Character or Plot Driven

 

 

 

 Character or Plot Driven

         In writing circles, the battle rages on: Is a story character-driven, or is it plot-driven? One side states that character-driven writing focuses on the internal change of the character or characters rather than the events that take place. They state plot-driven stories focus on the happenings and external changes. However, how clear-cut are the two types of writings?

         According to the article “Character-driven vs Plot-driven Writing” by Dorrance Publishing,
            Plots that are character driven are commonly referred to as “literary fiction”
            due to the fact that they feature characters that possess multiple layers that are
            exposed as the story develops.
Note the author of this article says “plots that are character driven,” and plot means actions, happenings.

         The article sited above does state both character and plot are necessary for a good story, as does editor and writing coach Jeni Cappelle, “Every well-written novel must have a combination of engaging characters and a compelling plot.”

         Best-selling author and writing expert William Bernhardt takes the battle farther when he states the belief of character-driven and plot-driven being separate entities is a myth. He writes, “All fiction is character-driven.” [Creating Character, p 6] No matter what exciting happenings the writing may contain, it falls flat if the writer uses a flat, boring, or unbelievable character or characters. All good writings require “strong, dynamic, unique characters.” [p 11] As stated on the back cover of Bernhardt’s book, Aristotle wrote, “Action is character.”

         Everyone agrees that one must have both engaging characters and an attention-holding plot Bernhardt writes that combining imagination, insight, and first-rate writing skills creates the best characters. Great writers use the same qualities to develop compelling characters and electrifying plots. Both characters and plot combined take readers into a different world that exhilarates them and removes them from their own existences for a while and leaves them wanting more.

Sources, other than author’s own knowledge and expertise:
1. William Bernhardt, Creating Character: Bringing Your Story to Life.
2. Jeni Chappelle, editor and writing coach, “Plot-driven or Character-driven: Does it Really Matter?” jenichappelle.com
3. Dorrance Publishing http://www.dorrancepublishing.com/character-driven-v-plot-driven-writing-whats-d...

What Makes a Good Fiction Story? Plot Driven OR Character Driven

By Karen Cioffi

Stories can be plot driven or character driven, so which is the best formula to use when writing a story? Knowing a little about both methods should help in making a decision.

Plot Driven Story

A story’s plot moves the story forward, from point A to point B. It doesn’t necessarily have to be in a straight line; in fact a course that twists and turns is much better. This type of plot creates movement and interest. It’s the twists and turns that will keep the forward momentum fresh, as well as creates anticipation. Anticipation will hold a reader’s attention.

The plot also provides reasons and explanations for the occurrences in the story, as well as offers conflict and obstacles that the protagonist must overcome to hopefully create growth. These elements create a connection with the reader. It entices the reader to keep turning the pages. Without a plot it is difficult to create growth and movement for the protagonist. It might be comparable to looking at a still photo. It might be a beautiful photo and may even conjure up emotions in the viewer, but how long do you think it would hold a reader’s attention?

Along with this, the plot molds the protagonist. It causes growth and movement in the character. Assume you have a timid woman who through circumstances, the plot, transforms into a brave, strong, forceful hero. Where would the story be without the events that lead this timid woman to move past herself and into a new existence?

Character Driven Story

On the other hand, a character driven story creates a bond between the protagonist and reader. It is the development and growth of the character, the character’s personal journey, which motivates the reader to connect. There doesn’t need to be twists and turns, or fire works. The reader becomes involved with the character and this is all the enticement the reader needs to keep reading.

In addition to this, the character works hand in hand with the plot to move the story forward. As the character begins her transformation the plot moves in the same direction.

In some instances, such as short stories, a character driven story can work amazingly well, such as in The Story of an Hour by Kate Chopin. In cases such as this, the connection developed between the character and the reader can be more than enough to satisfy the reader. But, all in all, it seems to be the combined efforts of a well plotted and character driven story that works the best.

The Best of Both Worlds

According to science fiction and fantasy writer, L.E. Modesitt, Jr., “The best fiction should be an intertwined blend of character, plot, setting, and style.”

I agree. All elements of a story working together create stories that will be remembered.

All the aspects of a story should complement each other, should move each other forward to a satisfying conclusion, and should draw the reader in. If you have an action packed plot driven story, but it lacks believable and sympathetic characters, you’re story will be lacking. The same holds true if you have a believable and sympathetic character, but the story lacks movement, it will usually also fall short. As with all things in life balance is necessary, the same holds true when writing a story.

Karen Cioffi is an award-winning children’s author, successful children’s ghostwriter, and online author platform instructor with WOW! Women on Writing. For must-know writing and marketing tips, get free access to The Writing World.

The Sound of Story

By Suzanne Y. Cordatos

www.suzannecordatos.blogspot.com

The cool music director of my daughter’s 5^th grade band goes for classic rock ‘n roll and traditional marches— the stuff that sounds good really loud. The young people haven't yet developed the ability to play a range of sounds through their shiny new instruments, so these pieces sound good the louder the better!

Does your work-in-progress sound too one-note?

• Is your writing packed with lightning-paced action?
•  Do you play tour guide for your readers, meandering through description (and avoiding nasty things like confronting your beloved character with bad guys and car chases?)
• Is witty, contemporary dialogue your thing?
• Do you stay in your comfort zone by relying heavily on one of these elements?

A radio hit tells us we’ll “miss the sun when it starts to snow” and we'll know you "love her when you let her go.” Without contrasts, it is difficult to recognize what is sometimes right in front of our noses. In a good book, readers are more compelled to turn pages when emotional highs and lows pull them along. Who doesn't like to cheer in the stands when a favorite character is the underdog?

Layer notes in your composition

•          Make satisfying “ups” by writing worst-case “downs”
•          If your story flies at a fast pace, how will the climax stand out?
•          If the characters don’t slow down to offer their thoughts, when will the reader identify with a character and process what is happening?
•     Talking-head characters need feet grounded in reminders of setting, so a reader can walk along. 

Musicians grow in talent when they add notes and technique to their repertoire. The conductor guides an ensemble through the score to convey the composer’s intended volume and feeling: soft pianissimo, loud forte, dramatic rhythm, or soothing flow. Music can play upon emotions like a dance, a falling in and out of love. My other talented daughter is singing this weekend in a production of Les Miserables with Colchester Community Theater. The music in Les Mis has the power to make one feel hope, anger, love, determination, longing and despair—and I’m probably missing another half dozen emotions in this list! Who doesn't love a good show (OR BOOK) that makes us laugh and cry, often at the same time?

Warning: One-note novels can be boring and exhausting to read.  

For a more interesting balance, alternate scenes with moments of contemplation—a quiet opportunity for your main character to reflect on what has gone down. More importantly, it will give your reader time to worry about what comes next. 

Have you enjoyed a book especially "musical" in its emotional complexity? When you read, do you like to feel you are in the competent hands of a good conductor? Share some titles!

What Makes a Good Fiction Story - Plot Driven or Character Drive?

Stories can be plot driven or character driven, so which is the best formula to use when writing a story? Knowing a little about both methods should help in making a decision.

Plot Driven Story

A story’s plot moves the story forward, from point A to point B. It doesn’t necessarily have to be in a straight line; in fact a course that twists and turns is much better. This type of plot creates movement and interest. It’s the twists and turns that will keep the forward momentum fresh, as well as creates anticipation. Anticipation will hold a reader’s attention.

 The plot also provides reasons and explanations for the occurrences in the story, as well as offers conflict and obstacles that the protagonist must overcome to hopefully create growth. These elements create a connection with the reader. It entices the reader to keep turning the pages. Without a plot it is difficult to create growth and movement for the protagonist. It might be comparable to looking at a still photo. It might be a beautiful photo and may even conjure up emotions in the viewer, but how long do you think it would hold a reader’s attention?

Along with this, the plot molds the protagonist. It causes growth and movement in the character. Assume you have a timid woman who through circumstances, the plot, transforms into a brave, strong, forceful hero. Where would the story be without the events that lead this timid woman to move past herself and into a new existence?

Character Driven Story
On the other hand, a character driven story creates a bond between the protagonist and reader. It is the development and growth of the character, the character’s personal journey, which motivates the reader to connect. There doesn’t need to be twists and turns, or fire works. The reader becomes involved with the character and this is all the enticement the reader needs to keep reading.

In addition to this, the character works hand in hand with the plot to move the story forward. As the character begins her transformation the plot moves in the same direction.

In some instances, such as short stories, a character driven story can work amazingly well, such as in The Story of an Hour by Kate Chopin. In cases such as this, the connection developed between the character and the reader can be more than enough to satisfy the reader. But, all in all, it seems to be the combined efforts of a well plotted and character driven story that works the best.

The Best of Both Worlds

According to science fiction and fantasy writer, L.E. Modesitt, Jr., “The best fiction should be an intertwined blend of character, plot, setting, and style.”

I agree; all elements of a story working together create stories that will be remembered.

All the aspects of a story should complement each other, should move each other forward to a satisfying conclusion, and should draw the reader in. If you have an action packed plot driven story, but it lacks believable and sympathetic characters, you’re story will be lacking. The same holds true if you have a believable and sympathetic character, but the story lacks movement, it will usually also fall short.

As with all things in life balance is necessary, the same holds true when writing a story.

~~~~~~~~~
Ignite your writing and marketing efforts with Karen Cioffi and A Writer’s World ezine. Get weekly tips and guidance, plus updates on free webinars, and TWO FREE ebooks! Sign-up today.

Writer, Can You Spare a Dime?

Writer, Can you Spare a Dime?

By Suzanne Cordatos

www.suzannecordatos.blogspot.com

Are some of your characters standing on street corners with their hands out? Do you have jobs for everybody in town? Are they puppets, simply cardboard cut-outs holding a sign? Convenient buggers, aren’t they? Need a taxi driver? Here you are. Teacher. Kid on bike. Red Herring. Our characters get a literal “job”— but is it meaty enough? Will it satisfy?

Writer, you are CEO and chief employer of the fictional world you’ve created. How do you divvy out character roles? Do the best jobs go always to the protagonist and villain? Any spare change left for the unemployed but ever-present sidekick?

Don’t get mugged!  

It is loads of fun plotting and putting together a novel with as many pieces as a jigsaw puzzle. The more complicated the plot, however, the darker the alley of keeping every character’s job in mind. I got “mugged” recently by my cousin’s daughter, Ann. At ten, is the first official kid to read my work-in-progress manuscript. I sent her a hundred pages; she recorded it on her school reading log, and I resisted the urge to ask every ten minutes what she thinks. Two weeks later, I got an email with three magical words: “What happens next?” She wants MORE!

Ann’s email was a loaded gun, pointed at me and filled with questions. Questions that caught me unguarded in this dark alley of who-does-what. The most painful: OOH, I  can’t wait to see if [minor sidekick character] gets to do something special later on!

WHAT? BACK UP THE TRAIN.

In importance to the story, this cutie-pie sidekick character she’s referring to doesn’t rank in the top ten. Remember, if we’re doing our job, readers care about the characters. It keeps them turning pages. This sidekick’s puppy had a job. A good one. A fun-to-read, momentous-moment kind of job that only the puppy could do. The puppy’s little master, however, did not. How can she help the plot move forward? I had to think quickly to save myself, before disappointing 100% of my readership—the one kid in the world who had entered my newly-minted world!

In the Harry Potter series, JK Rowling developed several minor characters. They were fleshed-out  with strengths and flaws; virtually none were just filling the hallways of Hogwarts. The author NEEDED those characters to pick up the ball and run with it in the final novel, Deathly Hallows, while the hero, Harry, was preoccupied in the Forbidden Forest with the villain Voldemort.  If JK Rowling had not taken the time to lovingly develop her minor characters into fully-formed beings, Harry’s fate might have been different.

Writer-boss, don’t let crimes of character happen on your watch. To prevent slips, try a Cluster Diagram.

Cluster Diagrams Show Poor Spots

If you are not familiar with a Cluster Diagram, do a quick Google search of Cluster Diagram images. Essentially, draw a circle in the middle of a blank sheet of paper. I wrote a quick summary of the climax scene in the center: Summer Festival. Draw lines extending out like rays of the sun and attach each line to a character name. Circle the name and add a couple lines indicating that character’s main job in the scene. Don’t leave anybody out.

Ask yourself: Who isn’t busy enough? Is that character a place holder? If they don't have a meaningful job, add one or fire them from your book. Take them out. Your writing will be tighter and your characters more memorable as a result.