Tag Archives: definitions

Technique

Plot Driven vs. Character Driven: I do not think it means what you think it means.

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When I first heard the terms “plot driven” and “character driven,” I immediately wanted to classify my work as the latter. The term “plot driven” makes it sound like our characters are jerked around without motivations or any other reasons save it be that “I, the author, need you do to such-and-such.”

That’s not my story, we claim. In my story, the characters are the driving force. They make the decisions (based on the motivations which I carefully crafted for them) that bring to pass those plot action. They are more than just cookie cutter cardboard characters who get jerked around like marionettes.

This usage is so common that I feel bad for imposing the prescriptivist label of “wrong” on it, but I want to note that there are more than one way that these terms are used, and if you’re using these terms, it’s really important to understand how other people are using these terms.

At Edittorrent a couple years ago, editor Theresa Stevens defines these terms—and reminds us that they’re not mutually exclusive:

Most writers use both character and plot to drive the story forward. Keep that in mind as we go through the ideas in this post. It’s not an either/or. It’s a sometimes this/sometimes that/sometimes a blend of both.

In the simplest form, here are two definitions.

Character-driven: When something about the character’s essential self leads to a particular action or event in the story.

Plot-driven: When a character takes a particular action so that the result is a particular plot point.

(A little too abstract? Theresa gives a good example in the post.)

These definitions work on a macro level as well. When the basic story is driving toward a particular event or plot outcome, that’s technically plot-driven. When the basic story is more about the character’s internal growth and change, that’s technically character-driven.

Many genres of fiction, including mysteries, thrillers and romance, are inherently plot-driven. There is a set outcome: finding and stopping the bad guy, happily ever after, whatever. There is a perscribed plot formula—and if you violate it, writer beware.

However, as Theresa notes later in the article, these formulaic genres also have a specialized use of these terms. In romance, for example, there is both an internal plot (the romance) and usually an external plot (which might be a mystery or basically any other type of story). These plots influence one another an interact.

The internal plot, the romance, has a set outcome: happily ever after—like a plot-driven story. But the plot itself has more to do with the character’s inherent attributes, growth and change than about specific events and actions, like a character-driven story.

Conversely, the external plot, often does not have a set outcome: can they fix up this old hotel? Can they win over his domineering invalid mother? Can they overcome their business rivalry—or might they both lose/quit their jobs? This plot line is driven by events, making it plot-driven. But without a set outcome, it may or may not ultimately be a plot-driven storyline.

Confusing enough for you?

The bottom line, however, comes straight from Theresa:

Now, you’re probably wondering why this matters. Who cares if your story is plot-driven or character-driven? The truth is that the technique will not show in the final manuscript. When I read a book, I can’t tell if they started with a character or an event. And I shouldn’t be able to.

You can start with a character and generate events that suit him or her (as long as those events eventually become a coherent plot). Or you can start with plot and generate a character that suits it (as long as that character eventually becomes a consistent, rounded person). But whichever you use, the end product should most likely have both external plot and internal conflict and growth—coherent plot and rounded characters, character growth and motivated events.

(Important exception: literary fiction may be external plot optional . . . but this may or may not be why literary fiction gets a bad rap from time to time. However, character-driven plots are usually the most important aspect in literary fiction, tracking a character’s emotional journey and change.)

Want to learn more about plotting or creating effective character journeys? Check out my free writing guides!

What do you think? Do you start with plot or character? Can you tell what others start with?

Photo credits: marionette & puppeteer: Asian Art Museum; dash & wheel—Ted Fu; steam engine drive shaft—Matthew Hine

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Mechanics

Stealing Word Nerd Wednesday!

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I am absconding with Annette Lyon’s popular feature, Word Nerd Wednesday! Mwahaha! And to totally misappropriate it, I’m posting on a Friday!

I think you now understand how I write from my villains’ POVs.And speaking of characters, and keeping with our theme this month, I wanted to focus on two specific words that many people use interchangeably: sympathy and empathy. I realized that, while I sense a difference, I can’t really say for certain what it is. So I turned to some dictionaries.

Sympathy
From Merriam-Webster: a “relationship between persons or things wherein whatever affects one similarly affects the other,” “mutual or parallel susceptibility.” Also, the “inclination to think or feel alike.” The American Heritage Dictionary, via Answers.com, agrees: “A relationship or an affinity between people or things in which whatever affects one correspondingly affects the other.”

Empathy
From Merriam-Webster again: the primary definition is “the imaginative projection of a subjective state into an object so that the object appears to be infused with it.” The other meaning is “the action of understanding . . . and vicariously experiencing the feelings, thoughts, and experience of another.” The American Heritage definitions reverse the order: “Identification with and understanding of another’s situation, feelings, and motives” and “The attribution of one’s own feelings to an object.”

What’s the difference?
So let’s apply this to our characters. . . . Sympathy is an affinity between the character and the reader—when something happens to the character, the reader feels it. Or, to cut and paste one of the definitions again, it’s “the [readers’] act or power of sharing the feelings” of our characters.

Empathy, on the other hand, is the reader identifying with and understanding the character’s experiences and feelings, possibly to the level of vicariously experiencing them. Which, oddly enough, sounds very much like the same thing. However, Roget’s Thesaurus (via Thesaurus.com) gives an interesting distinction:

sympathy means the stimulation in a person of feelings that are similar in kind to those that affect another person; empathy means a mental or affective projection into the feelings or state of mind of another person

At the same time, it lists sympathy as a synonym for empathy and vice versa. So what is the difference? Let’s dig deeper: get out your etymology gear.

(Um, guys, what’s with the bee suits and the bug jars? I said etymology, not entomology. . . .)

Etymology
Sympathy and empathy aren’t just extremely similar concepts; they’re very similar words with similar roots. (This is a shout out to the great state of North Carolina, which required me to learn word roots my senior year of high school.)

  • em– is a Greek prefix that’s found in words like instill, imbue, endow and embed. As you can see from those examples, they all mean “in” in some way—to put in, to spread in, to place in, etc.
  • sym– is a Greek prefix found in words like symphony, symmetry, synesthesia and synecdoche (um . . . don’t worry about the definitions on those two 😉 ). Those examples aren’t the most transparent, but it means “with,” or “together.”
  • pathos is a Greek word meaning feelings—or suffering.

So empathy would be instilling the character’s suffering in the reader, while sympathy would be making the reader suffer with the character. Still sounds pretty similar, doesn’t it?

So, really, what’s the difference?
The bottom line: there really isn’t that big a difference between the definitions of empathy and sympathy. ‘Round these parts, I’ve used “sympathy” to denote the ultimate goal of “reader identification”—inducing the reader to feel what the character feels, and to understand those feelings deeply. “Empathy,” in this paradigm, would be one technique used to instill those feelings.

So happy Word Nerd Wednesday. On Friday. And here, instead of Annette’s blog. (And no, actually, I didn’t ask Annette’s permission. But now I ask her forgiveness. *bats eyelashes* Please? I did it as a favor when you said you were so busy you didn’t post WNW this week. And while this is no Ellis Island mythbusting, I hope that this is an acceptable offering.)

What do you think—is this a distinction without a difference? Or are their nuances in the commonly accepted connotations of “sympathy” and “empathy” that dictionaries fail to capture?

Photo by Steve Woods

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