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Four ways to use Myers-Briggs personality types in your novels

If you’re at all like me, somewhere in high school or college you and your peers discovered the Myers-Briggs personality type matrix. You all had fun taking the little test and finding out who was an “INTJ” or an “ESFP” or whatever. You may even have been somewhat surprised at how well the capsule description of your personality type seemed to fit you. But, chances are, it didn’t take terribly long for the shine to fade and for you and your friends to realize that people are actually a bit more complicated than a matrix of 16 cleanly defined personality types.

But that doesn’t mean Myers-Briggs isn’t good for anything. It may not be the perfect tool for understanding all the people in your life, but it’s still a useful framework for understanding some broad truths about the human condition. And for writers, it can be quite a useful tool for bringing life to your characters.

Use it to know who your characters are

When you imagine a character in one of your novels, chances are you have a rather holistic picture of them in your mind. For yourself, you have a sense of who that character is. It may be a very strong sense. You may feel like you really know who this person is. But do you? Do you know the person well enough to cast him or her as the central protagonist in your book? Or as the villain? Or even as a sidekick?

Before beginning the novel, a lot of writers undertake various exercises in order to get to know their characters better. Some write long backstories for them. Some conduct interviews of their characters. Some draw sketches. Taking the Myers-Briggs test on behalf of your characters is another exercise you can do to solidify your own impression of who the character is.

I like it for this purpose because it gives you actual data you can work with later. Sure, it can be fun to write a backstory and learn that your character grew up in Topeka and had a dog named Bo that he loved more than anyone else in the world. Or it can be fun to interview a character and have her reveal that her first kiss was, on a dare from her friends, with a cute boy re-folding shirts in the clothing section at a department store, and she didn’t even know him. Fun stuff, even if it never finds a home in the story.

But if you take the time to sort out your character’s Myers-Briggs scores, that’s data I guarantee you will come in handy while you’re writing the story. Hint, though: take the test for yourself, first. Make sure your character isn’t just a clone of you (unless you’re doing that intentionally, of course)

Use it to create more believable behavior

This is why I guarantee you that sorting out your character’s personality type will come in handy, because the broad strokes of the Myers-Briggs system—introvert-vs-extrovert, thinking-vs-feeling, and so forth— affect how people behave in various situations. Your characters are no different. They should behave in ways that are true to their personalities too.

People who are strongly introverted don’t generally like loud, crowded, overtly social settings. Someone who scores high on the “feeling” attribute will usually go with their gut in making decisions. You don’t have to go back to college to get a degree in psychology to work with this stuff, but having a basic understanding of how the eight core qualities of the Myers-Briggs system play out in people’s reactions will help you do a better job of making sure that your characters are acting in ways that are both realistic and true to themselves.

Make sure you don’t have a cast of clones

Books where all the characters seem to be the same are kind of boring. Myers-Briggs can help you make sure that’s not the case in your book. If you’re going to figure out the personality types of your protagonist and antagonist anyway, why not do it for all the significant characters in the book?

If you find that you’ve got twelve “ESTJ” characters in your book, then you’ve got a problem, and chances are that problem is expressing itself as an overall lackluster feeling to the book. Mix it up. Re-think some of these people. Flip some of their scores. Ask yourself “what if the love interest was a Feeler instead of a Thinker?” What would change? Do that to everybody in the book, make them all distinctive, and I promise you the book will start to feel a lot more lively.

Create tension, friction, and conflict

This is perhaps my favorite use of the Myers-Briggs system. In real life, we don’t get to choose the personality types of those we encounter. But we do get to choose the personality type of everyone in our novels. That’s an opportunity. Choose the types strategically in order to create tension, friction, and conflict.

Let’s say you’re writing a crime drama with a pair of homicide detectives as the protagonists. You could, I suppose, make them polar opposites. Make one of them an “ESTJ” (extrovert/sensing/thinking/judging), and the other an “INFP” (introvert/intuitive/feeling/perceiving). Characters with such completely opposed personalities are going to have very different approaches to an investigation. One will want to get out there, collect a bunch of hard data and evidence, then stand back from it to make a thoughtful, rational decision. The other is more likely to want to learn about suspects’ backgrounds, figure them out from a more theoretical “profiler” model, and then attempting to empathize with the suspect in order to “get into their head” so as to figure out if the suspect is the sort of person who would have committed the crime. Now, how are those two characters going to work together? Chances are, they’re going to have kind of a hard time, especially if some of the physical evidence (held in high esteem by the Sensing character) doesn’t fit well with the psychological model (held in high esteem by the intuitive character) that seems to fit the suspect best.

Bam! Instant inter-personal conflict, as the two of them argue it out. Even better, because the characters’ other opposing traits are going to shape the way that argument goes. Introversion and extroversion most particularly. If the introvert is actually right, but the extrovert wins the argument simply because he’s the more garrulous personality—or maybe they appeal to the Chief, who sides with the easy-talking extrovert—then you’ve got the makings of a very dynamic inter-personal layer underneath the plot layer of the story.

You don’t have to go with polar opposites, though. They make for a nice example, but it can also be good to align two characters in some ways, but oppose them others. Sometimes, then, these two characters will be able to act and function as one. They’ll get along great. But when an issue comes up that plays to their opposing characteristics, suddenly they’ll be like cats and dogs.

Imperfect, but useful

Like I said, don’t take the Myers-Briggs type indicator system as infallible. Myers-Briggs is most often criticized on the grounds that real people are usually somewhere in the middle on most of the attributes. It’s a fair criticism.

But we’re talking about fiction, not real life. In many ways, successful fiction doesn’t present real life the way life really is. It presents a distillation of the elements of real life, in their stark, archetypal forms. It is exactly because Myers-Briggs explains personalities through opposing archetypes that it is a powerful tool in the arsenal of the novelist.

March 29, 2011 18:54 UTC

Tags: character, personality, Myers-Briggs, conflict, interaction, introvert, extrovert, sensing, intuition, thinking, feeling, judging, perceiving

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