a character's head for an acting role...only far more complicated (which is why I didn't use that as an example in the first place). With writing, you not only have to consider the character's dialogue and emotions, but also their long and short-tem goals, their motivations, their history (and their future if you have yet to outline it!), their relationships (past and present), their given circumstances, and their basic personality.

I know it sounds difficult, but you probably juggle all these aspects already, without even knowing it. The trick...and pay close attention here, because this is key...the trick is making the decision to CONSCIOUSLY THINK ABOUT IT. Think it through. Use your characters' abovementioned characteristics to determine the proper course of action or speech at any given time...but especially if you get stuck. In many cases, this will prevent you from getting stuck. Like putting chains on a tire in preparation for a big snow. Or, better yet, hauling out the Arctic Cat and attaching a NOS system.

It may be tricky at first, but like many things, the battle is 90% in your head. The great thing about that, my friend, is that your head is terrain of your own choosing. And any good strategist will tell you that fighting on ground of your own choosing is extremely important. Never subordinating strategy to tactics is a big component, as well.

So try this out. Maybe it won't work for you. That's a definite possibility. But if it does...well. I hope you benefit as much as I have.

Semper Scri, carry on.

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Thought this might spark some discussion on the concept of character-driven vs. event- or plot-driven writing.

Inkwell
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"The difference between a writer and someone who says they want to write is merely the width of a postage stamp."
-Anonymous

"Hey, Billy...change of plans. Right after you get knocked to the floor, you get to throw a punch. You're left-handed, so it should be a left hook. Make it a good one, 'cuz Rex has to be stunned enough to lose his grip on you. Then, you get tackled from behind by your opponent's band mate. This will lead to the full-fledged fight between the two bands. Make sure Willis and his gang know not to come to your rescue too fast."

"OK, cool! Thanks for the heads up, Steve!"

And, off Billy goes to perform his next scene, just as I altered it.

One thing I discovered, however, is that, the more depth and detail I put into creating my characters, the more their tendencies and habits and philosophies influence what I have them do.

Sometimes, I feel as if I'm talking to a three-year-old scientist: "Why are we doing the scene this way? Why do I have to like this kind of food? Why does he have to be such a jerk? Why? Why? Why? Why? Why?"

Other times, I feel as if I have to debate with them about every scene and every word of dialog.

Then, there are those times with deep and detailed characters like Billy where I feel as if they've tossed me out of my own director's chair.

"Hey, Steve...I was thinking about that scene where I get tackled from behind."

"What about it?"

"Why am I fighting that Neanderthal in the first place?"

"It's not much of a fight. You're on the verge of getting your ass kicked."

"Exactly. I'm a keyboardist. I wouldn't do anything to damage my hands."

"Didn't you even read the script? Rex tackles you from behind, then ends up pinning you to the floor. You have to throw a punch just to get away from him."

"But, why me? Give this scene to Jason. He likes to fight. I should be on a date with Christine, anyway."

"Well, remember...the reason Rex is attacking you in the first place is because he's with Christine now. If I give the scene to Jason, it means I have to replace you in all those kissing scenes with her."

"Uh...never mind."

"There's a reason I'm the writer, and you're not."

"Yeah, whatever."

With as much frustration as all of this might seem, going through it tells me I've done a good job at making characters that live in the story, as opposed to merely reside on the page. Considering that, I don't mind them running the asylum every once in a while.

S!
S!...C!

ive been trying to figure out what it is that i have been doing with my characters. ive come to the conclusion that i have no idea. i just write what comes to mind and plan to sort it all out later. they do seem to have a mind and will of their own, though--kind of fun.

Yeah, I wrote it on another website (which is why I quoted it here).

*fixed*

Inkwell
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"The difference between a writer and someone who says they want to write is merely the width of a postage stamp."
-Anonymous