Putting the Why into Characters without Reinventing the Wheel

By Michelle Styles

Realistic character creation is something all writers have to master. Different writers use different methods. Some use astrology signs, some archetypes and some create elaborate background stories in an attempt to discover the core essence of a character. There is another way – the use of enneagrams or personality typing.

Developed in the 1990s and used primarily as a behavioural management tool, the enneagram explains human nature through nine fundamental personality types. According to the theory, although people display many types of behaviour, each individual displays one of nine basic behavioural patterns when in a group situation. This pattern is dependant on the person’s early childhood and perception of the world. Each of the types has a specific mental health growth arc as well as clearly defined reactions to stress. There is no such thing as a bad or good personality type. All types are needed to achieve a healthy and well-balanced community and indeed a mature individual will display all types of behaviour. Personality types transcend time, place, race, creed, employment or sex.

After taking Laurie Campbell’s workshop, Overcoming the Hero’s Fatal Flaw, on e-harlequin earlier this year, I discovered my successful manuscripts had the protagonists with readily identifiable core personality types. My less successful ones had either characters who did not behave according to type or the conflicts were not internal. My epiphany was personality types could be used to make the internal conflicts much stronger and believable.

An examination of the nine types shows why they can be a useful tool to the novice and experienced writer alike. Knowing a character’s essence can make the core conflict easier to define in the writer’s mind.

Type One is the responsible one who is a perfectionist with high ideals about how they and others should behave. Ones fear not falling short of their standards.

Type Two is the rescuer and have the overriding need to be needed. Twos are the ones who actively search for stray dogs to take care of and are life’s natural nurses. Two fear being unwanted or not needed.

Type Three is the driven one and need to be seen to be succeeding. Threes want to be the best. If a three is a Trappist monk, the three will attempt to be the model Trappist monk. Threes fear being worthless and they desire visible success in their chosen field.

Type Four is the different drummer and wants to be independent of a group. They are more likely to be the dreamer, the lone wolf. Fours fear not having an identity and desire to create their own identity by being true to their self.

Type Five is the bluestocking who seeks knowledge and insight. They need to understand what makes the world tick. Fives fear they are helpless without knowledge and they desire to be competent, only feeling good if they have mastered something.

Type Six is the keeper of the flame and seeks security by resolutely hanging on to their beliefs and being loyal. Sixes are most comfortable when they have a network or a security system. Sixes fear not having support or guidance and they desire a world where everything is black and white.

Type Seven is the Renaissance person and is enthusiastic about new ideas and innovations. They like to be busy and tend to wonder if the grass is really greener beyond the next hill. They fear being trapped, bored and in pain and desire to find fulfilment, often through material possessions.

Type Eight is the alpha type and needs to feel in control of wherever their sphere is. Eights want to protect and defend their chosen people. They fear loss of control.

Type Nine is the conciliator and seeks peace and harmony. They fear confrontation and they desire to achieve peace by making sure others around them are good or okay.

The pairing of the two protagonists defines the core conflict. For example in The Lady Soldier (Robert Hale May 2005) Kate Allan and I paired a type three heroine who needed to be the best with a type eight hero who wanted to protect her. She has to learn to there is more to life than success and he has to learn to allow her to use her skills even if it puts her in danger.

Many writers instinctively use personality typing, but may constantly be reinventing the same scenario. A classic conflict in romance is between the type eight male and the type two female. He wants to protect but seem invulnerable himself and she wants to be needed but not to seem to have needs herself.  The jobs or the setting may be different but the basic conflict stays the same, leading sometimes to accusations of repetition.

The writer need not be limited by traditional conflicts or even her own experience if she uses enneagrams. Every type can have a conflict with another type or with a similar type. Thus, giving her more scope to create interesting but believable conflicts which are that little bit different.

 The Wisdom of the Enneagram by Don Riso and Russ Hudson (Bantam 1999 ISBN 0553378201) is a good basic primer for those interested in learning more. A free enneagram test is available on http://www.EnneagramInstitute.com .

 While personality typing will not solve all character creation problems, it can provide a tool for helping the writer to create a believable three-dimensional character without having to reinvent the wheel or continually recycle characteristics from personal experience

 Published in the RNA News January 2005 All  rights reserved.