What’s the difference between a character driven story and a plot driven story? And how do you know which one your story falls under?
Every good story is driven by both character and plot. It’s just a matter of degree. So the question isn’t which one, but what’s the primary engine of your story, and how do you balance both elements?
In this episode, I’m going to break down what makes a story plot driven versus character driven, how to identify what kind of story you’re naturally driven to write, and most importantly, how to strengthen whichever element needs more support.
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Episode at a glance:
[02:01] What Is A Character-Driven Story?
When we say a story is character driven, we mean the primary source of narrative momentum comes from the protagonist’s internal journey. The story moves forward because the character is changing, learning, struggling with internal conflicts, and making choices based on who they are becoming.
Character-driven does not mean there’s no plot. It doesn’t mean there’s no action. It doesn’t mean nothing happens externally. Character driven stories ask who is this person, and how will he or she change?
[04:46] What Is A Plot-Driven Story
When we say a story is plot driven, we mean the primary source of narrative momentum comes from external events, obstacles, and goals. The story moves forward because things are happening. Mysteries need solving. Threats need confronting. Goals need achieving.
Plot-driven doesn’t mean the characters are shallow. It doesn’t mean there’s no emotional depth. It doesn’t mean character development doesn’t matter. Plot driven stories ask what will happen next and how will the characters solve this problem?
[06:44] The Spectrum
Character driven and plot driven aren’t two separate categories. They’re two ends of a spectrum. Most successful stories live somewhere in the middle.
On one end, you have strongly character driven stories where external events exist almost entirely to illuminate character.
On the other end, you have strongly plot driven stories that prioritize plot momentum over deep character psychology.
The spectrum is simply a matter of narrative priorities.
[08:36] 3 Questions To See Where Your Own Story Falls
Question 1:What are you more naturally drawn to or invested in?
Question 2: If you kept all the plot events the same, but swapped your protagonist for a different character with similar skills, how much would the story change?
Question 3: What question do you want your reader to carry through the story? Is it, What will happen next? Tat’s plot driven.
If it’s who will they become, or what will they learn about themselves? – that’s character driven.
Are both questions with approximately equal weight? Then you have a balance between plot and character.
[10:33] Quick Fixes to Common Problems
Problem 1: You have an exciting plot, but your readers say they don’t connect emotionally with the characters.
The quick fix is give your protagonist an emotional vulnerability that the plot events pressure.
For example, in The Martian, Mark’s external problem is survival, but his emotional vulnerability is isolation and the fear of dying alone. The plot forces him to confront his mortality and his deep need for human connection. You don’t need to slow your plot, just add emotional stakes to your scenes.
Problem 2: You have rich, complex characters, but readers say nothing happens.
The quick fix is to give your character a concrete, external want that creates forward momentum. Add escalating obstacles and deadline pressure. Even a decision that must be made by Friday creates momentum in quiet stories.
Links Mentioned In This Episode:
The Remains of the Day by Kazuo Ishiguro
Room by Emma Donoghue
The Goldfinch by Donna Tartt
The Martian by Andy Weir
My Brilliant Friend by Elena Ferrante
The DaVinci Code by Dan Brown
Gone Girl by Gillian Flynn
Nail Your Story Idea FREE Quick Guide
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