Anyone who claims that fiction isn't real is most likely not a fan of reading. In a dynamic, compelling story, the characters should feel like real people with real motives and real conflict. Even if the conflict is nothing more than a figment of the character's overworked imagination or the motive is a laughably ridiculous, roundabout quest to obtain something simple, within the context of the story it should feel genuine.
Characters can, and should, take on a life of their own. Yet, when a writer is too complacent or overzealous in creating characters, they may lose sight of the story's purpose or become bored with their own creations. In the worst case scenario, a mental block prevents the writer from coming up with good character ideas at all.
A mental block is by no means a sign that the character isn't worthwhile or should be cut from the story. Falling off track for a while just means the character doesn't have enough life yet. With a little re-conceptualizing, you can combat writer's block to generate memorable, story-sustaining characters.
Character Road Trip
Characters can become bored with their existence, just like any real individual. If a character gets trapped in a limited environment, trying to tell a story through a depthless personality, they will slowly fall apart. So, how can a writer revive a character whose presence is gradually fading? Easy. Take the character on a road trip for some major self-actualization activities.
- Comfort Zone - The starting location should be the character's comfort zone. Envision a place where the character feels at home, safe, unthreatened and in control. Defining a comfort zone can help a writer determine how a character behaves in the absence of conflict.
- The Past - Now, travel backwards to a significant place from the character's past. A character's background, from their early environment to their supporting cast, is essential in shaping their behavior, thought process and choices. If a writer's feeling nostalgic, they can visit a few locations from the past to generate a vividly realistic portrait of where the character comes from.
- The Future - Knowing where the character will end up is integral to telling a cohesive story. Hop to the near and distant future for a glimpse of how the character might change in response to the writer's plot elements.
- Danger Zone - The danger zone is the most important stop on a character's journey to self-actualization, as it contains all of the character's greatest fears and encounters with conflict. Force the character to acknowledge and confront the things that frighten them. More importantly, determine how they would react to those fears based on what was learned in the comfort zone. By the time a character escapes the danger zone, the writer will have a better sense of what makes them tick and how to resolve inner conflict.
- Back to Comfort - Home awaits at the end of every journey, but it doesn't always feel the same once you return. Take the character back to their original comfort zone. Consider how this familiar environment makes the character feel now. Does the character feel angry? Bored? Suffocated? Indifferent? Appreciative? If their response is exactly the same, then the character hasn't really changed. A character's lack of personal development isn't a problem, as long as this shallow interaction is an aspect of the story.
Assessing the Characters
Sometimes, a mental block is a sign that an iffy character just doesn't need to be in the story. In all stories, there are primary protagonists and antagonists, supporting characters and generic characters who exist only to fulfill an insignificant, temporary role.
Yet every character you include should have a purpose in the narrative. In some cases, the purpose is momentary, meant to shed light on a personality trait of a major character. For example, consider a story where a character is investigating an old murder at the library's microfilm room. If the author mentions that there's a man skulking nearby, then his presence should contribute to the storytelling.
It's reasonable for the author to include this tiny detail if the protagonist notices the man spying on his research. In a subtler scenario, the protagonist might show suspicious resentment towards the man, who is actually innocently conducting his own research. This latter scenario would shed light on the protagonist's personal traits - lack of patience, paranoia and irascibility. But if the skulking man's presence doesn't highlight another important part of the text, such as setting, is it really necessary to include him?
Commit to Characters
A writer's greatest defense against writer's block is commitment to the characters. If the writer really believes in a character, they can carve out a niche for this figure by imagining how the story would function without the character. If cutting your character won't make any difference to the story, then it's time to say your goodbyes and move on. If giving a character the boot will leave a gaping hole, ask yourself how the character fills that hole and the details will eventually come together.
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