Holden Caufield—a good character.
Humbert Humbert—another good character. Problematic, but regardless—a good character.
Yet, this is essentially evaluative language; we can often come to the conclusion that a character may be “good” or “bad” based on our gut feelings after reading a novel, but what exactly makes a good or bad character? In my Fan Fiction post, I talked about Original Characters and the difference between those and what Fan Fiction likes to call the “Mary Sues”—i.e., the perfect little cinnamon rolls who everyone seems to love, even when they’re bad, maybe even villains. After reading more on character-building and taking a class on the art of creating characters, I would like to call-back to that post with a little more in-depth recommendations for learning how to identify characters that work in stories and characters that may not work as well. This can help tutors in appointments with writers who submit short stories, chapters, etc. to the University Center for Writing-based Learning (UCWbL) for feedback.
The important thing to remember when it comes to characters is they are not a 100% reflection of the author themselves; authors may pull on direct experiences or their own personality characteristics for inspiration in their writing. Yet, despite the author’s impact, the characters’ opinions, beliefs, goals, and aspirations in the story can also be understood as wholly their own. The Huffing Post, in 2015, echoed similar sentiments of authors often pulling elements from themselves to either live “vicariously” or to write about experiences that they can consider themselves credible in. However, remembering that the character is now fictionalized once they hit that pen and paper, despite whatever experiences are pulled on by the author, can help to lessen the anxiety of wondering whether you might at all offend the writer concerning the feedback you give them.
So after we’ve considered this, where do we go forward with these ideas? In the case that a writer requests an appointment for their short fiction piece, here are some helpful character-tips that may help craft your feedback!
Aspirations
One of the defining characteristics between flat characters and this idea of “compelling” characters is the idea of an aspiration; something should drive the character forward aside from the plot itself, even though the plot can work as a secondary goal as well. However, plot should not take the main focus for a character’s individual aspiration, lest they become a pawn to the story and a passive bystander. This might be a short-term or long-term goal, immediate, achievable or more abstract; aspirations can shift and change as a character grows, and additionally, we—as readers—may have this goal made clear to us in the very beginning, interspersed throughout the story, or told through the actions, dialogue or thoughts of the main character(s). If a character yearns for something, it can encourage failure or success but definitely obstacles and oppositions that can contribute to the conflict of the story.
Related to the character’s aspirations, their fears should be apparent as well. Phobias are a common go-to when thinking of fears in a simplified, cause-and-effect relationship. Arachnophobia, agoraphobia, hydrophobia—you get the gist. However, other fears (that can even be contradictory to the character’s central representation) can manifest in a character that are more related to the trauma they have experienced, and these fears may even been unknown to them but known to the reader. These fears can even interact with the character’s aspiration, getting in the way of them achieving what they want.
If you can’t identify what a character fears, or dislikes, then you probably don’t know enough about the character that the writing/story is putting forth for you to see. Sometimes, even other characters surrounding the main character can bring about aspects of the main character’s goals, fears, etc. and is a worthy suggestion to put forth.
Change that Fits the Character
People are always changing and developing through life based on the events they go through, the people they meet and interact with, and so on. Compelling characters can undergo this process of transformation as well in what is often referred to as a “character arc.” Claire Bradshaw at WritersEdit identifies that there are three different types of character arcs: a change/transformation arc, a growth arc, and a fall arc.
Change/Transformation Arc & the Growth Arc
The change/transformation arc is very much like what it sounds — the character begins as one way and, by the end of the novel or short story, has become completely reformed by the end, whether enlightened by new knowledge. This may either be because they’ve met their goal/aspiration or have come close yet not quite achieved it, still somehow resulting in a satisfying resolution. As Bradshaw articulates, this arc is often the most common in stories, especially that of the hero’s journey. The growth arc is similar to the transformation/change arc where the main character begins a certain way and grows based on the events, goals, and people that they encounter, more often than not with positive results.
Fall Arc
As the name would imply, this type of arc is the more negative arc, which I find particularly interesting because it doesn’t seem to be done as much. Take for example a novel like 1984; we see its main character Winston Smith go from someone who could be identified as the odd one out and the one that wants to see to it that the world around him might be changed intellectually to one of the masses. Winston’s fall comes when he conforms to the society around him, his spirit and tenacity completely broken. This is a fall because his character has somehow downgraded from what it was one before by the end of the novel. Pretty standard, right?
What’s important to remember about each of these arcs is that, as a reader, they should feel justly rewarded. The rule of “Out of Character” still applies even to original stories. Regardless of if the arc is positive or negative, it shouldn’t feel as though it doesn’t fit in either with the progression of the story or what the character has shown. Change may come as a surprise, but there’s a difference between using the trope of the ‘twist’ and making a change that just seems to feel right. All of these arcs can help to promote a character that’s more well-rounded and 3-D, which differs from the 2-D “Mary Sue”, regardless of whether her trope applies to only fan-fiction or not. Such suggestions of character arcs may help in making a plot-centered story more character-driven.
As expected, the difference between 2-D and 3-D characters, flat versus compelling, has an influence on the story as a whole, as well as reader investment. David Corbett in his “How to Craft Compelling Characters” best identifies well-rounded characters as “human beings to whom the story happens” rather than simply being cogs in the plot machine, as most first drafts come. Stagnancy can become passivity, which (unless that’s somehow a growing point for the character) they shouldn’t seem so passive at all times.
If you’re not sure how to attack the plot, or what three “themes” you want to focus on as you craft a summary letter, these may be helpful starting points in how you approach your analysis of the short piece or longer project.