As an agent I get to hear lots of different types of authors discuss their writing process and how they go about crafting a world, and especially the lives of characters.
One common refrain is that authors often go into a story with certain ideas about how the story is going to go, but all of a sudden, once characters really begin to come alive they take the story in a different direction altogether.
And this can really help out a story – while obviously the characters are only alive insasmuch as they’re in the author’s (living) head, this may be a way of expressing that the author is being true to the logic of a situation. The author has a sense of the character, and it’s important that the character’s actions are logically consistent.
At the same time, I always find it curious to hear authors so completely in thrall to their worlds and characters, and I start wondering, “Wait a second, who’s in charge here?”
Once the characters and worlds begin to take life it can be a danger if the author lets the characters take the story in a completely different direction. Willful characters can walk themselves straight out of a plot if the author loses touch with the story and instead just follows the characters’ whims.
My personal belief is that the story has to come first, but at the same time, I definitely think it’s important to listen to the inner logic of a character who is coming alive. Balance is everything.
How do you balance story while being true to a character?
Rogue Novelist says
The characters in my manuscripts always write the stories. Their voices and actions usually shock if not surprise me. They control and take me places I've never been, as well as challenging and synthesizing sub-plots and extenuating circumstances that bring the story to fruition.
Long live independent and challenging characters.
Linda Adams says
When I start planning my story (such as the planning goes), I focus on plot and nailing down the story. The characters are pretty much placeholders at this point–don't even have names. Once first contact is made with the story, I start tossing in characters as I need them. I literally came up with a main character by going, "Okay, I need a police officer in this scene." Quick look up online for a name. Done.
From there, it's like there are two paths in the novel. The first path is the story itself, and the second one is the characters. They work together to get where they are going, but neither can take over the direction of the book.
Victoria Dixon says
If the character is really alive and plugged into your novel, they shouldn't walk off anyway. They should be involved in what's going on.
That said, if they come to life on me like that I return in the following drafts and determine what happened and how the other characters need to follow suit. I try to keep the process organic – how else will they come to life? ;D (Sorry – couldn't resist.)
wendy says
Hmmm, well-thought out question. The sense of story is always stronger, for me, than my characters, so I might err on the side of putting words in their mouths rather than the situation where those characters take charge. I always have a strong idea of what their role will be in contributing to the story idea so my characters have never taken flight that much. I'm not sure if this has been to the detriment of the story.
But if the story comes first, and your understanding of what you want to achieve with this story is strong, then I think this might prohibit the characters taking control. I'm not really sure, I must admit. However, I do think that a really strong, original character can be a very attractive addition to any story and help add versimilitude for the reader.
Perhaps different types of stories depend more heavily on their characters than others; I mean, characters that are the strongest element of that story. The imparting of meaning and information has always been the strongest element of my stories to-date, I think.
Daren says
Story comes first. Characters only react to the situations that you put them in. Those reactions might end up being unexpected, but the situations, challenges, and obstacles that are presented are entirely up to the writer.
Peter Dudley says
Characters are characters and will act in the right way when properly motivated. If characters must act a certain way to get the plot moving in the right direction, yet they want to do something else, then it's easy for me as the author to change the conditions affecting their motives. Sometimes this means going back to the beginning and putting the dueling pistols above the fireplace or a river in the middle of the city or something, and sometimes it means a sudden thundershower or a death in the family or whatnot.
While characters should always behave in the way those characters should behave, we as authors have the authority, and the responsibility, to give them the proper circumstances that will drive the story in the direction we want.
Johan says
i cant belive you have to read over a thousand of queries a day. dosnt that get tiresome
Tracy Hahn-Burkett says
It's a two-way relationship. My characters and I get to know each other, consult each other and argue. Sometimes they win, sometimes I do. We've even disappointed each other and then gotten over it.
That's what it's like with real people, right?
(And aspiring_x, your comment made me smile.)
Michelle McLean says
My characters tend to be in charge during the first draft. Once the revision stage starts, I take over đ
Chase March says
I don't see why the characters shouldn't take over.
I don't think authors need to be afraid of that happening. Sometimes it's good to let someone else drive for a while. In the end, it's still our creation and hopefully a great story. If not, then we can polish it as need be.
Lee Thompson says
My characters are in control of what they do, but I try to throw as many roadblocks in their path as I can.
Seamus says
Nice post. Not to be too philosophical, but isnât life the throwing together of characters in random situations and the playing out of their unique chemistry? Certainly I find writing short stories like writing improv. But I get your point. You have to get somewhere with your story. I like what Scott said (above), âI read a quote once and sadly I can't remember who said it. It went: âDon't bully your characters or they'll fix you for good.â The meaning being, if you bend things too much to suit your plot, your story will fall apart." There is such a symbiosis between character and plot that the story isnât right if the character takes it someplace it wasnât meant to go, or the plot takes the character someplace they shouldn't follow. For longer pieces, Iâve let go of my âopen mic nightâ approach, because of the need to plan this inter-dependency.
christina says
agreed. Let your Character's shine!
D. G. Hudson says
I own my characters, I control the story, I control the horizontal. However the vertical is flexible and sometimes the characters lead me via the dialogue to a different path than I intended.
I never forget that I am the puppet master.
Guinevere says
My writing tends to be very character-based. I've altered what I imagined as the storyline because of a character, but I don't feel it in any way damaged the story, either. My characters are the story — I'm not going to go wrong by being true to them, even if I adapt the plot.
Kaitlyne says
I tend to think in terms of what needs to happen, and then backtrack to what it's going to take for that to happen with the characters. Yes, they sometimes still surprise me, usually in ways that turn out awesome, but for the most part I know what's going to happen and can say, "what else has to occur to lead this character in this direction?"
Amie Boudreau says
I completely relate to what you've posted here about Characters taking on a life of their own. This is one reason I outline my plot pretty much before I even start writing the story. I get an idea of where I want it to start, peak and end. It isn't necessarily set in stone, but it gives me a guide to stick to and remind myself where I am headed and want to get to.
Funny thing though I thought I'd share. When I am really engrossed in writing my novel, I dream about my characters, mainly my main character and last time he was arguing with me in my dream about how I portrayed him. Too bizarre and funny.
Ashley A. says
1. I love to write character-driven fiction.
2. I read passages weeks later that I don't remember ever having written. And they are really fucking brilliant.
3. I write separate sections upon sections from different characters' perspectives that seem to miraculously and seamlessly flow one into the other.
4. I understand that the subconscious and unconscious are more powerful than we are willing to admit, and we are living in a time of deep fracture and denial.
5. Sometimes, when I start with plot, I can write thousands of words from various points of view, kind of like an audition, until I find the right character to tell the story.
6. My characters are my bitches. But they are also ME. I love them, but I want them to do what's best. For me.
7. I own my characters. OWN them. But I'm a good listener, and I want to write good books that people will want to read. And, uh, pay for.
8. Writing fiction is a balancing act between the conscious and unconscious. But consciousness must win.
Samantha Clark says
I tend to write more plot-driven stories, but they're still about the characters. And for me, my characters and I always seem to be pretty much in sync, at least, we were with my most recent novel.
I think it's important for writers to listen to their characters, to try things when their characters want to go in other directions, but to know when to say, you know what, that's not really working. And usually, if the character wants to go in a different direction from the story, then the character might not be the right one for this particular story.
There is always a balance between the character and story, but ultimately, I think if you've got the right character and story, they'll walk the path together; if not, there will be problems and you have to adjust one or the other.
Anonymous says
I'm curious.
When a character in control of the manuscript dies, who gets the flowers?
Christine says
I like to have a framework, but this time the characters are driving the story and I'm not always comfortable about the direction. However, whenever I try to rope them down, they balk and rebel and get all… well… you MUST write this … and don't worry about our marketability, too.
Yeah, that's how nutty it is for me right now. Gotta write it knowing it might not be marketable. Just gotta be true to them.
David T says
Thanks for putting this into words — I think you're spot on when you talk about writers 'responding to the internal logic' of characters and story. In all my writing I've never had characters feel to me like they're 'real' — like they have choices. And I so often read writers saying that their characters come in and do something, or tell them something, or refuse to behave in a particular way — there are plenty of examples just in this thread. I've started to believe I don't have 'it' (whatever 'it' is) because I've never felt this sense of autonomy about any character I've created. Have I not got enough emotional investment in my writing because I don't believe (or behave as if I believe) my characters have minds of their own?
I've always enjoyed it when something inside me suggests a certain action could fit in a story, or two things in a story connect for me and suggest that something different might be better. But these are just inspiration; I've never been able to believe anything other than the literal reality that my stories are entirely figments of my own imagination. I like how you've expressed it — so I'm going to hang on to that.
G says
I'm not sure if I've ever owned my characters for any of the stories I've written.
I usually start with a idea for a plot and usually develop a character for the plot. I make it as strong or as weak (ebb and flow I would suppose) as the developing storyline calls for it.
The one solid thing I make sure not to, is to have the character (and myself) go off on a tangent to where there is no hope for return.
Most of my characters are not quite 100% products of my imagination, but more 75%/25% with the 25% being the personalities of people I know in real life.
Jewels Diva says
Reminds me of the song – You're Nothing Without Me – from the musical – City of Angels.
Lisa Melts Her Penn says
I love this post!
Linnea says
I know where I want my characters to go. They can get there pretty much as they like but I'll nudge them back if they go too far off track.
Sarah says
I like how you describe a character's life in terms of the author's knowledge of the character, Nathan. (Reminds me of how we can often predict the behavior of people we know well.)
In my own experience, wonkiness between characters and plot is my own fault. Every time I've taken the weeks or months to hammer something out, I've been pleased with both aspects.
Still, I do love my characters! A little while ago, I'd been working on a scene and discovered someone new. I didn't realize how real he was to me till I almost introduced him to a friend.
Good thing I caught myself in time… : )
Victoria says
I like to give my characters freedom in he first draft and then do what I like in the second and subsequent drafts. It means a heck of a lot of editing but I get to know my characters really well in that first draft and often find that it really helps me strengthen their voice.
Yvonne Isaak-Andrews says
I've found that the point when the characters essentially take over is when the author has found the character's "voice." Once that has been discovered, the conversations and behaviors become more natural, making the writing itself better.
I help my husband edit his novels, and I get the manuscript after he does the first round of edits. Almost always, the first few chapters have whole sections rewritten to match the voices of the characters, which had been discovered further into the writing of the novel.
In one novel, he ended up rewriting the entire beginning. In his words, "After having worked with these characters for so long by that point, and getting to know their personalities, that chapter essentially wrote itself." And I have to say that it is a very well-written chapter!
Sharon says
I love this post! It makes me realize that (Whew!) Iâm not crazy after all!
There are times when I'm writing that my characters demand this or that–my brain won't rest until I give it to them, but not necessarily in my actual manuscript. Iâll whip out a page or two–or three or ten–separate from the real story and let them (and me) run amuck. Everyone gets it out of their system so I can go back and work on the real story. Sometimes it turns out so darned good that Iâll file it back and use it later. It's a nice diversion, helps me understand the characters a little better and I still have control. It also keeps writers block at bay.
Tonya says
Just like any other aspect of the writing process, I think that it involves a fair amount of give and take. I try to keep in mind that all stories evolve unexpectedly, while they're being written, I should never expect them to progress or end the way I originally plotted.
Usually these changes–especially the major ones, are character driven. New characters appear or minor characters take on bigger roles. Even so, I've reached points in stories where a "favorite" character must meet their end, though unplanned. If it serves the plot well, then the plot changes for that reason too.
I think it's fine to follow one's "muse" and allow a story to evolve unexpectedly but without losing coherence.
Healing says
I think characters and the story occupy different parts of brain. Characters arise from the limbic system the primitive one, driven by emotions and the story is the product of the high-class prefrontal cortex which rules judgment.
In that sense, fight between characters and the plot is the fight between emotions and the reasoning. And I handle it in the same way I handle the same fight in my real life.
Karen says
I love being able to talk about this without it sounding like a mental disorder in need of medication.
I let my characters lead the way within the constructs of the story I've created. This is the situation and they need to figure out what to do about it. If they step out of bounds, I pull them back in.
emmiefisher says
I like to let my characters lead the story. Once I get about about halfway through, I start to understand where the characters are leading me and then I can gently nudge them closer and closer to that goal. I can go back later and cut out the excess and clean up all the subplots that appear and make sure they also get resolved fully in the second half.
Wildheit says
My characters definitely own me, but then I own the body that does the typing, so no harm done.
It is a relationship as any other, though there's a higher danger of unconditional love since they're a part of me. But regularly I'll step back and wonder whether I would allow them to speak to me if we just met, like strangers, on a bus, in a bar… It helps restraining the unconditional affair if you find out their weaknesses.
When I get annoyed with them because they become unruly, I tell him/her to shut up.
Doesn't always help, and they will beg me to listen.
Sometimes I will let them argue their point, but always after removing my fingers from the keyboard. And I only put the fingers back to the keyboard when a) I've squashed their rebellion with my solid counter-arguments, or b) their arguments win me over and I allow them some leeway.
Diana says
I agree with jmartinlibrar. Reading all the other comments kinda makes me feel like I'm doing it wrong or something. I own the characters and plot, but I'm often surprised during re-reads when something just doesn't work. I re-write and then move forward. It's organic but I'm definitely the driving.
Nona says
I wrote a plot outline but I also did dozens of pages of character study at the same time. When you know them that well they stay on point.
elementalmoon says
I often feel like my characters are alive to me. I can sit down and be surprised by what they have to say when I interview them for a character sketch or other exercise. I find out a lot of interesting things in that way. However, the story itself is mine. Their backgrounds influence how it develops, but nine times out of ten, I'm the one calling the shots on where the next step is. That being said, when I'm flowing, sometimes the characters take over without my notice. One, a minor character, inserted himself so strongly into the story that I was reluctant to cut him out. But he isn't necessary to the over all plot, and after careful thinking, I cut his POV out. If I hadn't it would have changed the whole story. I couldn't write without the characters, but sometimes it's easier to have them silent.
sex scenes at starbucks says
Right now I have a character in such denial that he refuses to think much. I have to literally force him to THINK about stuff he's trying to deny. He's got a painful history, so there's that. But he's definitely a doer, not a thinker.
Candy says
What a great question! The main character in one of my books went and fell in love with absolutely the wrong character. At first I fought it, but eventually let her have her way (what else can you do, really?). Seriously, though, her instincts (my subconsious?) were spot on, and that shift in perspective made the book far more complex and interesting. Sometimes, the character knows what's best!
K Simmons says
I've actually been playing a lot with this question over the past month, so it's interesting to see someone else's take. I've come to the conclusion that while my characters are their own people and I can't control them per se, I can control the situations I put them in. So when I'm having difficulty getting a character to do what's needed for the flow of the story, it's my responsibility as a writer to change the sequence of events in such a way that brings about the character response that will move the story forward according to plan.
Dominique says
I've learned the hard way that forcing characters to do things just doesn't work. It feels forced and ugly and uninteresting. So, I guess the writers have to share the power. They tell me what they want to do, I tell them what makes sense at all, and we find the plan that works.
catwoods says
This is an interesting question. I start with a general premise and ending, then let my character control the journey. As long as they logically get to the ultimate destination I don't care if they decide a three-legged poodle should have a pivotal role in the plot or if MC's best friend suddenly turns into a kleptomaniac with a penchant for used milk cartons.
reader says
It's an interesting question and I often wonder if people that are "led" by characters are more likely to bail on a WIP if it isn't working out?
Do they give up when the characters don't lead them? Since they weren't in control to begin with they can blame it on their muse? Or if it does work out, then it was inspired?
There was a TED talk with Elizabeth Gilbert and that seemed the basis of her thought process — if this next book fails it doesn't matter. I did my part… I showed up… She's wildly successful so maybe that does work, I dunno…
ryan field says
I own my characters, I own the world in which they live, and I own every single aspect of their being đ
Goodwriter says
I introduce the characters to one another. They create the situation;then I watch what they do and say and transcribe.
Daniel McNeet
-30- says
I like to think of them as cattle. Cattle have ideas of their own sometimes, and (while I have never been a cattle hand) I know there are times when an individual steer could find a better path, but I am the only one who knows the final destination. I take their wanderings into consideration, but I'm driving this herd.
Art Rosch says
Once I had a dream in which one of my characters instructed me. "I wouldn't say those things you wrote today," he told me. "They're out of character.
It's just not me. When you wake up,
do a rewrite and put words in my mouth that are true to my nature."
Nareshe says
Depends on what I'm writing. I tend to write character-driven plots, where the complications and rising action stem directly from the actions of the characters. In that case, I usually know where I'm going, but the characters will often pick the path to get there.
On occasion, they're smarter than me. In one memorable instance, I had five false starts on a scene because I'd get 800 words into it and realize that this one particular character was lying to the other character (and to *me*) about her motivations, and the whole thing was really ringing false. It was a pivotal scene that was supposed to really justify this character's role in the conclusion of the book, and it just wasn't working.
So I took a deep breath, stepped back, and sent all five failed scenes to a friend of mine who's familiar with the work. He saw some similarities in the places where the scenes were failing, and suggested a piece of backstory that would make sense of all of those similarities–and which this character would be extremely loath to speak of.
I then took a run up at the scene, and all of a sudden the character was telling the truth, the other character was reacting, and I ended up adding a good chunk of story that made some things that had happened several chapters before really solidify into sense.
If a character decides to take the story in a direction i'm not expecting, it's often because the piece of my subconscious in which the character resides knows things I don't. My job in that case is to handle the character developments without letting them derail the plot.
Eric Borton says
I was excited when I had reached the halfway point of my book. And thatâs when everything went South. Itâs where I became the living definition for writerâs block. It was less about finding the words to put on paper, and more about feeling uncomfortable about where I was taking the characters. It was the first time after 50,000 words that I started deleting entire chapters. It was freakinâ painful.
After two weeks of thinking the chaos in my head was something I needed to beat down like Rodney King, I simply asked the main characters where they wanted to go. I imagined I was having a nice conversation with them while quietly sitting in my sunroom. I let go of my concrete outline and replaced it with one that was more flexible. I had an overwhelming sense of euphoria when the main characters began to tell me their story. I finished the book less than two months later.
I agree you canât let them run amok in your head to the point your running behind them furiously trying to document their every move, but I absolutely believe every once and a while itâs okay to ask them where they want to go.
In my opinion, weâre like parents giving birth to our characters at the beginning of a project. Itâs our responsibility to nurture and raise them as best we can. As the writing progresses, so does their maturity. At some point (I think in their adolescent phase) they fight us at every turn. But if we do a decent job of brining them up in our world, when they become adults, theyâll make us proud.