On December 30, 2011, Tisserande d'encre wrote, I've been having a problem with my MC. Some time ago I discovered I didn't know my character at all. We have tried reactions to problems, thoughts and things she likes, but I still can't discover her personality! Because of this, I'm unable to say how she will react to the situation or how she relates with other people. Nothing comes up to my mind. The first pages were easy to write because I knew her feelings, and ten pages ago I still did. But now she has closed to me. How can you get free from character's block? I still have a plot, but it feels like I'm having the script in my hands and an uncooperative cast! I thought I knew her, but now it seems I don't. And that doesn't thicken the plot, it thickens my worries... Any advice, word, help on this?
Character block! A wonderful expression!
These two terrific responses came in to the blog at the time. This one was from Julia:
Sometimes when I don't really know a character's personality very well, I take this personality test (http://www.humanmetrics.com/cgi-win/jtypes2.asp) and answer the questions the way I imagine my character would answer them. At the end of the test, it links you to a detailed description of the character's personality. I've found the results to be amazingly accurate. I hope this helps!
And this from writeforfun:
I have two suggestions that worked pretty well for me when I've had that problem before. In one version, I knew the personality at first, but it sort of slipped away as I wrote. So, I read from the beginning to the point that I thought I knew her best, and I tried to get a fuller picture of her at that point, and then I did a little writing exercise with her that was completely different from my story, so that I could see what she was like in a different environment. The other time, I didn't know my character in the first place, so I decided to pick a stereotype and use that as the personality. The stereotype can be whatever you're familiar with; I chose a dog. You may laugh, but I made the particular character friendly, optimistic, easily distracted, energetic and forgetful. It worked great, because I love dogs, so whenever I thought "what would he do?" I could think, "What would my dog do if he were human and in this position?"
You can also ask your character directly, in writing, of course, what’s going on. You can say, Bonnie, speak to me. Why are you holding back? What do you think of the story I’ve set out? What are your feelings? And give her time and space to answer.
Another possibility may be to bring in a secondary character to move things along. *SPOILER ALERT* In Jane Austen’s Pride and Prejudice, for example, the high-handed Lady Catherine visits Elizabeth, and one consequences of this visit is that Darcy declares himself. In an ancient movie version that I despise, she’s a deus ex machina, but in the book, her effect is believable, subtle, and character-driven.
What pushes a character or anyone to action? Often an intolerable condition, which can be serious or not. We write letters to the editor usually when we’re annoyed. Your secondary character, rather than offering pep talks, can so offend your MC that she flies into high gear.
Or, dropping the secondary character, the intolerable condition can be the driving force of the story. Tisserande d'encre, you may not have hit on the problem that will energize your MC, and you may want to think about what that might be. In my The Two Princesses of Bamarre the intolerable condition is the illness of Addie’s sister Meryl, which so motivates Addie that she sets off to find a cure despite her near crippling timidity and shyness. The intolerable condition doesn’t have to be as big as an alien invasion or a kidnaping. It can be a little thing. Bonnie’s Uncle Steve can call her younger brother Lenny “unpromising,” which can set her off on a campaign to prove him wrong.
In Ella Enchanted, the intolerable condition is internal: Ella’s curse of obedience. When Ella tries to persuade Lucinda to rescind the curse she’s treating it as external, which doesn’t work because the problem is inside her. In Fairest, it’s Aza’s appearance and her own self-consciousness, which is borderline inside/outside. In your story it could be a character trait. Bonnie may be a perfectionist; anything below her standards is a goad to action. Or she may have a super-hero complex; if there’s a wrong, she has to set it right.
As a plot-driven writer, I look for characters who by nature will go in the direction of my story. For example, in The Princess Test, my take on “The Princess on the Pea,” I had to come up with a character who had a shot at a lousy night’s sleep in the lap of luxury, so Lorelei is hyper-allergic and super-finicky. This isn’t very restrictive. She can be overly sensitive and mean or overly sensitive and kind, and smart or stupid and humorless or funny and anything else. She can be as complex as anyone else who has allergies.
Tisserande d'encre, you started with an MC who was defined in your mind. She and the plot meshed at the beginning but then it all blew up. So take a look at your plot. Did it develop in a way that moved away from her inclinations? Maybe you need to redefine her so she can continue to act in your story. Or maybe you should redirect the plot to satisfy her needs that you’ve already established. You may have a character-plot logjam rather than a single character block, and you may have to shift back and forth between the two to bust it open.
You may question if your plot is unified. Is there an intolerable condition that runs through the whole? If it bumps from incident to incident, Bonnie may react to one and be indifferent to another.
Writing isn’t efficient, at least for me it isn’t. You can try a scene one way and then another. Bring in a new character, Charlie, and see what happens. Have Charlie provoke Bonnie. Or make him so appealing that she wants him to think well of her.
Try changing the setting. She may be activated by unfamiliarity, or you may be.
Here are three prompts:
• Bonnie is depressed. Action seems hopeless. Nothing will do any good. Her alarmed parents start making her wishes come true in order to cheer her up, with results that are temporary at best. Give her an intolerable condition that activates her. Write the story. At the end she can be depressed again, or not.
• Allie’s father is arrested for shoddy building practices. People have died at his construction sites. Angry citizens are picketing the house. No one can leave without being hounded by the press. Bonnie wants to live her life, go to the local swimming pool, take in a movie, walk the dog, visit her dad in jail. She has a mother, Mrs. Miscreant, and her brother Lenny. Give her an objective and write her story.
• Bonnie wins the lottery and the prize is in the millions. She is a do-gooder. Get her in trouble with her new life as a helper of others.
Have fun, and save what you write!