By mashers on Aug 9, 2017 at 11:27 AM
  1. mashers

    mashers Contributor Contributor Community Volunteer

    Jun 6, 2016
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    Writing neurotypical characters: a guide for people with autism and Asperger Syndrome

    Discussion in 'Articles' started by mashers, Aug 9, 2017.

    Why are characters so important?
    One of the most important aspects of fiction is the characters. Stories are all about people (and creatures or things which, to all intents and purposes, act like people). No matter how good your plot is, or how realistic your setting, if the characters don’t work your reader won’t enjoy the story.

    Readers need to feel that they understand your characters. This means that their motives need to be clear, their actions need to make sense, and the reader needs to be able to empathise with them. That doesn’t necessarily mean they like them, just that they can get inside the characters’ heads and understand what they are thinking and feeling, and why.

    The problem of empathy in autism
    There are two main types of empathy: cognitive, and affective. Cognitive empathy is the ability to understand other people’s thoughts, feelings and perspectives, and affective empathy is the ability to share in and reciprocate others’ feelings. People with autism and aspergers often struggle with cognitive empathy, which makes it harder for us to work out what other people are thinking and feeling, and what they know and do not know. Often we have to work this out logically from knowledge we already have or patterns we have observed previously, rather than doing it spontaneously or naturally through our interactions with people. Sometimes our understanding of other people takes more time, and we realise things about people after the interaction has already finished.

    How does this problem of empathy apply in writing?
    A character is not a real person. Even if it is based on a real person, the character itself is not real. However, empathy still applies when writing a story. When you are writing a story, there are two perspectives influencing what gets written down: the perspective of the author, and the perspective of the character.

    Writing the story from the perspective of the author is a problem because the author already knows everything about the story. He/she also knows everything about all the other characters. So if the author’s own perspective ‘bleeds’ into those of the characters, it distorts the characters’ points of view. The character will appear to know things that they should not know; or they might think, feel, say and do things which do not make sense in the context of the story (for example if these thoughts, feelings, words and actions are those of the author).

    So in order to correctly portray your character, you have to take their perspective. You have to put yourself into their mind and think not about what you are thinking and feeling, not what you know or would do in their situation, but about them. In other words, you have to empathise with your character in just the same way as you would with a real person.

    Lets look at an example to illustrate this point. Our main character is a little boy called Simon. Simon’s parents are arguing behind a closed door. Simon can’t open the door, or his parents will know he is listening. However, he can’t hear his parents’ whispers well through the door, so only hears fragments. Later, Simon is telling his sister what he heard. In order to know what he knows, the writer has to empathise with Simon. What can he reasonably know in this situation? And which parts of the argument (which you, the author, already know) represent knowledge he cannot have? This is crucially important, because it will affect the realism of the character and of how he chooses to act on his knowledge. If he acts on information he shouldn’t know, his actions will appear unrealistic.

    A further complication: ‘double’ empathy
    Your characters are interacting with other characters. That means they also have to empathise. So you have to take the perspective of one character and then consider what he/she knows about other characters. So we have to get inside Simon’s head and work out what he knows about his parents’ argument. Now we have to think about how Simon will understand what his sister is thinking and feeling, and what she already knows or does not know, during his interaction with her. For example, when he tells her that he heard the word ‘divorce’ through the door, his sister will react. But what does this reaction mean? That depends. Does she understand what the word ‘divorce’ means? If so, she might be shocked. If not, she might be confused. Could she already have known that her parents were talking about divorce? And how does Simon know that she knows this?

    As you can see empathising with characters is not simple. It’s easy to get tied up in knots thinking not only about what your character is thinking and feeling and what he/she knows, but also about what they know of the perspectives of other characters and how this interplay of perspectives affects their communication and interaction.

    Strategies for writing characters
    So empathy, which is a fundamental difficulty in autism, is central to writing realistic and consistent characters. But all is not lost. There are things you can do to make this easier, and they mirror the strategies you might use when trying to empathise with people in real life.

    Ensure your body is regulated
    Unmet sensory needs will affect your information processing. Empathy is a cognitive process, so sensory dysregulation will impair your ability to take your characters’ perspectives effectively. Before you start writing, or even thinking about writing, do what you need to do to regulate your body. That might mean moving around, fidgeting, or making some noise if you are a sensory seeker, or adjusting the environment (e.g. lighting, background noise, resonance in the room etc) if you are hyper-sensitive to any of these things. Take regular breaks while you are working to check you are still regulated, as sometimes bodily and sensory dysregulation can creep in and affect thinking without you realising it—especially if you are very focused on what you are doing.

    Slow down
    This is easier when writing than when interacting with a real person. Sometimes it takes time to process information about others’ perspectives, and this is true when writing fiction as well. When you are writing, you have the luxury of slowing down and taking the time you need to work out your character’s perspective.

    Work backwards
    It can be hard to start from a character’s current position, take their perspective, and work out their actions from that point. Sometimes it’s easier to start with what you want the character to do next. Then, consider what would cause them to do that, and what would they need to know or understand in order to do it. Then you can fill in the gaps in the detail of the character’s perspective linking one action to another, while keeping their actions consistent with their state of mind.

    Go back and forth between inner monologue and actions
    When you’re re-reading, keep going back and forth between your descriptions of your characters’ thoughts and feelings, and the things they do as a result of them. Ask yourself if it makes sense that they would say or do what they did in light of their internal state.

    Ask someone to check your characters’ actions
    If you’re not sure, check with someone else whether your character’s actions make sense in light of what you have told the reader about them (i.e. what they think, feel and know). If they don’t, then it’s possible that you have misjudged or miscommunicated something about your character’s mindset.

    Base characters on people you know
    Because they’re not real, characters have the potential to do anything. That leaves a lot of scope for them to behave in ways which a real person might not. If you base your characters, even loosely, on people you know well, then it can be easier to take their perspective. This is because you can draw on past experience of interactions with that person when determining the actions they take as a result of their situation.

    Include characters with autism
    If your main character is autistic, you can be explicit about the fact that they don’t know certain things. This takes some of the burden of empathy away. This is probably a short-term fix, however. The reason for this is that in order for the plot to progress, they will need to learn things that they didn’t know before, which means you need to know those things and find ways for your character to learn them; you also need to be conscious of the things your character doesn’t know, which in itself requires empathy. However, it may be easier to empathise with an autistic character if their mindset more closely reflects your own.

    Make detailed character sheets
    This will help to consolidate your characters’ personalities, which is important for taking their perspectives. I would also suggest updating character profiles throughout your story. For example, after writing a scene you could add to the character sheet new information they have learned, or how their emotional state, opinions or attitudes have changed in light of recent events. This will help to keep track of what all of the characters think, feel and know at each juncture in the story.

    Make reference to characters’ mindsets when planning your plot
    The turning points in the plot will depend on the actions of your characters, and those actions will be influenced by what the characters think, feel and know. If you plan your plot without a clear idea of your characters’ perspectives at each point, then your plot will be inconsistent with your characters. I like to plan using a flow chart which shows which characters are involved in a scene, and what their goals and intentions are for that scene. This helps to track how their interactions affect the development of the plot.

    Make a conscious effort to account for double empathy
    Endeavour to get inside your character’s head, and then from the character’s perspective get into the head of another character. That will help you to ensure that their thoughts and actions make sense in light of their interaction with other characters.

    Empathy is harder for autistic people, and this can make it harder to understand not only other people, but our own characters. This can be a problem when attempting to make characters’ actions consistent and realistic, and plots coherent. Hopefully the above strategies will help you to overcome some of these difficulties and make your writing more enjoyable and more effective.

    Please comment if you have any opinions, whether you agree or disagree with anything, or if you have any other ideas for strategies autistic writers can use to help with characterisation.


Discussion in 'Articles' started by mashers, Aug 9, 2017.

    1. LazyBear
      I understood university grade math at the age of 4 because of Aspergers. When I was taught plus, minus and multiplication, I was frustrated because they showed me lots of silly examples instead of just giving me the differential equations that define the basic functions and let me analytically derive all algebraic rules from the definitions.
      Alan Aspie likes this.
    2. Drake GreenWood
      Drake GreenWood
      There is a phrase called "completing the circle", that helps explain this.

      When you look through brush at a circle, you are not really seeing a circle you are seeing parts of the circle. The thicker the brush the less of a circle you are actually seeing.

      NTs are skilled at seeing social patterns through "brush" of mixed interpersonal Stuff.

      But as it is instinct and not logic, or cognitive recognition, it doesn't mean they are actually seeing a real whole circle. So they have a tendency to assume, what they "think" they see is what is really there.

      They are not lying, in that they are reacting on what they "see". Which works 99% of the time. But this is highly annoying if you are stuck in that 1% that doesn't, even 10% of the time.

      I am ADHD,
      but long ago, read about an alternate view of genetic based handicaps.
      The article stated most handicaps continue to exist.. because in certain situations, they are actually pro-survival.

      They believed they had proof that far sightedness spread during mankind's hunter gatherer phase.
      And nearsightedness spread during mankind's handcraft phase.

      ADHD, according to the article was an advantage to Poets and Hunters.

      It may be a pain in the rear to have difficulty "completing the circle" in some kinds of social siruations.. but it is much easier for you to realize that it might Not be a Real circle.
      Alan Aspie likes this.
    3. Alan Aspie
      Alan Aspie
      One of the best experts in the world - Tony Attwood from Austbergerralia - tells about Aspie girls and how they often differ from us male Aspies.

      If you are planning writing about female Aspie-type characters, this is for you!

    4. Cutwir3
      This was insanely good. I have a difficult time writing character description but I have a theory that the camera is of importance. As you start describing the head you could move slowly downward to describe the rest of there features. This helps to not jump around confusing the reader. Just a theory.

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