z Another tempting generalization is that character-driven narratives, such
as 0UV'DOORZD\, rely more on psychology than plot-driven narratives,
such as 7KH0DOWHVH)DOFRQ, but that’s not entirely true either. Even
though we don’t have direct access to Sam Spade’s mind and even
though 7KH 0DOWHVH )DOFRQ is packed with dramatic incidents, the
narrative mainly works as a record of his decisions. Underlying all his
actions are thoughts that drive those actions, even if they are not directly
expressed to the reader.
z Among the characters who are largely determined by their circumstances
we might include many of the characters in Dickens, as well as those
in the works of realist American writers, such as Theodore Dreiser,
Edith Wharton, and Sinclair Lewis. Even though we have direct access
to the thoughts of many of these characters, their thoughts are not as
determinative of their conduct as their circumstances are.
z There is an intimate relationship between the sort of characters you create
and the sort of narrative you write. In fact, they may be inseparable.
You could just as easily say that the sort of characters you decide to use
determines the kind of story you write as you could say that the kind of
story you decide to write determines the sort of characters you use. You
can’t really make up your mind about one without making up your mind
about the other.
z As we’ve said, however, these are continuums, not either/or decisions,
and the same writer will try different sorts of stories and characters at
different times.
z For some writers, choosing to work from the outside in or the inside out
is purely instinctive: You just sit down at the keyboard and start to write
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that what comes naturally doesn’t work, and you may have to go back
and do it a different way.
z You can also be more self-conscious and deliberate about your choices,
thinking about what’s more important to your story: that the characters
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