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On the Autonomy of Character (Or: How I Fucked Up and am Now Fucked)
Hi! It's me. It's Clove Gardener, the writer who was diagnosed as schizoaffective at age 12 but 15 years later was informed that they would've likely been entirely neurodivergent if not for the severe C-PTSD that those doctors in their childhood missed at the time. Oops. Turns out I just have a big imagination, and that's going to come across strong in what I have to talk about today.
I'm a big proponent of character autonomy in writing - always have been, always will be. I don't outline more than a loose conception of what I'd like to happen, but as I say that I know there's a chance that i might not. Because what I hold highest in my work is my sense of character, which often results in my characters being the ones that get to control what actually happens.
I hear a lot of writers allude to this in posts on here, but they don't go into detail. I'm going to try and explain what that means to me in an attempt to make the process make more sense to writers who prefer a bit more control and structure.
(edit: this is a ramble be warned)
For the most part it's not too obtrusive. I'll use my novel Blind Trust (E-Book available now, paperback hopefully coming out next week) as an example. There's a point in writing it that Edgar, our befuddled initial narrator, learned some information that would really come as as a shock to his love interest Scott.
Well, okay, I mused as I wrote it, he would want this to be a secret. I'll have to navigate that.
Counter to that thought, Edgar ended up telling Scott immediately. Literally, as soon as the two of them were alone. Because by then, even though I knew it would make more thematic sense, I had enough of a grasp on Edgar's character to know that he would not be able to keep this to himself.
That's usually what it looks like. Small ripples that change the current, but ultimately keep the boat riding easily. Then, a solid 100k into the sequel Migration Patterns (Also I just realized I hit 100k yay me), my cast made the biggest executive decision of the story so far.
Let me explain. Where I'm at right now, Katy Delaney and her brother are in Nebraska, and they have to drive a few states over to Oregon. The problem is that Katy is currently having her brother's house patrolled constantly by guards from Stillrush Outreach Center, the closest witch town. This includes three birthrights, one of which being Fern, a deaf ex-Navy Seal.
So that was my problem. These guards are tasked specifically to keep Katy safe, meaning they aren't going to want her to fuck off for no good reason. She needed to escape, right? That's what I thought. That's what Katy and her brother thought too. So after some brainstorming with my wife I ended up devising a ploy for them to fake a fire that would allow them to escape in the following chaos.
Here's the thing, though - and this really centers on the fact that Fern is causing me a lot more trouble than I expected for a character that was meant to be a one-off escort. The plan was to make enough smoke in a trash can fire to trigger the alarm and call a truck - but of course the guards would see it too.
Two Academic witches don't pose too much of an inconvenience - they're rule followers, they know to wait for authority. Even the two less-experienced birthrights would wait for orders before trying anything. Fern, though. Jesus Christ. Fern had years of training and an immense knight's complex, so before the firetruck even had a chance to get there they burst through the front window in case she needed to be rescued.
I didn't plan for this, but it made sense. Birthrights aren't typically bad people - they aren't all perfect, but birthright magic is typically used in the name of either social services or community good. So if someone needs help, a birthright helps - it's just a part of the culture. It definitely clashed with my plans to have Katy escape and get on the road.
And it also immediately made Katy feel like a total asshole, because of course it did. She typically gets itchy and uncomfortable around shows of heroism and goodness, even though at her core he is very much a good person. So now Clove, the writer wants Katy to book it and go on a fun road trip with her brother. But Katy Delaney sees someone who got hurt trying to save her from a danger that she made up, and she immediately thinks "well fuck, now i have to help".
So she helps Fern out of the house, and once they get themselves patched up and Katy meekly explains the weird prank and the situation it was trying to solve (Trying to keep the spoilers at a minimum), Fern is silent for a long time. Then they make a very simple conclusion.
I'm coming with you, they say.
Now Clove, the writer, the one who brought these people into existence, is like "NO. I DID NOT PLAN FOR THIS. I HAVE TO WRITE TWO MORE BOOKS AND YOU WERE NOT GOING TO BE IN THEM, FERN. WHERE DO YOU GO NOW? YOU'RE JUST GOING TO OREGON?"
But Katy feels guilty. Katy feels tired. Katy's very disorientated by how much she's suddenly feeling.
"I DO NOT THINK YOU'LL LIKE IT IN BLUEROSE, FERN," Clove, the writer, tries to insist. "I DON'T THINK THE PEOPLE IN BLUEROSE WILL LIKE THAT YOU HAVE A GUN AND KNOW HOW TO USE IT, FERN."
But Fern feels obligated to Katy. Maybe she reminds them of someone they used to know. Someone that they failed in the past and refuse to fail again.
"I DID NOT PLAN FOR GUN-TOUTING WITCHES TO BE THIS BIG A PLOT ELEMENT IN MY COMFORT-CORE ASEXUAL FANTASY SERIES, FERN," Clove wails inside their head.
It's too late, though. Clove is weaker than Fern and as much of a bleeding-heart as Katy insists she isn't. Katy agrees, and now I have two and a half books that now must at least make reference to an ex-military witch who's quick with a gun and canonically loves ska.
I don't have an inspirational ending for this. I truly don't. I'm gonna do it, because I know it's what the characters would do, and shoving them in a mold that does not fit just to appease my false sense of ego would turn storytelling into masturbation.
So yeah, guys. Fern is here. They don't have a first or a last name or any real appearance other than tall and I think tattooed, but fuck it. Fuck it. Whatever, guys. You win.
#writeblr#writing community#writers on tumblr#authors of tumblr#on writing#writing#queer writers#migration patterns
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your edits are lovely! could you tell me what editing programs you use pls? and how did you learn to edit? any tutorials you followed or were you self-taught? thank you!!
Thank you so much for your kind words! They mean a lot to me 🌸
I'm self taught and figured most stuff out by myself through trial and error so I can't really direct you to any tutorials.
As for programs I mainly use
Pinterest and Google images to find pictures for my edits and to find suggestions for colour palettes to use
PhotoRoom (free version) for removing the background of an image and to make it one colour
Canva (free version) for the assembling of the edit (I.e. with shapes and the gradient background and everything)
Canva, InCollage, PicsArt (all free version) so I can go wild with filters because let's be honest filters are fun lmao
These are all mobile apps because my laptop isn't really in a shape where I could do graphics with it (it's an old thing but it does what it needs to for university)
I hope this helped :)
#anon#asks#I'll explain the process of how a edit comes to be in more detail (hopefully in a way thats understandable) later :)
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