Creating a Character Network for Enhanced Storytelling
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Creating compelling characters can be a challenging task. Do they emerge organically, or are they crafted meticulously? Many writers rely on character questionnaires, prompting inquiries such as:
- What significant childhood memory does your character cherish?
- What type of clothing do they prefer?
- What is their relationship like with their parents?
- When is their birthday, and do they enjoy celebrating it?
While these details can add depth to individual moments, they raise the question: how do these characters interconnect? After fleshing out, say, six main characters, how do you ensure they belong in the same narrative?
Inadequate character development can hinder achieving your storytelling objectives. As previously discussed regarding world-building, characters surrounding your protagonist should embody diverse perspectives on the central theme, driving transformative arcs.
The key to this approach is highlighted in John Truby's The Anatomy of Story. A pivotal point he makes is:
> "The single biggest mistake writers make when creating characters is that they think of the hero and all other characters as separate individuals. Their hero is alone, in a vacuum, unconnected to others. The result is not only a weak hero but also cardboard opponents and minor characters who are even weaker." (Truby, 57)
Truby’s solution? Develop characters as part of an interconnected web.
Introducing the Character Web
Truby elaborates, stating, “A character is often defined by who he is not. Each time you compare a character to your hero, you force yourself to distinguish the hero in new ways.” (Truby, 57)
He suggests beginning with a clear understanding of each character’s role—be it antagonist, sidekick, or love interest—and then elaborating on them through the lens of the theme. According to Truby, “Theme is your view of the proper way to act in the world, expressed through your characters as they take action in the plot.” (Truby, 71)
Theme, as per Truby, transcends broad concepts such as love or adventure; it encapsulates the message your story conveys, whether intentional or not. It’s crucial to make this message deliberate, avoiding the pitfall of characters merely serving as "mouthpieces" for your ideas. Instead, he asserts:
> “Good writers express their moral vision slowly and subtly… Your moral vision is communicated by how your hero pursues his goal while competing with one or more opponents and by what your hero learns, or fails to learn, over the course of the struggle.” (Truby, 109, emphasis mine)
Some specific themes he suggests include (pp. 112–113):
- True love requires full commitment.
- Deception is acceptable if it serves a just cause.
- Family sacrifice outweighs personal ambition.
- Seeking universal love can lead to isolation.
- True happiness comes from altruism.
These themes are far more nuanced than simply "love" or "happiness," and can inspire numerous narratives.
As you embark on story creation, it’s common not to have a precise grasp of your theme at the outset. Embrace this uncertainty; crafting a narrative is often a gradual process.
Four-Corner Opposition
Our identities are shaped by our relationships. Have you heard that you become the average of the five individuals you spend the most time with? This holds true for your characters, influenced by those around them, whether lifelong acquaintances or new encounters.
Truby introduces the concept of four-corner opposition to illustrate this dynamic. Essentially, it involves ensuring characters disagree, allowing their conflicts to define them and foster growth.
In this framework, conflict shouldn’t merely exist between protagonist and antagonist; it should extend among four interconnected characters. For instance, in a family of four, conflicts can arise among multiple relationships, such as between parents and children.
Examine the four central characters in your narrative, which may include a mix of protagonist, antagonist, mentor, sidekick, and love interest—or even additional roles. Understanding them not through a questionnaire but via comparison is essential.
Truby outlines five criteria (pp. 95–99) to effectively utilize four-corner opposition:
- Each character should exploit the protagonist's weaknesses in unique ways.
- Characters should conflict with both the protagonist and each other.
- Their values should clash with those of others.
- Differentiate each character as distinctly as possible.
- Extend these conflicts across all narrative levels, including familial, societal, and global contexts.
Next, let’s explore character development through the lens of their connection to the theme and the application of four-corner opposition.
Creating a Character Network
Defining Characters by Their Relationship to the Theme
In crafting the world of Enchantress, the thematic question became, “What does one do with power?” As revisions progressed, I ensured every character provided a unique answer to this question. Except for Celeste, all characters were initially confident in their stances. By the story's conclusion, two characters had shifted their views, while two remained steadfast.
I also aimed to establish early on how each main character relates to the theme.
Celeste’s mother, Catherine: Women possess influence through the men they marry, thus they should seek partners who allow them to lead from home.
> “You have good and just ideas, and with the right access to power, you could change not only your situation but those of everyone in the chateau and surrounding villages. Marrying the right man is the safest path to power… What you seek through magic can be achieved with significantly less risk.”
Celeste’s brother, Adam: Power is a birthright for men, which should be asserted to maintain their claims. Power belonging to others should be seized and exploited.
> “You think your power is akin to the fairy godmother’s and you can just vanish? Celeste, you’ve given me the best birthday gift possible. Thank you.”
The mentor enchantress, Marie-Louise: Those born with magical powers should utilize them.
> “If I didn’t know better, I’d say your mother is leading you astray, mademoiselle. She told you that your magic was for objects, not people? To be used calmly and rarely?”
> “Your magic is driven by your emotions; tuning in is crucial for significant change. You must feel the magic beyond understanding, and it will flow through you.”
Renee, the scientist living as a man: Power should be wielded for communal good, not selfish interests.
Renee’s sentiments on power are subtly reflected in a minor character’s dialogue early in the narrative. Eventually, it becomes clear that she has always held these beliefs.
When questioned about a master artisan’s reluctance to relocate to Paris for better income, he responds:
> “The nobility are a hassle. No one and nothing is worth weaving myself into their games.”
This sentiment mirrors Renee’s perspective.
Developing Four-Corner Opposition
Now that we understand each character's view of the theme, we can explore their complexities and push them into opposing corners. Below are five main characters along with their corresponding four-corner oppositions.
Celeste:
- Weakness: People-pleaser, prefers to follow.
- Values: Justice, magic, knowledge, family.
- Conflicts: With her mother over marriage choices, with her brother regarding her power, with Renee on the timing of justice, and with the duke concerning their wedding.
Catherine:
- Attacks Celeste’s weakness by pressuring her to marry the duke.
- Values: Control, influence, family.
- Conflicts: With Adam over his use of power, with Marie-Louise on magic regulations, and with Renee over her relationship with Celeste.
Adam:
- Attacks Celeste’s weakness by manipulating her to serve his desires, claiming her power.
- Values: Self-interest, wealth, status, control.
- Conflicts: With the duke over ownership of the chateau, with Catherine over decisions he makes, and with Marie-Louise and Renee whenever they act contrary to his wishes.
Marie-Louise:
- Attacks Celeste’s weakness by encouraging her to frequently use her powers as she wishes.
- Values: Magic, relationships, family.
- Conflicts: With Catherine and Renee regarding Celeste’s use of magic.
Renee:
- Attacks Celeste’s weakness by urging her to define her beliefs and set boundaries.
- Values: Science, love, simplicity.
- Conflicts: With Catherine concerning the decorum of her relationship with Celeste, with Marie-Louise about Celeste’s growing affinity for magic, and with the duke regarding Celeste.
Examples of four-corner opposition combinations:
- Managing the Chateau Conflict: Celeste/Duke/Adam/Catherine
- These characters clash over how to run the chateau and who should be in charge.
- “Love Triangle” Conflict: Celeste/Duke/Jean/Renee
- This group faces conflict due to differing romantic aspirations.
- Magic Conflict: Celeste/Catherine/Adam/Marie-Louise
- Here, the characters debate the purpose and timing of magic use.
Final Thoughts
The conflict and character arcs throughout this narrative hinge on the contrasting influences of Marie-Louise and Renee on Celeste’s magic. The lessons she learns from each mentor will shape her destiny. Without their presence, the story would unfold entirely differently.
Applying This Technique
Whether you’ve begun character development or not, analyze how they relate to one another. How can one character’s values highlight another’s differences? Where can conflicts arise?
Keep in mind that the resolution of these conflicts will reflect the story’s theme, so consider how your protagonist and antagonist approach the central dilemma. Which methods prove effective? Do they convey the message you intend?
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