Out of Character? When Characters Do the Unexpected, or Want To



When characters do the unexpected

Ever have an idea ignite to suddenly reveal a new dimension of a character or story? It could be the light at the tunnel's end or an oncoming train. Here's how to vet sudden inspiration.

As an editor, I get queries from writers saying they were suddenly inspired on how to fix a complex character or plot problem. While we hope they're right, it's best to begin with the premise that an idea is like a spark. It may take more than one to fire things up. Two common areas where inspiration can greatly help, or hinder, are the superficial character and the lackluster story. We'll start with the one-dimensional character.

First, it's common to have comparatively flat characters in a first draft, even of a nonfiction piece. After all, you're still getting to know these people and how to portray them. But then, while you're writing draft two, something unexpected happens. A character does something unscripted, or wants to. Do you let her? The answer, usually, is yes.

Some writers can follow the consequences of a character's unexpected action in their minds. Certainly, the imagination is a great place to start. To put this new facet of a character to the test, it's best to sketch out the scene. You'll have to edit it; you may even need to file it away for future use. But the exercise of writing what the action — or the desire behind it — reveals is invaluable.

Here's an example. A husband and wife are on the verge of divorce. The wife's mother has been instrumental in destroying the relationship, and the husband has said so for years. Just as the couple comes to grips with their plight, the wife's mother suicides, leaving a note confessing what she's done. The husband is tempted to say, "I told you so." He's that type. Instead, he's moved with compassion for his wife, though he's exhibited precious little of this trait before. Does the writer let him express his emotions? The answer is yes, not because it's expected in a situation like this, but because the husband's response is spontaneous and shows another side of him. The couple may still break up, but if they do, it won't be because of the clichéd "my husband is an ogre" rationale.

The great thing about this scene is that it not only reveals another aspect of the husband, it also advances plot. Two positive outcomes for the effort on one. Still, the important thing isn't just that the husband turns out not to be the brute he's been so far, but to consider why he showed compassion in this instance. What previously untapped aspect of his character and past prompted him to show such empathy? The writer may not use this bit of backstory overtly now, but it will inform her development of the husband, and she may choose to use some aspect of the husband's history later on.

Tip: Consider a story you're working on where a character has done something unexpected or wants to. Outline the past events that could have led to this action (backstory). Then, outline the consequences of his or her actions to see how they affect this character and others.

Resources: "How to Develop Characters That Work," by Lauren Grodstein, author of A Friend of the Family (Algonquin Books), from Poets & Writers, March/April 2011

Visit next week to learn how to address the unexpected plot twist.

One Potato, Two Potato: The Art of Describing Characters

Two potatoes sat on a counter looking largely the same, but are they? They're both Idaho Reds, and both about the same size, each with small points at one end. But look closer, even without a magnifying glass, and it becomes clear these potatoes are different. As a writer, you'll want to pay attention to detail to take your character descriptions from workmanlike to work of art.

Take our two potatoes—what do you see? One has more eyes and is browner and chubbier. The other is shorter and thinner and has more scars. It also has more pink areas and a bit more stem attached. Is it starting to seem, based on these distinctions, that the potatoes are getting a bit of personality? The same can be true of describing your characters.

The best way to reveal a character's traits is in a scene, where in addition to prose there is dialog, preferably with tension, and characters are revealed organically as they react under pressure. But for those softer moments, when you're describing the character through narrative prose, it's helpful to have done a bit of homework first.

Many writers advocate creating character descriptions before writing the story, and that can work well. But I'm increasingly a fan of the imagery approach, where you close your eyes, imagine the scene, then write it, Consider doing the same with your characters. And when you close your eyes (and silence your internal editor) and see those people you're writing about, don’t be afraid of a little description, especially in the first draft.


Describe those protruding eyes, unsightly scars, chubby bodies, pinched looking noses. Then take the description a step further. Consider the arched posture or the slouch, the feminine curves or lack thereof, not only for what they show about the character, but for what they tell about him or her. What does the slouch or portly shape say about self-confidence? Those traits may not be saying what you think. The slouch could belie a spinal condition, the rotund belly a wealthy lifestyle.

One thing is sure, the detailed—and knowledgeable—description with the right details in the right place will reveal the characters not only to your audience, but also to you so that you can continue developing them throughout the story for that important arc that can raise your characters from couch potatoes to fine dining.

Resources: For more information getting to know your characters, see the Writer's Digest article "9 Questions to Ask Your Main Character," and at Writers Digest University see "Character Description Exercise."