This post is a continuation of my previous week’s discussion of stuck emotions. When a character feels inadequate or down on himself, it’s very hard to get a character who cares about themselves or the story. Another alternative to this situation is a character who doesn’t want to be involved in their particular circumstances–they couldn’t care less about taking over the family business, for example–and so they try very hard to convince themselves and the reader that they simply don’t care.
This is very difficult to forge into compelling fiction. After all, I hold that the basic aim of any writer is to make the reader care. So if a character doesn’t care, my first objection is that they’re making it that much more difficult for me, as a reader, to get invested in the story. It feels a little unfair. After all, I’m working so hard to get into the book, suspend disbelief, latch on to a character, inhabit a point of view, hear a voice…that I want the protagonist to be in the same boat. You’re ideally creating someone the reader can get invested in. And if it’s an anti-hero type or someone stewed in apathy, who won’t invest in herself, that’s a tough sell.
It’s realistic, sure. It happens in life, and it’s very full of deep and real emotions. But it’s hard to pull off well. So if your particular writing challenge is creating a compelling character who just so happens to be detached, pent up, hidden behind defenses, or just a straight-up nihilist, you need to crack those walls at some point, and soon. Even if it’s for a minute, even if only the reader can see it because it happens in interiority…some measure of vulnerability needs to happen.
And then, there needs to be something that compels the character to move forward. Whether it’s a very personal motivation, a private objective, a small bit of light at the end of a dark tunnel, whatever, it needs to pull them forward into the story. One thing I won’t do as a reader is suffer through a manuscript where it seems like the protagonist is being dragged along, kicking and screaming. Facets of this idea are discussed in my post on “character buy-in,” which becomes an important concept here. It doesn’t just have to do with suspension of disbelief, it has to do with the character finding their own reason to engage with the story.
Finally, if your character really does care but they say they don’t care, it better not last too long, because ain’t nobody got time for that! Protest less and get into the real telling of the tale!