Hello, there! Instead of my usual posts where I focus on TTRPG mechanics and how to run/improve them, I wanted to shift focus for a moment and discuss the art of storytelling in general. Whether you’re playing a tabletop game, writing your breakout novel, or just trying to impress your friends at the next outing, your narrative’s ability to enthrall your audience will make (or break) your experience. Simply telling a sequence of events (e.g., “I went to the store, grabbed a carton of milk, and came home”) will get the point across, but it lacks the ability to invest your audience. Even non-fiction novels, which are by their very nature accurate portrayals of real stories, do so much more to appeal to the reader’s interest.
Before we explore how to improve narratives, let’s explain how narrators use them to instill emotions and concepts into others. People are, by their very nature, self-centered; we quite literally cannot get out of our own heads. Unlike the honeybee, common ant, or the Borg, humans lack the ability to transmit and receive direct thoughts and experiences to one another; every story passes through two filters: the narrator’s presentation of the story’s events, and the audience’s comprehension of the events based on their own experiences. If Billy tells Sally about his trip to the grocery store, her acceptance and incorporation of the story depend on the details Billy provides and whether or not Sally is familiar with this particular store or grocery stores in general.
On its own, the premise of “I went to the grocery store” is easy enough to incorporate; most of us have gone grocery shopping and know what this experience typically entails. If Billy specifically mentions “I went to the Piggly Wiggly on 3rd St.,” Sally’s understanding of Billy’s story hinges entirely on whether or not she has shopped at this particular store. Let’s say this store is notorious for having long lines and rude cashiers; Sally will likely assume Billy experienced these troubles on his trip and may shudder involuntarily. These audience reactions typically occur subconsciously, but narrators can consciously lead their audiences to the reactions they desire by framing their stories in particular ways.
With that in mind…
What are Character-Focused Stories?
Simply put, these are stories in which the narrator focuses on how a character or group of characters perceive, incorporate, and ultimately react to an event or series of events, instead of focusing on the progression of plot points. It’s the difference between “The fire swept through eight towns, displacing hundreds of residents overnight” and “Jerry, a middle-aged father of two, jolted awake to the harsh burn of smoke in his chest; the next four minutes dragged into eternity as he struggled to get his family to safety.” For more of a Fantasy-genre bent, it’s the difference between, “A band of heroes must obtain the Four Relics of Shambal to slay the dragon Evilak” and “Keth and his three closest friends attempt to save their town from a fierce dragon named Evilak by acquiring the mythical Four Relics of Shambal.”
Events in character-focused narratives can originate and unfold in exactly the same manner as their event-focused counterparts; the crucial difference lies in the perspective. In plot-focused narratives, characters are simply vehicles through which point A leads to point B; the characters can (and likely will) remain relatively static unless the transition between plot points requires a shift (a curse bestowed, a new weapon obtained, etc.). Character-focused narratives flip priorities, and the plot simply becomes a means by which character traits are tested and ultimately reinforced or altered.
If we think back to how narratives work and the two filters they pass through before conveying their message, character-focused narratives allow the audience to use the characters’ emotions and experiences as surrogates for their own, allowing the story to pass through the secondary filter with greater ease. It’s easier for the audience to suspend their disbelief when the characters’ responses to unfolding events are given greater depth.
Why Should I Use This Style in My Storytelling?
As Anna Quindlen once poignantly said, “Every story has already been told.” With our unique hunger for endless entertainment, it’s unavoidable that narratives moving forward will consciously or accidentally parody, reference, or imitate portions of already-existing stories. Character-focused narratives circumvent this problem; while the plot points may cover old ground, how the characters react, evolve, and drive these points will be unique to your story. They also allow you explore personalities atypical to the plot: instead of a stoic hero defending the town, perhaps your protagonist is a grizzled, disillusioned war veteran or a mother of three who loses her family in the initial attack. How these characters adapt and move forward takes precedence over the cliche town attack scenario. In this way, with characters in the foreground and the plot in the back, the number of unique yet enthralling stories becomes infinite.
Also, this method of writing makes it easier to persuade your audience into experiencing the emotional or philosophical conclusion desired for your story. In plot-driven narratives, we often attempt to use the audience’s knowledge of a real-world event to establish a connection to the narrative. Using specific phrases or terminology, for example, one might frame a dragon attacking the village in the same ways as a natural disaster, like Hurricane Katrina, has in recent events. The problem becomes relying on your audience to know these terms and respond to them in the way you need for the emotional impact.
Character-driven narratives allow you to forgo this heavy-lifting; all you need is to capture how someone would react or internalize the experiences. Even if the audience has not experienced a natural disaster first-hand, you can use panic, doomsday-reference spouting, mob-mentalities, and uncanny level-headedness in the characters to evoke the desired response.
Conclusion
When you focus your stories on the relatable human elements (e.g., overcoming grief, protecting loved ones, hiding to save your own life), the surrounding plot can be as mundane or outlandish as you wish with little effect on your ability to connect with the audience. The journey, no matter how unusual, becomes personal. When it becomes personal, you move away from recalling a series of events to orchestrating an experience your audience will remember forever.
Until next time,
Matthew Wulf
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