by Selene Grace Silver
Developing unique characters is the most important thing a writer does, especially in genre fiction. Characters shape the action and trajectory of a story. They make the reader and audience care about the story. And, ultimately, they make a story unforgettable.
When we read Pride and Prejudice, we don’t imagine what it’s like to fall in love with someone we don’t like at first sight; we imagine what it’s like to be Elizabeth Bennett falling in love with Mr. Darcy, or to be Darcy trying to earn Elizabeth’s love.
Researchers tell us that reading fiction helps people develop empathy. Readers don’t develop empathy by solving the mystery, falling in love, or going on an adventure. They develop empathy by connecting with characters and living the story through those character’s experiences.
Creating memorable characters requires developing their personalities deeply and widely. Listing a character’s physical attributes and exploring their backstories and emotional wounds helps us describe them and understand their motivations, but doesn’t necessarily help us show their actions on the page.
Fortunately, using personality theory with its well-documented traits is a fantastic way to bring our characters to life on the page.
Based on the Myers-Briggs theory and originally developed from psychologist Carl Jung's turn-of-the-century work on extroversion vs. introversion, these types are the most dynamic system for understanding personality traits and how they manifest in people and in characters.
Professional psychologists study and develop personality theory from extensive observation and research. Versions of Myers-Briggs theory get taught in university courses. Corporations and the military use it to determine job placement for new hires and recruits. Writers use it to create characters.
Before we explore using personality theory to develop characters, it’s important to understand two important words underlying it: tendency and preference.
The 16 personality types are scored on a spectrum. Classification depends on how someone tends to be. Of the hundreds of individual traits, a single person can exhibit all of them at some time or another, depending on where they fall on the spectrum. The theory asserts that some types prefer to be punctual more than other types, not that tardy types are incapable of arriving on time for their own wedding. Also, personalities, like tendencies and preferences, can change for an individual as they mature. The flexibility of the system actually makes it the best theory for shaping authentic fictional characters and their arcs.
The 16 Personalities/Myers-Briggs theory combines four sets of paired traits on a spectrum from low to high to produce 16 unique types:
Those traits are then represented by the associated letters. For example, in Pride and Prejudice, Elizabeth Bennet is an ENFJ—favoring extroversion, intuition, feeling, and judging, while Mr. Darcy is an ISTJ, favoring introversion, sensing, thinking, and judging.
Most people slide one way or the other in each category.
Some people tend to be extroverts, meaning they are happiest when around other people in social situations, while others tend to be introverts, meaning they are happiest when alone or around only a few people at a time.
Extroverts can still like reading a book, but they’ll tend to talk about the book with other readers before, during, and after. Introverts can enjoy large social gatherings like family reunions, but they’ll tend to be the first going home at the end of the night.
When faced with a decision, an individual who tends toward sensing asks for other people’s opinions—sometimes a lot of other people’s opinions—before they make up their mind. An individual tending towards intuition is more inclined to follow their instincts when they make decisions.
Thinkers place greater value on facts and objectivity, while feelers place more importance on emotions.
Perceivers are slower to make decisions, preferring to keep their options open, while judgers prefer to make quick decisions before moving on. Judgers also have fewer regrets if the decision turns out to be a poor one.
As we mature, we often become less extreme, and even, on occasion, slide across the middle to an opposing trait. An introvert, after years of working in a job that requires public speaking may cross over into extroversion. A feeler may eventually place more value on facts and logic after training to be a critical thinker.
All of these traits can be applied to our characters’ development as they act and react throughout our stories. Matching a character up with one of the 16 types helps us create recognizable but complex characters, not unlike the people we know in the real world.
The 16 personalities do a deep dive into important aspects of human life: individual strengths and weaknesses, relationships, work, responses to stress, decision-making strategies, career choices, etc.
For example, Elizabeth Bennet is extroverted and highly social, witnessed by her enjoyment at dances. Her passionate desire to marry for love demonstrates her preference for feelings over ideas. She is intuitive, trusting her instincts about Darcy and Wickham, even when her sister Jane warns her against making rash judgements. Only when presented with indisputable facts about both men’s actions is Elizabeth willing to revise her initial judgements.
Because the 16 personalities identify both positive and negative traits for each personality, using their descriptions helps a writer build more complicated characters. Elizabeth tends to be overly idealistic, and that negative trait makes it difficult for her to understand initially why her friend Charlotte would marry the horrible Mr. Collins. She is also condescending towards Darcy, another negative ENFJ trait, mocking him after his stinging comment about her not being attractive enough to entice him into dancing.
It’s one thing to say an ENFJ wants to create a positive impact on the world, but sometimes difficult to figure out how that trait reveals itself in her actions and reactions. But at various times, Elizabeth enjoys seeing her efforts pay off by standing back to witness and appreciate both her friend Charlotte’s contented life and her sister Jane’s renewed romance with Bingley. The fact that Darcy actively helps Elizabeth achieve her sister’s happiness only reinforces her change of heart about his core values.
ENFJs also like to right every wrong. This tendency leads Elizabeth into believing Wickham’s lies about how Darcy wronged him. It blinds her to Wickham’s duplicity, convincing her that her instincts about Darcy must be right, further strengthening her prejudices. Elizabeth’s already deep resentment towards society’s rules about marriage is irrevocably connected to her personality type, and even moves her to reject Darcy’s first proposal.
One of the best things about the 16 personalities system is that it’s not static. People develop and evolve, moving towards the center of each spectrum as they become older and wiser. Feelers learn to place increasing value on facts and to consider them fairly instead of reacting emotionally to stressful situations.
Elizabeth learns to do this when Darcy discloses Wickham’s true nature with facts about the villain’s predatory nature with young women. Knowing how the opposing descriptors work and exhibit people’s personalities helps writers persistently move their characters from an unhealthy extreme on the spectrum to a more moderate one, and in Pride and Prejudice, allows Elizabeth to experience her true feelings for Darcy.
Jungian psychologists theorize that people are attracted to similar personalities in their friends—we can hear the extroverts screaming “let’s party!” while the introverts think “let’s not”—and are attracted to opposite personalities in their partners.
Darcy is attracted to Elizabeth’s extroverted, charming personality and her confidence. He is an introvert, a thinker, and slow to trust his instincts about Elizabeth. As an ISTJ, Darcy is nearly Elizabeth’s exact opposite. The only trait they share is being judgmental. Readers witness this trait expressed in Darcy’s first proposal to Elizabeth, in which he lists every reason he should not marry her, analyzing and then passing judgement on Elizabeth’s suitability to be his bride. Elizabeth reacts emotionally with her own scathing judgement over Darcy’s cold, arrogant attitude.
If you’ve never taken a Myers-Briggs or equivalent test, free tests and resources about the theory and the 16 types are easily found online. The challenge is to answer the questions quickly and honestly, resisting the urge to choose answers that are still aspirations.
One of the best sites, https://www.16personalities.com/ offers a free basic test and explanations of the different types. The site also maintains a growing database of articles and surveys on personality traits. In addition, the researchers behind 16 Personalities have further expanded the types, tagging each with assertive and turbulent classifications to address how optimism and pessimism can affect each personality type.
Do you use Myers-Briggs when you're developing your characters? What tools do you love to use for characterization?
Want to learn more? Next Monday, Selene begins an online class called "Build a Romance Blueprint in Four Weeks," where she will cover the nuts and bolts of using the 16 Character Types for your stories.
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Selene Grace Silver resides near the beach in Southern California with her romantic Scottish husband. Trained to read and write literary fiction, she never quite abandoned her early love of the romance genre.
After 20 + years teaching English, writing, and literature at the high school and college levels, she’s retired to write fiction full-time. She’s had to adjust her writing style and craft to suit genre fiction, which includes learning to plot and write complex characters. For Selene, an INFJ, writing is a journey of constant self-improvement. She occasionally teaches online, including the upcoming Orange County Romance Writers’ class Build a Romance Blueprint in Four Weeks.
To read a short prequel to the small-town beach romance series she’s developing, sign up for her newsletter. She’s also on Facebook, Instagram and Threads.
Featured photo purchased from Depositphotos.
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I've used the MBTI to flesh out characters for many years. I get comments about how my characters are relatable and feel like I'm writing about real people. I've had a few emails from fans asking me not to hurt a particular character because they can't bear to see them in pain. The 16 personalities can be a lot of fun when developing or even sharpening characters as well. I've gone so far as to have an astrological reading done on a major character. The reading was absolutely spot on, and for fun, I did a "character on the couch" interview with a psychologist who used answers from a character to analyze them. Another perfect bull's-eye. These kinds of things can provide great confirmation for getting a character right. A couple of years ago, I took the CliftonStrengths Assessment and follow Becca Syme, who teaches Strengths for Authors. I now use those concepts as well. Thank you for sharing this. It was really well written and I took a few notes for later.
It is great, isn't it? I love the way personality theory identifies human behavior and habits in a way that are easy to incorporate into creating consistent but different characters.
INTJ here. Also a fan of Clifton Strengths. I did use personality tests for some of the characters in my YA trilogy. Very useful!
INTJ/INFJ here, depending on the day! Lots of education and life experience moved me from feeling to thinking (yay critical thinking!), but big events pull me back to feeling.
I am a wiggler in the middle too! That's so funny...I don't meet a lot of other people whose middle letters change.
Hi Selene! Thanks for posting with us - I love this topic and I'm looking forward to your class.
I actually just had to do a modified Myers-Briggs called The Keirsey Temperament sorter. My E (extrovert) and J (Judging) never wiggled, but boy those middle letters were too close to call.
Sensing vs. Intuition - dead even
Thinking vs. Feeling - feeling edged out by 1 point one day, thinking by two on another.
When I was much younger, I was fully INFJ, but over the years, I've shifted to the middle in all but the N trait. Teaching in front of classrooms moved me towards extroversion (but not completely over), and experience has shifted my J trait away from thinking I'm right about everything (just enough on the side of J left to be permanently stubborn).
I hear you on the permanent stubborness. But really, can a writer ever slog through what we must WITHOUT that quality? I think not.
I love this article - maybe something to do with a doctorate in psychology?
I use the MVTI and I especially like the Enneagram system.
ALL of my characters get analyzed and I love that there are 'free' online tests. And once I know my characters well enough (wounds, lies they believe, etc. and why)...test on!
Did I mention, I LOVE this article!
P.S. Selene - I was born and raised in Orange County, CA!!
I didn't know that, Jennifer! I lived there for about 25 years, until my recent move to the East Coast.
MBTI not MVTI and I am an INFP/J ... so many letters!
Thank you for your kind words. I have some funny stories about the MBTI when I was teaching it to students, lol. I've done the test on behalf of my characters before too! So helpful, especially in trying to figure out what would really test their limits. I wasn't fortunate enough to spend my whole life in the OC, but getting to spend the last part of it here is amazing.
I've never used Myers-Briggs, but it's an interesting use for plotting characters.
I hope you try it out and it's helpful.
I've not used this method, but it sounds interesting. I identified two of my characters immediately.
I like the way helps me see how my characters will express themselves when under stress, react to conflict, etc.
Interesting advice.I usually find the initial the characters in my stories develop their personalities soon after the narrative begins, thereafter new characters telling me how they emotionally interact with them. While that doesn't necessarily change the course of the plot I have in mind (though sometimes injects new ideas, even twists), it gives the impetus of reality. Guidelines are helpful, and thank you for your article, but writing should not be too shackled with technicalities.
Thanks for weighing in on the discussion, Geoffrey.