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Lesson 28. From Agent to Patient│The Mechanics of Fiction Writing
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Lesson 28. From Agent to Patient│The Mechanics of Fiction Writing

Understanding Character Agency in Narrative

The Concept of Agency

  • The discussion begins with the question of whether a character is an active or passive participant in their story, focusing on the concept of agency.
  • The lesson aims to guide writers in understanding when and why characters should have agency, depending on the narrative context.

Active vs. Passive Characters

  • A comparison is made between highly active characters (e.g., Mel Gibson's character in "Braveheart") and passive ones (e.g., Garfield), illustrating different levels of engagement in storytelling.
  • The spectrum of character participation ranges from active agents to passive patients, highlighting various roles within narratives.

Types of Characters on the Spectrum

Agents and Effectors

  • Agents are defined as doers who drive the story forward through their actions; they act primarily in their own interest.
  • Effectors influence change without direct action, akin to figures like Don Corleone from "The Godfather," who orchestrates events through others.

Undergoers and Experiencers

  • Undergoers embark on quests but face circumstances beyond their control, such as Alice in "Alice's Adventures in Wonderland."
  • Experiencers participate passively, akin to being strapped into a rollercoaster—engaging with the story without influencing it directly.

Patients

  • Patients lack agency entirely; they endure actions done to them without recourse. This role can be engaging if juxtaposed against more dynamic agents.

Dynamic Nature of Character Roles

  • Characters often shift along this spectrum throughout a narrative; they may not remain static but evolve based on plot developments.

Genre Influence on Character Agency

Understanding Genre Categories

  • Genres categorize stories for marketing purposes but also shape how active or passive characters are perceived within those narratives.

Detective Stories as an Example

  • In detective stories, protagonists typically start with limited knowledge and agency but must become more active as they gather clues and engage with other characters.

Understanding Character Dynamics in Horror Narratives

The Framework of Suspense and Agency

  • The horror genre often features a pattern where characters, typically virginal girls or their friends, find themselves in dangerous situations, highlighting the conventions of suspense.
  • Characters begin as passive "patients," unaware of the threats lurking around them, which creates an atmosphere of tension as they navigate unknown territories.
  • Initial suspense is marked by unexpected attacks that lead to screams and jumps; over time, characters may recognize patterns in these incursions and attempt to devise plans for survival.
  • As the narrative progresses, hunted characters become more desperate and proactive, transitioning from being mere victims to agents who confront their attackers directly.
  • This shift in agency is crucial for character development; it raises questions about the outcomes of their actions and whether they will succeed or fail against the menacing forces.

Exploring Character Arcs Through Agency

  • Movement along the spectrum from patient to agent is essential for engaging storytelling; character arcs often reflect this transition as protagonists take decisive actions.
  • Understanding who acts and who suffers can inform story structure; both victim and perpetrator narratives can be compelling depending on how events unfold.
  • Agency is not inherently good or bad but serves as a lens through which to analyze character motivations and actions within a story's context.
Playlists: The Mechanics of Fiction Writing
Video description

You may hear the term agency thrown around in literary discussions. So which characters should have agency, when, and why? We'll discuss what it means for a character to have agency and how that question interacts with both genre and the story's progression. There may be no easy answer, but this lesson should serve as a good way to think about who has agency in your story and why. If you're interested in supporting this channel so I can continue to make videos like this one and others, please like, subscribe, and share with other writers. You can also help support the channel directly by visiting: https://www.rowelit.com/support The companion book for this series containing lecture notes and exercises is tailored to sharpen the skills covered in each lesson and is available through my online bookstore: https://www.amazon.com/author/p.e.rowe Purchasing a copy for yourself or a fellow writer helps to support this channel and your own writing skills.