“Pick Up a Baton and Orchestrate Your Characters!

Are your characters earning their place in your fiction? When they appear on the page do they make your story move? If you said “Yes!” then you don’t need to read on. But if you think your characters are sitting around like a bunch of goof-offs, waiting for you to entertain them (when we all know it’s supposed to be the other way around), a tip I learned from Bruce Holland Rogers might be your salvation.

By way of introduction, Bruce Holland Rogers does many things extremely well — one is teaching fiction in the Northwest Institute of Literary Arts’ MFA program. Another is writing ultra-short fiction; he understands the need to make characters accomplish much in few pages. Find him at http://shortshortshort.com.

Bruce’s tip: character orchestration.

Briefly (and I’m paraphrasing), each character in your fiction should have a combination of weak and powerful traits. Characters can, depending on the circumstances or their needs, act from their strong or weak position. Now, here’s the clincher — in a well-orchestrated set of characters, each pair offers some contrasts and opportunities for interaction that could only happen between those two.

What I take from this is that a writer needs to think about her characters in relation to each other, rather than as stand-alone characters. That is, consider what qualities, needs, goals and so on you can give to one character that will enable you to illustrate aspects of the make-up of another character, or create conflict and tension on the page, when you put those characters together in a scene.

Bruce suggests that a character (let’s say, your protagonist) should have some strong elements of similarity and contrast with several other characters. That is, don’t overload one poor member of the supporting cast with all of the protagonist’s similar and contrasting traits. Spread the wealth, share the load. Allow each character to come to life through similarities to, differences from, and interaction with, a variety of your other characters.

Once you have created your cast, you can then orchestrate their interactions so that your characters earn their place in the story and so that your story moves ahead. How? Keeping in mind the strengths and weakness of your characters, their similarities and differences,and how they will act or react when in the presence of another character, you can decide which characters you need in a scene in order to cause the conflict, response or result that you desire. Then let them do their job.

Keep this in mind when you revise as well. If you find a scene doesn’t work, or is lacklustre, take a look at the characters in the scene. The characters must be there for one reason, and one reason only — to advance the story. Perhaps your scene is stagnant because a character is acting contrary to the traits you assigned — align the character’s actions or reactions with the traits. Perhaps the character doesn’t belong in the scene at all and is merely cluttering the scenery. Remove the lay-about.

And that last point is where I meet the biggest internal resistance when I try to look at my work critically. As a disciplinarian, I am weak, weak, weak.

I love my characters. I had fun creating every one of them. I have a great time letting them just fool around on the page. But, if I were to put sound to their antics, it would remind you of an orchestra tuning instruments. Okay for a while, but eventually really, really annoying to the audience.

There comes a time, Bruce would tell me, when I must pick up the baton, take charge of the rabble-rousing gang of goof-offs that are loitering in my manuscript, and direct them to make music. Or get off the page.

Pick up your batons, writers. Make beautiful music!

Related Posts
Filter by
Post Page
Developing a Writing Life Advice / Suggestions Featured Fiction New Fiction Interviews (all) Author Interview Series Flash Talk Essays/Articles (all)
Sort by

“An Ark of Mimes”

Only those who were there during the storm have the understanding of what happened and why. —Tara A
2017-02-27 09:36:55
kcstewart

8

“I Hove the Wreck”

Baton Rouge to Oxford, MS, the sunset a blast of orangey-red, trees sparse against the brittle clouds, I questioned
2016-04-11 06:02:04
534mu5

8

Author Interview Series: with David Corbett

David Corbett’s first novel,
2015-07-21 06:00:02
corbett

8

Nothing Stands Still: A Conversation with Novelist Eleanor Morse

Eleanor Morse is the author of White Dog Fell from the Sky, a novel set in southern Africa in the
2015-01-15 06:25:35
brace

8

“Flash Fiction: Bounded in a Nutshell”

That effective fictional narratives have for ages arrived in assorted sizes –  including those small enough to wh
2014-09-01 09:00:33
rtsmith

8

“Story Dissection”

Here’s all that is needed to dissect the story: Thematic Elements 1) The man loves his wife, as in t
2019-07-10 09:35:19
dryan

0

The Daily Comics: an Essay in Frames

 Monday i. When I see my son drawing,
2019-02-06 12:52:33
newberry

0

“Running for Avocados and Writing from Bears”

Chad Lutz Alice Walker Graduate Workshop October 17,
2019-02-03 11:01:30
chadlutz11386

0

A Review of Alligators at Night by Meg Pokrass

There’s this thing that Meg Pokrass does in her new flash fiction collection, Alligators at Night (Ad Hoc Fiction, 2
2019-01-10 23:46:28
charmwilk

0

About Charlotte Morganti

Charlotte Morganti has been a burger flipper, beer slinger, lawyer, and seasonal chef de tourtière. And, always, a stringer-together-of-words. In addition to her law degree, she holds an MFA in Creative Writing. Her short fiction appears in Tahoma Literary Review and The Whole She-Bang 2. Her first novel, The Snow Job, was a finalist for Crime Writers of Canada’s Unhanged Arthur award in 2014 for the best unpublished crime novel. She lives on the west coast of Canada with her husband and the quirky characters who populate her fiction.