One of the most common arguments I remember hearing in my MFA program that I still online is whether genre fiction is character or plot focused. The answer is often both, especially if you write romance or something with a heavy emphasis on character development. A question I hear a lot when I’m teaching creative writing or with friends who want feedback on their books is how do I construct a plot that is character-centric but still fun and tightly structured? This week and next week’s blog posts will be about how to do create character driven novel that is heightened by an external plot.

A caveat before we begin is that I am using my writing process as a scaffold for this. Everyone has a different writing process and there is no one way to write a novel. My hope is that you will adapt my advice to what works best for you by taking what works and leaving what doesn’t. Also, this post will have very minor spoilers for The Reanimator’s Heart as I use it to show how I construct the basis for my characters/plot.

How to build a character

I think the biggest piece of prework for writing a character-centric story with a plot that enhances the characters is knowing the characters really well. In order to create the plot of your story, you need to know where the characters are at the beginning and end of the story, aka how they change over time. The plot will help to move them toward that goal, but first, you need to figure out where your characters are before the story starts.

I’m a gardener (a loose-ish plotter), so I like to spend a lot of time before I start truly writing getting to know who my characters are. I do this by brainstorming, ruminating, making notes about what I think their backstory is, their personality, what they look like, etc. Let’s use Oliver from The Reanimator’s Heart as an example. I really wanted to write a character who is autistic, so I knew that was going to factor into his personality and overall design because your neurotype influences how you act and behave. I was inspired by the show Pushing Daisies, which had a main character who could raise the dead in order to solve murders, so it made sense that Oliver would then be a necromancer. Autistic + necromancer = Oliver, so what does that mean in terms of character traits? I decided that I wanted him to be an autistic who isn’t very good at masking or hiding his traits, so he’s quiet, a bit weird, not socially adept, and if necromancers are stigmatized in this magical world because it’s a rather morbid power that can cause very bad things, it would make sense that he either self-isolates or is isolated within the Paranormal Society (the setting of the story). I asked myself, does he have family? I decided that I didn’t want him to have living family members (upping the isolation), but he does have a really good friend that he’s close to, Gwen, who also works at the society. What job would make sense for a necromancer at the Paranormal Society? Being a coroner or medical examiner would meaning he can talk to the dead with little oversight as people typically avoid dead bodies. I researched medical examiners, and you need to be a doctor to be one, so now, Oliver has a medical degree.

Ultimately, I decided Oliver is an autistic necromancer who tends to self-isolate due to his social difficulties and his necromancy being stigmatized. His backstory is that he is without living family, has a medical degree but for some reason is no longer practicing medicine, and works as the medical examiner for the society’s investigative wing. This is where we find him right when the story starts. If you’ve read The Reanimator’s Heart, you know how all of this plays into the story line.

For me, physical attributes always come second as I use them to highlight or heighten the character traits rather than the other way around. I wanted Oliver to look dead, so I made him very pale (he’s white) and gave him dark hair to make the contrast even starker. He’s tall because autistic looming can make people uncomfortable. I also wanted him to be accidentally scary to people who don’t know him (his looks might also intimidate people who might try to mess with Gwen/his best friend). His grey eyes fit the monochromatic theme and gave him a little enigmatic flare because why not. This is a romance after all.

PS- make sure to write all of this sort of brainstorming somewhere you can find it again. Do not trust yourself to remember because you won’t.

Now, if you’re writing a romance or a multi-POV book with more than one protagonist, you will need to do this for two characters, and for romance, you will need to figure out a way to make them highlight or contrast with each other. The Reanimator’s Heart is a romance, so Oliver needs a love interest/romantic partner. That’s where Felipe comes in. If Oliver is a necromancer who works as the medical examiner and isn’t very social, who might he run into often at the society? An investigator. That’s how Felipe ended up with his job. From there, I decided he is going to be one of the best investigators, the kind who go on the longest, toughest missions. I hadn’t initially decided what his power is, but I knew his background had to be in monster hunting and fighting. I had toyed the year before with the idea of a character being Zorro adjacent, but the story idea fizzled out for many reasons. Ultimately, Felipe ended up being born from that spark of inspiration, so he ended up being a heroic monster hunter known for his fighting prowess who also comes from a family of monster hunters in California. To make him a foil for Oliver, Felipe would have to be sort of his opposite, which would make him more outgoing, social, and well-liked by the people at the society. Felipe ended up becoming a charming, more extroverted, levelheaded monster hunter/investigator. His physical traits had to fit someone of Mexican-American descent since he is from California, and I decided it would make sense for him to be Latinx. Felipe became a short king because I wanted a little size difference with Oliver and because heroes are tall way too often.

Even if Felipe is a foil for Oliver, they have to have something in common, and since Oliver is isolated and lonely due to his autism and powers, it would make sense for Felipe to also be dealing with loneliness of a different flavor. In a romance, a good way to have the main characters interlock and play off each other is to have them struggling with the same internal problem in different ways and have them make up for what the other lacks.

Where did you come from? Where did you go?

Something I want you to pay attention to in regards to the construction of characters mentioned above is that they were not constructed by squishing together a bunch of character traits. I’ve seen a lot of blog posts or videos that suggest focusing on traits, but I think it makes more sense to take a holistic approach and work backwards and forwards to figure out how a character acts and why they act this way. The why is the important part. If you want your characters to come off as real people, you have to think of the psychology and cause and effect behind their traits. Our personalities aren’t made in a vacuum, and neither should your characters be built in a vacuum.

Our pasts and upbringings inform our identities, so I think it’s important to figure out how you want your character to be at the beginning of the story. Once you have that, you have to ask why they behave this way? Some of it will boil down to things like neurotype, gender (and the societal expectations of that or the subversions), sexuality, class, trauma, religion, disabilities, the culture they were raised in, etc. All of these things have an effect on how we behave or interact with our world, so your character’s personality also will be affected by the world building in your story. By starting with the current person and working backwards, you are more likely to have a cohesive character who is more than a hodgepodge of traits, and when you need to figure out how they’ll react in your story, you can look back at that history for the answer. I suggest being flexible or loose with this past history in case you need to tweak or change something as you write the story, but knowing the basics and overall journey of how the character got to this point is helpful.

Next week we’re going to talk about making the plot work with the character development in more detail, but before we get into that, we need to figure out how the characters need to grow from the beginning to the end of the story. Keep in mind that if this is going to be a series with the same characters in multiple books, you should only fix one trait or problem at a time. I tend to see most writing “rules” as guidelines, but if you want to have a character-centered story, the character has to change or grow throughout the story. Before you start working on the overall plot, you need to figure out how you want them to change. That journey will be the scaffold upon which the rest of the plot is built.

A good way to figure this out is to think about what your character needs most to be a happier or better person. For Oliver and Felipe, they both need to work on their issues with isolation in order to be happy. Oliver needs to step out of his bubble while Felipe needs to let Oliver into his. How they deal with their isolation and interact with each other will be informed by the past and personality we crafted earlier.

Stop by next week to see how we integrate their internal growth with the external plot!