The Art of Manipulating Fictional Characters
Making characters “go out of character” while still being “in character”
In 2018, I was sitting in the audience of a literary panel for “Writing Characters with Agency” at Balticon, a science fiction and fantasy convention in Baltimore. During the panel, one of the audience members asked for writing advice on how to keep characters internally consistent when making them do something essentially “out of character” using an example of a lawful good character doing a bad thing. While the panelist shared many a insight, this question got my brain turning and coming up with answers that were not brought up at the time.
So how you keep a character “in-character” and consistent while also working to a moment where they break that mold?
For the sake of this, I will use the audience member’s example of a character who is lawful good do something bad. (“Lawful good” is a Dungeons and Dragons moral alignment that writers, readers, and nerds all over the internet will align their favorite characters too. Learn more here.)
So let’s break down some different ways to get characters do believably do “out of character” things.
Character development can be either positive (with the characters become more brave, heroic, or “morally good”) or negative (with the characters becoming crueler, more selfish, or more evil). I bring this up, because many people only think of a character development in the positive direction — becoming a better person — but it can work in the other direction. Walter White from Breaking Bad is a great example of negative character development, in that he becomes a more morally bankrupt person as the show progresses, starting out with understandable and sympathetic motives for his life of crime, but slowly becoming more power-hungry and/or more willing to do more and more drastic things (like murder) to keep on top.
A character can start out good and then through a series of circumstances, conflict, and drama that we will call the plot, slowly turn into a worse person.
Conflicting motives/trolley problem
Another point to remember is that people are complicated, conflicted, and complex. We have multiple belief systems, motivations, wants, and needs in our head at the same time.
Say we have our lawful good character. He is sheriff, a law man, who believes all crime should be stopped and put to justice because them are the rules. But he is not just a sheriff. He’s a family man whose family is the most important thing in the world to him. He loves them and would do anything for them to protect them and keep them happy.
And now it turns out his adult son is the no good head of the gang of bandits that have been terrorizing the local towns. And it is a trusty sheriff that has been called on to stop him, dead or alive.
Oops, now our character has to choose between upholding his moral system about the law or his moral system about his family.
I like option above because it is very internal, but you can also give your characters bad and worse options in an external conflict. Give them a trolley problem. Think of all those superhero films where the villain gives the hero an option to save like their girlfriend/sidekick or some innocent kids/the entire city. Usually the superheroes come up with the third option to save everyone, but not always (Ahem, the Dark Knight.) But much better is when the character has a much more active hand in the dark, bad and worse option. The ending of season 3 of the BBC show Torchwood had one of these. Make your character’s options a trolley problem.
Human beings… we’re complicated. We have belief systems but we are often hypocrites. We give ourselves or loved ones a pass when we wouldn’t give the same benefit to strangers or acquaintances. Beyond hypocrisy and exceptions, we have breaking points. On tv tropes, that can sometimes be called a berserk button.
Find a character’s breaking point and them drive to it.
But this all these examples lead up to this ultimate fact of writing characters and stories:
It needs to be earned
We say that a lot in storytelling and fiction writing. That… twists need to be earned. That sad deaths need to be earned. That endings need to be earned.
Relevant to here — when a character is driven to that breaking point, you as the writer need earn that. And all the other examples listed above.
But what does that mean?
In screenwriting, because I watch a lot of film criticism youtube videos, the idea is phrased as: set up, reminder, and pay off.
In writing, we talk about foreshadowing. I had a professor in college who always called these things “rehearsals” which is a really apt metaphor that I think should exist more preventable in the creative writing discourse. When I took dance classes as a youth at the end of the season we had a dance recital, but not until we had the stage rehearsal and dress rehearsal beforehand. If you are going to have a lawful good character do something morally reprehensible, you need to hint — and in an escalating manner — that he can do something bad.
To remix the earlier example … you have the lawful good lawman who always brings in his guy alive because they should stand before a judge and jury. He’s never killed and never will. Then he does when his son is threatened. Now a lot of readers might find that reasonable because of our understanding of family bonds, but you want to set that up in the story. Show how close he is with his family. Have a minor threat happen earlier in the story for him to break his cool over. The reader may not straight out know the character’s breaking point before it happens, but it should feel natural once they get to that point. There would have been hints. We should’ve maybe guessed a second before it happens.
Like plot twists, character twists should make sense in retrospect.
Wrapping it up
Those big, defining moments for a character, good or bad, have to be earned. They have to be deserved. These are the results of character development.
Originally published at http://www.margerybayne.com.