When I speak to book clubs and other groups of readers, I’m frequently asked if my characters are like me.
And they’re really not—the books would be boring if the protagonists were like me.
But I’m not telling the whole truth when I dismiss the question. Because in some ways, they are.
In particular, I have one protagonist who behaves very much like me during social gatherings. Beatrice watches instead of participating.
No matter how much I’m aware of this issue, it constantly creeps into my writing. I know it’s the way this character is. It’s in keeping with her personality (and no, her personality isn’t like mine). It means that I’ll rewrite a handful of scenes in each book in this series—either completely rewrite them, or change the dialogue and action around.
Beatrice is content to watch and listen to others. She’s gathering information and thinking thoughts. Neither of these things are good for a protagonist to do.
Unfortunately, her sidekick is a scene stealer. This doesn’t help. Meadow makes witty observations and sometimes generates conflict through her plain talking. These things would be all right—if the protagonist was on center stage with the action.
Fixing the problem isn’t too difficult—it’s mainly just important to be aware of the problem. Readers, who usually identify closest with the protagonist, aren’t going to be excited about taking the back seat in the story’s action. Who wants to watch a watcher?
Fixing it: If there is a scene where the protagonist isn’t really doing anything, or is listening/watching when someone else is doing something, I’ll rewrite the entire scene.
If there are scenes where it’s mostly a dialogue problem—the protagonist is listening as someone else is ruminating about the mystery or asking questions of cops or suspects—I’ll change the dialogue so that the protagonist is spearheading the investigation.
There are people like this. I’m like this. But this trait doesn’t fit the protagonist job description.
We should push our introverted protagonist. They can be curious, adventurous leaders who like to take charge and fix problems and save the world. They’re proactive people. They can and should have flaws…but hanging back to observe and react shouldn’t be one of them. Not on a regular basis, anyway. They’re the ones who need to actively observe—to take what they see and run with it.
Do you ever have to spur your main characters to get in the front seat?
Image: MorgueFile: Jusben
I’m sure a lot of writers are like this. Good thing we know to make our characters active and not passive! I do catch passive scenes in my writing, though. It’s lazy writing. Thank goodness for revisions!
Happy reading and writing! from Laura Marcella @ Wavy Lines
Elizabeth, I’m not an author but I wonder if there’s a little (or more) of the writer in his or her character(s). Is it possible to write about characters without the influences of one’s own traits, characteristics, experiences, cultures etc? Is it also likely that some of that could creep into a book without the writer even knowing it? Subsconscious writing, as it were.
Elizabeth – What an interesting topic!! I actually like Beatrice’s introversion, but I know what you mean about wanting the protagonist to take the lead. I run into that too with my own protagonist, because he’s an amateur sleuth. So I have to look for ways to keep him a main part of the investigation even though he doesn’t have official status. It’s not easy!!
Laura–Right. We know it and we can fix it! And it’s easy to fix. Should be easy to *prevent*, too, but it’s harder to prevent it with this particular character.
Prashant–I’m afraid you’re right and I’m always hoping I’m not lying when readers ask me that. I’m hoping they readers are *really* asking–have you *based* a character on yourself? That answer is a resounding no.
But bits of myself–usually odder bits–work their way in. Habits. Things that worry me. My bad traits. Things I wish I could do but can’t do. Those tend to get in there. What I don’t do are what’s called “Easter eggs.” They’re allusions to things that only my family would know or a particular group of people would know. (http://en.wikipedia.org/wiki/Easter_egg_%28media%29) . Figure that’s author intrusion, so I avoid it. Although sometimes my family (usually my mom and dad) will call me out on things that are in my books–and I hadn’t even consciously realized I’d put them in.
I have somewhat of the opposite problem. Not really a question of who’s driving, but my strong tendency toward introspection means I sometimes forget to let the other passengers in the car have their moments…and much as I hate to admit it sometimes, anything that’s entirely about me is just not all that interesting. :-)
Elizabeth, thank you for the response.
My main character has no problem taking the driver’s seat. He might even run over a few people in the process. However, I do have to watch his moodiness and keep it under control. That can take him out of a scene where he needs to dominate more.
Interesting.
I’ve not had this problem with protagonists, yet. I can shove them into action with general ease (unlike myself). They’re often fighting the “too visible” part of the equation trying to be invisible during more notorious activities.
I do have to guard against “the quip” which my characters inherit. The too clever aside or the observation where none is needed: these I fight.
I will watch, though. I have had my characters doing those things I’d like to do but cannot bring myself to execute (like play the piano after dinner at a party). I’ve avoided having them hide in a corner, look at the bookshelf, and nurse a scotch. (My M.O.).
Prashant–You’re very welcome! Thanks for coming by!
Alex–Interesting! Yes, my Beatrice is moody too. Hadn’t thought of it that way.
Margot–Oh yes, the whole amateur sleuth thing. I know exactly what you mean! Always interesting trying to come up with a believable reason for them to be involved.
It’s a tricky thing, but there are actively introverted protagonists out there. And mysteries are pretty much where they reside — because in a mystery, thinking is action.
I don’t know how John Le Carre can write whole long chapters which reside entirely inside a character’s head (as the character sits and reads a report, for instance), but he manages it.
On a simpler level, I think the key is that the character is listening and thinking actively — developing theories, drawing conclusions, deciding what to do next. (And sometimes, having to make an adroit move to avoid actually talking to someone!)
Michael–Ha! Actually, as you mentioned, introspection is another writerly trait. Only natural to have a character like that.
As a matter of fact, I’ve got that problem with a different series, different protagonist. She always commands every scene. I have to try to rein her in a bit.
Jack–Each of us has these bits that sneak into our writing. I like that your character wants to make quips and clever asides. :) Really, that can probably be turned into an endearing trait.
It’s a lot more fun, I think, to write things that we’d like to be able to do and can’t do. Sort of helps us live vicariously.
Yeah, all of my protagonists would be hiding behind potted plants at parties if I let them do their own thing.
The Daring Novelist–Interesting! I’ve never really thought about it that way, but the mystery genre is populated by introverts, isn’t it?
Well, Le Carre can manage it because we was a much better writer than I am…ha!
And you put your finger on it–active observation. Using the information to spur them into thinking and planning and moving things along. Not just endless mulling. Writers, of course, have endless mulling down to a science, but that doesn’t mean we should let our characters get away with it.
“If there is a scene where the protagonist isn’t really doing anything, or is listening/watching when someone else is doing something, I’ll rewrite the entire scene.” What great advice. I’m going to use this when judging a scene.
This is an interesting post. I am a novice working on my first novel. I am still in the planning stages at this point. The problem that I am having is that one of my characters, a main character but not the protagonist, is coming through much more strongly than the protagonist. I have debated making her the protagonist, but that isn’t possible. The protagonist is from present day and the other character is from 1871. Through dealing with this other character (she is a ghost) it helps my protagonist overcome some issues by the end. So, they are both very strong. Is it possible to have two protagonists from two different periods, or would the ghost be her sidekick? Thanks for your thoughts. :)
I too have been thinking about my main protagonist and our similarities and differences, Elizabeth. Though we do share some traits, the character is very much an extrovert. It’s great fun having her do things I’m too shy to do. I guess I’m living vicariously through her. My hope is some of it will rub off on me!
Clarissa–Great! Hope it helps.
Rebecca–I think it’s fine to have a very strong sidekick, actually. I’ve got two series with them: the Southern Quilting mysteries and the Memphis BBQ mysteries. The sidekicks are so strong, so vibrant that honestly, I think readers could get *too* much of them if they’re on stage too much. I give my strong sidekicks busy lives and distractions so that they have other things to do besides steal scenes from my poor protagonists. For you, I’d leave the ghost in there, but keep her busy with other stuff– perhaps come up with some kind of arbitrary “rule” that keeps her away…maybe each time the ghost appears, her power is diminished a little or maybe each time it gets harder to come back to the modern day. Or maybe the ghost has other times/eras to call on and people to visit. Or maybe the ghost isn’t as interested in interacting with the protagonist as the protagonist is in interacting with *her*.
If the series flies, you could always do a spin-off from the ghost’s POA…even a short story as a promo piece or a December freebie.
Some people do dual protags very well and switch back and forth. For a novice..it’s tricky. Read this post; it’s very helpful: http://thestorydepartment.com/dual-protagonists/
Jeanne–I keep hoping the same thing! I’ve got one extroverted protagonist…maybe she’ll influence me to step out more. :)
The main character should not only be in the front seat, she should be at the steering wheel and following the GPS that leads to her goal in the novel.
Marilynn–Even better! And absolutely correct.
LOL! My protags would be SO boring if they were like me!
Julie–Exactly! I can’t even conceive of writing something interesting enough to print about me. Hmm. A woman who drives carpools, observes life around her, and makes up stories in her head all day…not much of a hook there.
One of the things that will frustrate me when reading is a passive hero or heroine. S/he definitely needs to be in the driver’s seat – even if s/he is steering the car the wrong way down a one-way street!
I like funny, colorful sidekicks, but yes, they can steal a scene.
Beverly–Exactly. Because the protagonist is the one that the reader is trying to identify with!
I have to beat back my sidekicks with a stick… :)