When I first started writing, I came across the phrase “character-driven” in several different books on craft and in editorial ads. I saw it in descriptions for what editors were looking for, and in writing books and articles.
I had no idea what the hell it meant.
Then, later, I encountered the phrase “plot-driven,” and learned that if a piece of fiction is character-driven, it is not plot-driven, and vice-versa. That was all the explanation that was given. It gave me a slightly better idea of what a plot-driven or character-driven story might be, but the image in my head was still sort of nebulous. There was no way I could have explained to someone else what the difference was so that they’d actually understand.
But then last year I decided there were some terms and techniques that I had better get my head around if I wanted to be serious about this author thing. I found myself some books and articles about plot, arc, character development, outlining, and several other topics besides. I read all of them. My brain exploded a little, and I read some of them again. I took notes. Copious, copious notes.
And I finally learned a concise, understandable definition of both “character-driven” and “plot-driven” fiction.
Every story should have a plot line that affects the main character both internally and externally. Perhaps they are trying to save the world from a horrible super-villain, but in the process of trying to stop the villain, the hero learns something about the nature of love, or about their own demands on themselves, or perhaps that being a hero isn’t all it’s cracked up to be. Trying to stop the villain is the external story plot, and learning about love is the internal story plot.
A story that focuses on the external plot is plot-driven. The internal plot is there, but it takes a back seat to the external plot. The external plot drives what the character learns about love.
A story that focuses on the internal plot is character-driven. The external plot is there, but is the secondary focus. And the external plot is driven by the character’s internal journey.
And, as it turns out, this is the main difference between literary fiction and commercial fiction. Which puts a small bee in my bonnet, because when I first sought publishing, many agents and publishing houses stated that they considered “fine” fiction ONLY, and what they meant was literary fiction, not commercial. And this is genuinely the only difference between the two.
But the thing to remember is that a story needs both. I read a book a few months ago that struck me as well-written, with interesting world-building and a smart and sassy main character. I finished it, but when I put it down, I thought, “that was disappointing.” I couldn’t put my finger on why.
It was a week or so later that it hit me — the external plot was thin, but the internal plot was non-existent. The main character started out exactly how he wound up — smart and sassy. He didn’t learn anything about himself or the world around him or other people, or change in any meaningful way. The external plot was thin, too, but interesting enough. I could have lived with it if the main character had grown or changed in some measurable way. He didn’t. At all.
And even “fine” fiction has some sort of external plot arc — the character is striving for something outside themselves, not just experiencing self-change. In the case of one book I read, the external plot was the main character trying so hard to like his crappy job and be happy with his annoying boyfriend. He just needed to quit his job and break up with his boyfriend, but dammit, it was so satisfying when he finally did it. And he grew and changed through the experience of realizing he needed to do these things and the ultimate result of his growth was his ability to find the courage to do them.
I share all of this not because I think there are a lot of authors reading my blog, but because it helps people more intelligently critique the books they’ve read. If you can say why you liked or didn’t like a book, it can help you find more books that are like the ones you’ve enjoyed.
At any rate, I like knowing why I like or don’t like something, and I hope this is interesting for others to learn about.
I tend to feel that making readers engaged with characters is somewhat easier. You take a vaguely relatable character (sassy/sarcastic seems to be en vogue right now, actually), give them some problem to overcome, maybe a romantic interest; generally people will be engaged to some extend. Obviously doing it well is a different cup of tea again but at least the basics seem to be quite achievable. The external plot, even if maybe that’s ostensibly the focus (we’re saving the world from something! It’s super important!) tends to be kinda an obligatory element that’s really just there to hold things together and give some sense of direction.
Focusing on a plot where the character is incidental meanwhile is really hard, and I also find rare. I know some mystery series work like that; where it’s really all about the case/mystery and not at all about the lead character (and the rest of the cast almost certainly is gone for the next book) – they are just a vehicle to tell the story through – but for me that practically never works; I tend to want a protagonist that has “something” going on as well, even if it’s something small.
And I think that shows in how simple most plots really are; or at least if I sample the stuff I read. 99% of them you can some up in a few sentences and there’s rarely anything new, rarely any twist or anything else that’d make them stand out. Arguably also in that “the end” usually focuses on what the character achieved, or how they bettered their life/situation/problem, instead of an end that primarily does something else (I don’t know, save the rain forest I guess – again, mysteries are a bit of a predictable exception as those clearly are about “that’s the murderer!”). I do remarkable often end up wishing that they’d have offered a bit more in the “story” department.
Sure, I see what you’re saying. And it’s why “fine fiction only” puts a bee in my bonnet. Even when the plot is the “focus,” the MC is learning, growing, developing, experiencing — otherwise the story is flat as hell. The “fine fiction only” folks seem to have lost track of the fact that while the MC is saving the rainforest, he’s also reconnected with his toxic ex and is learning how to truly get over her. Just because the character is learning/growing through the lens of an action/adventure/quest/mystery doesn’t mean it’s not happening. The difference between character-driven and plot-driven is subtle. That’s also part of why I struggled to understand the difference for so long. It’s pretty minor.