On February 18, 2019, ashes to ask wrote, I have a problem. A big one.
I have been writing stories for years now, but I’m stuck in a rut of what I nicknamed “Same Character Syndrome.” I’ve made countless characters, and at first they seem different— some are blonde, brunette, or red-headed, they all have different ethnicities, etc. The thing is, though, they are all teen girls who are slightly awkward nerds. They all have the same speech mannerisms, and they like to look pretty. I’ve tried to make other MCs, but they end up degenerating into the same ol’ mold that all my MCs are. I’ve been thinking, and I think it’s because they are all embodiments of me, the author. It’s terrifying for me to realize that I am the soul inside these people whom I have thought so different. It’s like I wrote up a cloning machine, and they all come out of it with different faces and backstories, but the same stuff inside.
How do I fix this?
Suggestions poured in.
Christie V Powell: What if, just for a training exercise, you tried writing a character based on someone else you know well? I did that a lot in high school. I thought it was funny, looking back, that I had two characters in different stories that were based on the same person, but they were totally different characters. One was a peacemaker who tried to smooth things over for characters who didn’t get along, and the other was a major source of conflict for my main character. I’m not sure if that was the mystical character evolution that writers talk about, or just my changing relationship with the person!
You could also try using different characteristics of yourself for different characters. Real people are contractions, much more so than characters. In one of my WIPs, I gave all three POV characters one of my flaws (though exaggerated, I hope). One of them lives in fantasy/dreams and doesn’t handle reality well. Another has goals that are more realistic, but she tries to make them come true without always considering the work and responsibility involved. The third struggles with guilt over something careless he did that had terrible consequences. He’s also slightly based on a historical main character, for his physical/outer descriptions.
Melissa Mead: Have you ever, just for fun, tried making up a character who’s the total opposite of you? Or a different gender?
I suspect that it’ll help that you can identity ways that your characters are like you. Ex, if you catch a character automatically obeying a rule, you can come up with a compelling reason for them to break it.
Song4myKing: A friend once told me that she felt the characters were stronger when men wrote about women and women wrote about men. She said it worked that way for herself, because she had to think harder when writing a man’s perspective. She couldn’t just rely on her own ordinary patterns of thinking, and assume her readers understood.
Kit Kat Kitty: I find it helpful to read books or watch shows that focus on one or more characters that are different from the characters you would normally write. (Especially if these different characters interact with each other) This has helped me so much with coming up with different characters. And it’s not just how they look, it’s how they act or feel or what they believe. And although this has already been said, writing characters of the opposite gender really helps if you’re trying to write characters different from you.
These are great!
I often wonder this about questions that come in, and I don’t mean to put down the question or the questioner. It comes up because we writers can be so unsure of ourselves and so ready to turn our criticism on ourselves. Here’s the question: Is this true? Are ashes to ask’s MCs really clones of one another?
When we find ourselves making this kind of judgment, it’s worth showing our work to someone else to be sure. In this case, ashes to ask would need to show at least two stories to this other reader, who doesn’t have to be a writer, just someone who loves to read and loves stories and, above all, isn’t mean. If the readers don’t see the similarities, we may be able to drop this worry.
Now that that’s out of the way, let’s assume that ashes to ask’s assessment is correct and all her MCs are similar and very much like her. Ashes to ask also says that they start out different but degenerate into sameness. What to do?
Degeneration means there was a process that could be halted. I generally recommend that we write an entire story before revising, but in this case revising as we go along may be helpful. Before we start a day’s writing we can look over the work of the day before. If our MC says something that is just what we’d say in those circumstances, we can LIST! other possible things she might say–or think or do. When we plug in new lines of dialogue or thought or new actions, our MC will take shape.
I like Christie V Powell’s idea of basing an MC on someone you know. When it’s time for this MC to speak or think or do or feel, we can decide how that actual person would react. One of my favorite of my prompts in Writing Magic is to think of two people we know who aren’t romantically involved with each other. The next step is to imagine that they’re forced to marry. Doesn’t matter how old they are. We can adjust that. The final step is to write their dinner table conversation on their first anniversary. The fun is that these people, finding themselves in an unexpected (to say the least) situation, will still be themselves, will speak as they would, will adjust to circumstances as they would.
Ditto to Melissa Mead’s suggestions about writing a main character who’s either our opposite in terms of personality or a different gender.
Or a different species or kind of creature entirely.
My characters are plot-driven. I come up with MCs who will both be challenged by what I’m going to throw at them and able to survive whatever it is. Most of my characters are much braver than I am, for example. In The Two Princesses of Bamarre I made up a shy heroine with reserves of courage. I needed her to be shy and not to want the quest that she enters into. By contrast, I’m not very shy and I don’t know if I have reserves of courage. I hope if I need them they’ll be there!
So, it’s worth thinking in the planning stage about what kind of characters we need to make our plot happen. If we’re writing a romcom, for example, we might think about the perspective on love that our MC needs to have for our particular romance to have many bumps but come to a happy conclusion.
My favorite example of a story in need of a character comes from the fairy tale, “The Princess on the Pea.” What kind of character might feel a pea through all those mattresses? I think there’s more than one answer, but we need to consider the question going in. (Or she might not feel the pea, but she has to contrive to pass the test.)
Like real people, our fictional characters are defined by what they do, say, think, and feel–most significantly by what they do. Our plot is shaped by what they and other characters do. If ashes to ask revises as she–or he or they–goes along, the changes she makes to her MC will affect her plot, and she’ll need to adjust.
We need our plot and our MC to work together. Let’s think about some situations. Our MC becomes embroiled in a secret society, but once in, she gradually realizes that its aims are malevolent and that it mistreats its members. Her goal becomes to undermine and destroy the society and to save the innocents in it. What sort of MC should we design who may succeed in the end but who will have a lot of trouble along the way, whose nature is both aligned and misaligned with her mission?
Or, our plot is about colonizing a newly discovered region, empty of humans but supporting herds of intelligent unicorns who don’t know what to make of the newcomers and are reluctant to share their place. The colonizers are fleeing their home country or kingdom because of their beliefs, whatever they are. Going back isn’t an option. Who can be our MC for this?
Or, our plot takes place in a time of famine. Our MC is the oldest child in a poor family struggling to survive. Who will our MC be, who will both fail and succeed in helping?
Or, in this time of famine, our MC is upper class and has plenty to eat. What kind of MC would involve herself with the starving and would both fail and succeed in helping?
I say fail and succeed because we need an MC for whom the task will be particularly difficult, to create tension.
To make our MC different from ourselves, we can ask how we would go about these challenges and then LIST! other possible ways and the traits necessary to carry them out.
Having said all this, however, let’s go in the opposite direction. Suppose we’re stuck with one MC. No matter what we do, we keep writing the same character again and again. All is not lost–even if this character is us in disguise. We know ourselves, our complexity. We come alive on the page. It can be a good thing. We may have invented a character, or a cast of characters, who can sustain us from book to book. Think mystery series! Think fantasy series! Think series in general!
Here are five prompts, which you probably saw coming:
∙ Try my exercise from Writing Magic.
∙ Write the scene in the secret society situation when our MC realizes that the organizations goals are not what she or he thought. For extra credit, make the MC not be your gender.
∙ Write the first contact between the humans and the unicorns. Make your MC blunder terribly. For extra-extra credit, switch it up and make her be one of the unicorns.
∙ In the famine situation, your MC’s older sister is close to death from starvation. Write a scene in which he attempts to find food and fails.
∙ In the famine situation, your wealthy MC happens upon the starving sister. Write the scene in which she initially fails to help.
Have fun and save what you write!