How do you deal with your characters surprising you?

I've never experienced this problem, and I'm now wondering why.

I tend to select my characters based on what I need for my plot.

Does this mean I'm more of a plot driven writer, and those with the rebellious characters are more character driven?

MythMonger said:

I've never experienced this problem, and I'm now wondering why.

I tend to select my characters based on what I need for my plot.

Does this mean I'm more of a plot driven writer, and those with the rebellious characters are more character driven?

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Maybe? But I think it may just be a difference in process. I tend to know my characters better initially, so they're more likely to change the plot than vice-versa. And sometimes a Very Important Plot Point will shape a character in a particular way, and I may need to change later plot to keep their behavior believable.

MythMonger said:

I've never experienced this problem, and I'm now wondering why.

I tend to select my characters based on what I need for my plot.

Does this mean I'm more of a plot driven writer, and those with the rebellious characters are more character driven?

Click to expand...

No, not at all. I'm character oriented. I just don't ascribe control to characters; I see it as being my decision, my process. If something isn't feeling right I would talk about it in terms of, I've hit a snag (as opposed ot, X character wants to do something different).

I think it is a different of perception on the same process.

Hmmm... interesting how varied everyone's writing style is.

Thanks...

MythMonger said:

I've never experienced this problem, and I'm now wondering why.

I tend to select my characters based on what I need for my plot.

Does this mean I'm more of a plot driven writer, and those with the rebellious characters are more character driven?

Click to expand...

I'm totally plot driven but characters always develop in the writing and that development can empower them to seize control and wrest the story away from me.

I just shrug and fetch popcorn.

You know that feeling at a séance when a really strong independent force feels like it's moving the glass?

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Sorry, that was me!

I'm not sure what I'd do if my characters started acting up.

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If my characters aren't acting up, they're not doing their job.

--The idea won't leave me alone
--The idea has potential that excites me as a writer
--The idea, if implemented, could/will have consequences that will deepen the story and be worth exploring

If the idea looks as if it would change the story in a way I don't like or take it in a direction I don't want to go, then I kill it. And that's not usually hard once I realize it's not a good idea. All that glisters is not gold, and all that.

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Sage advice.

Another fun question I like to ask myself is, "What is the most absurd way in which fans could possibly slash this?" Poof, sequels. (I'm not famous yet, so I have to write my own fanfics.) I think it's important to deeply consider every quantum possibility of personal entanglements between characters. Love or hate, or both at the same time. What would it take for two characters to shift from love to hate, or vice versa? There's likely an entire story there. If it surprises me, my characters just went there before I did. (That's why we're a team.)

I pay attention to what my characters are telling me. I created them, so I reason that's my subconscious talking, right? I desperately wanted a love triangle for two male characters and girl. I could NOT get it to work, so I finally "asked" why. Male character B informed me he was actually into this other, at the time, minor character. I looked at that for a while, and it made total sense. She's now a POV character, they're my favorite couple, like, ever, and I have come up with so many ideas for them.


If that type of epiphany doesn't happen, then I just move on with the knowledge that if it was important, fanfic will eventually take care of it.

I go with it. In this rewrite, a character has an emotional reaction to seeing his estranged sister that he didn't in the previous version. I'm using it to give him further dimension and flesh him out more; I'd been worried he might come across as too cold or emotionally distant but his reaction is perfect for this.

MythMonger said:

I've never experienced this problem, and I'm now wondering why.

I tend to select my characters based on what I need for my plot.

Does this mean I'm more of a plot driven writer, and those with the rebellious characters are more character driven?

Click to expand...

Maybe. For me, the story always derives from the characters.

blackcat777 said:

(I'm not famous yet, so I have to write my own fanfics.)

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If it's going to ruin this story, just keep it for a different story. There's no rule against writing similar plots in two different books (a lot of authors write practically the same story over and over.)

As many have said, I'd go with it. But maybe make a note in the margin (through MS word comments or something) about this is where that happened so you can come back to it.
I've had characters take over and surprise me. It's something quite magical when they direct where to go. Of course I know it's still all me doing it and they're just words on a page, but I find that if the characters start directing where to go (provided it sort of fits in the overall plan of things - and even when they derail the plan, you can make a new plan) then I go with it and the story is richer for it.

I usually go with it. It's a result of getting to know the character better.

Blue Tortoise said:

This is one of the things I googled many times before joining, but I doubt anything will beat straight responses! My main character has essentially been adopted by two siblings, one guy and one gal. One of the main sub plots I'm trying to craft is just how strong these friendships are, especially with the sister. But at some point in this process, the thought that two people who love each other so much might actually love each other keeps popping up in my head. It would completely shred future plans and really not fit what I'm going for, but nonetheless the kernel of an idea exists and I am struggling with what to do with it. Ignore it? Kill it with fire? Explore the idea but have the characters pull back? So I'm curious, when things like this happen to you, how do you deal it?

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I did a double-take at this because pretty much the same thing happened in my story. Years ago I published a book where I was 100% in control of the characters' actions. It was a plot-driven genre story so they had to do certain things, in an overall sense, although scene-by-scene they would come out with bits of dialog that surprised me.

This time around, I have several important characters with all sorts of complex relationships going on (mostly related to baggage from childhood) and so much has happened that I feel I wasn't in control of and certainly didn't plan for at the start. I love my characters and to some extent they've taken the reins, and I've let them because it's opened up all sorts of new possibilities. (This is a multi-book series so I've had plenty of time to explore all the ideas.)

Anyway, I would say definitely go for it -- you're right it will probably change the overall tone and themes of the book from what you'd imagined. Alternatively, store the idea away for your next book -- you could set up a different situation and explore the same idea with a new set of characters.

Twick said:

It's a result of getting to know the character better.

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I agree with this! I had this happen to me recently while I was writing from another character's perspective for fun, just to get to know what was happening in their head, and something stood out and I realized it was a very natural possibility for the plot to take a different turn because of what was happening between two of the characters. However, it would change the focus of the story entirely, and I didn't want that (I was too attached with the current situations just as they are) so I decided not to pursue that possibility.

I don't think of it as characters wanting to do certain things, though. I just see it as one of several possibilities (a parallel universe kind of situation) and go with the one that I think best serves the story and its initial direction and purpose. In the end, it's an intuitive thing, i.e. what feels right for the story you're writing. Depending on that, you could then choose to ignore or act upon the new information about your characters.

blackcat777 said:

If my characters aren't acting up, they're not doing their job.

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QFT. If I have an easy time wrangling a character, I treat that as a red flag that they're not _really_ a character, just a piece of cardboard with a face painted on.

Example: I was just writing a scene where my characters were supposed to take the main road north. However, my FL sensibly pointed out that was a terrible idea for {reasons} and they trekked into the hills instead. That whole section of the story was completely derailed, but the end result is a much tenser, surprising, and more interesting story that even let me showcase the antagonist more effectively. It also took a solid 5k words more, but it was worth the words and (for once) I have them to spare.

blackcat777 said:

Another fun question I like to ask myself is, "What is the most absurd way in which fans could possibly slash this?" Poof, sequels. (I'm not famous yet, so I have to write my own fanfics.) I think it's important to deeply consider every quantum possibility of personal entanglements between characters. Love or hate, or both at the same time. What would it take for two characters to shift from love to hate, or vice versa? There's likely an entire story there. If it surprises me, my characters just went there before I did. (That's why we're a team.)

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That's a really good way of verbalizing something that I just realized I do, too. If you spend time working out what it would take for a relationship between two characters to tilt over into love or hate, then you end up really grokking that relationship. That depth of understanding will show on the page when you write it, I assure you.

Also, the line about writing your own fanfics is awesome and I totally relate.

I embrace it and let it flow. There's few better feelings, when it comes to characterizations, when your characters seem to grow faster than your hands can type.

It's a great feeling! I decide to edit what, and when, later on. For the time being, I let it grow.

A long time ago, I gave up on the idea that i have any control over my characters at all. I just happen to be their way of becoming real. And so I just always go along with whatever plot bunny pops up. If I don't the characters either do it anyways, or get angry with me. Or worse I lose interest in the story because I went the wrong direction.

KayMitch said:

A long time ago, I gave up on the idea that i have any control over my characters at all. I just happen to be their way of becoming real. And so I just always go along with whatever plot bunny pops up. If I don't the characters either do it anyways, or get angry with me. Or worse I lose interest in the story because I went the wrong direction.

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Lucky you. There's nothing wrong with following up these attention grabbing characters. Surprise actions or entrances should be welcomed. They can sometimes amaze us - but control must remain with us.

You may just be being light-hearted, but in another thread you said you felt stumped by rejections that gave no explanation as to why. The above post may be a pointer to potential manuscript issues. Use the SYW Forum once you reach the required 50 posts, and see if folk spot anything that may be helpful.

Most of the time when my MC changes things around without asking, my response is, "Is that so?" give an eye roll and just run with it. Sometimes my MCs can be a royal pain in the ass, then other times I'm like, why the hell didn't I think of that?!

I learned early on to let the characters do as they liked instead of trying to force them to stick to the plot.

Case in point: way back when I added a character to a story just to please a girl I was dating. Naomi Bradleigh was supposed to get one line of dialogue in one scene. She stole the scene. She became the protagonist's love interest, but also turned out to be older, wiser, and had been where the protagonist was going. Then it turned out she was the antagonist's daughter. Then she ends up saving the protagonist's life on numerous occasions. She finally insisted on being the protagonist of her own novel, being the only viewpoint character, and telling the story in first-person when I was used to writing in third-person close.