Do we write what we
know? Or is it that we write from what we've read and further back what our
parents have read? The origin of literary creativity is as much of a mystery as
that of the universe. At least we can understand more of our background and how
it relates to the thing we're trying to create compared to trying to understand
how this immensity we're a part of relates to our quest for originality and
completion.
"Character
driven" is a more appropriate description than critics imagined. Why?
Because once a character assumes a fictional life he or she does a few things:
moves the author to work on the story, waits patiently for the author to bring
the character back on the stage, and when the story is concluded teases the
author with possibilities for another "drive."
While
writing the current novel, characters from the Peter Dawes' stories clamored
for another story in which they can assume a
continued life. They are not articulate, nonetheless they are forceful in their
demands. I suspect I'm not the only writer to have characters I've created urge
the creative aspect to go in an unplanned direction. Much
like a tune or a saying that plays in the caverns of the mind these diaphanous people continue the drumbeat for a sequel.
A sympathetic character overcomes various obstacles to
achieve a desired end. Those eleven words succinctly describe the gist of a
plot. However, a reprehensible character can also be used to wander the ups and
downs in a story. Many readers do not achieve satisfaction with the trials and
tribulations of an unsympathetic character, which results in the small number
of plots developed in this manner.
Back in the day a researcher listed all the possible plots
and the list was small. Whether a writer inadvertently duplicates one of those
on the list can be conscious or not.
Jack London at one time said he would pay for a good plot.
One wonders whether this was an apocryphal instance or wehter one of the
preeminent writers of the early 20th Century ran out of ideas after The Call of the Wild, White Fang, etc.
Sometimes plots develop from the character involved in the
story. This approach is usually avoided since at some point a deus ex machina must be employed to
achieve the desired end.
In my current novel I decided to take the character driven
approach. As the writing progressed the elements of the plot fell into place
and by the time I had written 60K words the end seemed reasonable.
I may have to change my mind after a few more readings but
so far the plot hangs together. You can look for The Jabberwocky Murders when it is published.
The story has to happen somewhere so the “where” will
probably precede characters and plot. Conjoined to where will be “when.” Is the
story historical, contemporary or futuristic?
With the where and when of the story set details of the
setting to firmly place it in reality may come next. It’s much easier to create
characters if they have a “real” place to occupy.
Perhaps the plot drives the where and when. For example
a sympathetic character overcomes vast
odds to extricate himself from a situation in which he must choose life or
death for a friend. This plot could be historical, contemporary or futuristic.
Choosing the voice of the story, i.e., first person or third
will probably occur naturally although even with the story underway the
temptation is always there to set a scene in a different voice. There are
devices that can make such a shift work, but it’s usually better to stick with
the voice that began the story.
After the grueling job of writing all the scenes, adding
details to both setting and characters, and resolving the plot, the task of
editing and finding how many pedestrian phrases were written will cause some
anguish but also satisfaction as you replace those mundane descriptions with
ones that have more sparkle.
