So lately I’ve been thinking (Amazing! I know!) about what it is to be an individual, and how as writers we can create individuals who mirror real life truths on our page.
“An individual is someone who cannot be neatly classified or categorized because he or she cannot be easily dissected or analyzed, divided into definable parts. The individual is, first and foremost, a being-unto-itself, a unique wholeKevin L Stoehr, “You Who Philosophize Dylan”
The problem is that people are hopefully complex, yet often in writing there’s this overall simplification of story and character that does not mimic that complexity. It seems like corporate media America has decided that people want simple things, which is fine, as long as there are also complex things to balance out literature, particularly children’s literature. And we all buy into it.
M. T. Anderson talks about something pretty similar in an interview with Joel Shoemaker in VOYA back in 1999.
But maybe that drive towards the simple is something that we should make little rebellions against. Maybe instead of following the grade-school description of what a story and genre should be, we should be fiddling around with that description.
Maybe instead of simplifying our characters we could expand them, make them more complex than hairstyles and clothing choices, than ‘good girl,’ ‘good boy,’ ‘bad child.’ And I’m not talking about giving the evil villain one redeeming quality, I’m talking about giving the evil villain a complex identity.
Making Things Predictable
When my daughter Em turned 13, she had one major gripe with the books she read. She said that most plots are too predictable. She said that most characters just have one defining trait, and well, that bored her.
I’m just worrying that maybe we should be putting some emphasis back on complex stories and characters for the big-time readers who are losing their faith in books. I’m not saying to rid ourselves of the simple stories, I’m just saying we should embrace the complex, too.
I guess, I’m just worried that in our surge to make lots of money by reaching massive audiences we are making out stories too simple, our genre choices too straight forward.
And we fall into traps because we’re so afraid nobody will buy or understand our books. We don’t want to scare off readers with something difficult to read. We want to keep things straight and common, no eccentric teachers, no bizarre-o main characters. We make sure the character always has a clear want and they go after it. We make sure the main character isn’t too complicated. Some of us follow formulas and plotting rules, and that’s okay. It’s not bad. I just don’t want it to be the only way. And I don’t want the authors who brave themselves up enough to deviate to be blasted.
Someone asked me why I made Belle have seizures in TIPS ON HAVING A GAY (ex) BOYFRIEND and not have those seizures be an active part of her character development. Okay, first off, I did it because that’s how Belle is. Her epilepsy isn’t about her character any more than having thick hair is about her character. It doesn’t have to be.
It’s only by treating epilepsy as a condition rather than a defining character trait that we can:
- lessen the stigma of epilepsy
- create a character who is an individual
And obviously this doesn’t just apply to epilepsy. It applies to every condition and physical trait that can cause stigma. But we can’t do this is we make our characters too simple, too one dimensional. It’s only when we make complex INDIVIDUALS that we can really battle stigma and stereotyping and all those things that we don’t want to perpetuate.
So what I want to know is what happens if we keep making narrative more and more simple. What happens to our minds? What happens to our books? Do we become numb? Do we look sideways at books that aren’t simple? Do we become so used to simple that we start believing it’s complex? And has that already happened? I hope not. I really, really hope not.
Writing simple can be complex
But there’s another side to things. By making the choice to have a character have hobbies that aren’t necessary to the plot, to quote philosophers occasionally in a romance/horror novel? By making a science fiction origin story, clean and easy to read and focusing on a girl? To make a character have epilepsy but not be defined by it? Those are simple writing choices that can have complex ripples.
Don’t be afraid of the ripples.
Joel Shoemaker, “Hungry . . . for M.T. Anderson: An Interview with M.T. Anderson,” VOYA 27, 2 (June 2004) 98-102.
“Bob Dylan and Philosphy.” Edited by Peter Vernezze and Car J. Porter. Chicago: Open Court Press, 2006 182-193.
To follow that up, I give you a podcast that talks about writing and poop texts.
IN THE WOODS – READ AN EXCERPT, PREORDER NOW!
My next book, IN THE WOODS, appears in July with Steve Wedel. It’s scary and one of Publisher’s Weekly’s Buzz Books for Summer 2019. There’s an excerpt of it there and everything! But even cooler (for me) they’ve deemed it buzz worthy! Buzz worthy seems like an awesome thing to be deemed!
You can preorder this bad boy, which might make it have a sequel. The sequel would be amazing. Believe me, I know. It features caves and monsters and love. Because doesn’t every story?
You can buy limited-edition prints and learn more about my art here on my site.
PATREON OF AWESOME
You can get exclusive content, early podcasts, videos, art and listen (or read) never-to-be-officially published writings of Carrie on her Patreon. Levels go from $1 to $100 (That one includes writing coaching and editing for you wealthy peeps).
WHAT IS PATREON?
A lot of you might be new to Patreon and not get how it works. That’s totally cool. New things can be scary, but there’s a cool primer HERE that explains how it works. The short of it is this: You give Patreon your paypal or credit card # and they charge you whatever you level you choose at the end of each month. That money supports me sharing my writing and art and podcasts and weirdness with you.