Character as Fate and Fate as Character

Heraclitus believed that a person’s character is their fate. Character — the sum total of a person’s traits — influences the choices a person makes, and the consequences of those choices ultimately become that person’s destiny. Or not. Much of life is luck, happenstance, and totally out of our control, though we tend to believe we have much more control over our lives than we really do. But that’s not an issue here because this is a writing discussion, and in our story worlds everything is under our control, and what our characters do determine their own fate.

This is most obvious in a tragedy — a character comes to an unhappy end because of a flaw in his or her own character, though in today’s stories, because readers like a more optimistic ending, that fatal flaw is often balanced by a special strength. But character/fate works for other types of stories, such as a thriller where a character becomes obsessed with finding the truth, and that obsession leads to both the character’s fate and the end of the story.

For example, In Daughter Am I, a young woman is determined to find out the truth of who her grandparents were and why someone wanted them dead. That determination overrides her usual placidity and takes her on a journey that eventually leads her home again, changed forever. She really did find her destiny because of her character.

I wonder if the opposite is more true (if truth has degrees), that destiny is character. Does what happens to us, both the actions under our control and those beyond our control, determine who we are? Determine who our characters are? This was a theme I explored in More Deaths Than One. So much happened to my poor hero Bob that was not under his control, yet what was under his control — how he handled his fate — made him the man he became.

Any discussion about fate and writing would also have to include the question: does the writer’s fate affect the character’s fate? None of my books have totally happy endings. There is always a pinprick of unease in the background, but the book I am now contemplating — the story of a woman going through grief — is going to have even less of a happy ending. Perhaps because I know the ending of my own love story? Not my story, obviously, since I’m still here, but the story I shared with another. Except for my work in progress (the one that’s been stalled all these years) the stories I’m thinking about writing now all end up with the characters alone.

When I wrote the first draft of my novel More Deaths Than One (and the second draft and the third) I had the hero Bob meandering around his world trying to unravel his past all by himself, and it was boring. Did I say boring? It was moribund. The story went nowhere because there was no one for Bob to butt heads with.

In the fourth draft of More Deaths Than One, I gave Bob a love interest, a waitress he met at a coffee shop. (Hey, so it’s been done before. The poor guy spent eighteen years in Southeast Asia, and didn’t know anybody stateside. How else was he supposed to meet someone?) That’s when the story took off. He had someone to butt heads with, someone to ooh and aah over his achievements, someone to be horrified at what had been done to him.

From that, I learned the importance of writing scenes with more than one character. And yet here I am, once more falling into the black hole of writing characters alone because I can’t visualize them ending up with anyone.

Which leads me to my final question: could the fate of the character also influence the writer’s fate? If so, maybe I should decide where I want to go from here, and write my destiny. Or  I could just wing it and see where destiny takes me and my characters.


Pat Bertram is the author of the conspiracy novels Light Bringer, More Deaths Than One, A Spark of Heavenly Fire, and Daughter Am I. Bertram is also the author of Grief: The Great Yearning, “an exquisite book, wrenching to read, and at the same time full of profound truths.” Connect with Pat on Google+


Ever since my life mate died, my mind has churned with unaswerable questions.

Is he warm? Fed? Does he have plenty of cold liquids to drink? Is he sleeping well? Does he still exist somewhere as himself or has his energy been reabsorbed into the universe? Is he glad he’s dead? He brought so much to my life, but what did I bring to his? Why can’t I see him again? Why can’t I talk with him? Will we meet again, or is death truly the end? Was it fate that we met? Fate that he died? I’ve been finding comfort in the thought that he is at peace, but what if he isn’t? What if he’s feeling as split apart as I am?

Will he recognize me if we ever meet again? Will he be proud of what I become? He helped make me the woman I am today, but what’s it all for? Where am I going? And why? It does seem as if my life is a quest for truth, for understanding, but what’s the point? I suppose the journey is the point, but still, at the end of a quest story, the hero returns with the magic elixir. She has a purpose for what she’s gone through. Do I have a fate, a purpose? But what about him? What was his purpose? I try to make sense of his death, but how do you make sense of something senseless?

How do I find meaning, or at least a reason to continue living? Do I need a mate in order for my life to have meaning?

Can a person drown in tears? Yesterday someone told me that life on earth was an illusion and so my mate still exists. But if life is an illusion, why couldn’t it be a happy figment? A joyful one? What’s the point of pain? Of loss? Of suffering? Why did he have to suffer? Why do I? Do I have the courage to grow old alone? The courage to be old alone when the time comes?

Why do we cling so much to life? In the eternal scheme of things, does it matter how long or short a life is? Does it matter that he only had sixty-three years? Does it matter that he was alive? What is the truth of life and death? If he’s in a better place, why aren’t I there? If life is a gift, why was it taken from him?

Is there anything universally important? Love, perhaps, but not everyone loves or is loved. Creativity? But not everyone is creative. Truth? But what is truth? Is the human mind, with its finiteness, capable of understanding the truth? If nothing is universally important, does anything matter? Maybe it’s better to let life flow, to try to accept what comes, but isn’t the point of being human to try to make a difference? To try to change what is?

Supposedly, you can have a relationship with someone after they are dead, but it’s all in the mind, in memory. What’s the difference between that and fantasy? And how much of life is lived in the mind? All of it? All except the present? But even the present is lived in the mind since the mind (or rather the brain) takes the waves of nothingness and transform them into somethingness. So what is reality? The intersection of all minds?

I know there are no answers, I am simply . . . multi-asking.

Pat Bertram And Lazarus Barnhill Discuss Writing as Destiny

Lazarus: The other day I was marveling at the uncanny string of events—starting with a writing contest on—that brought me many wonderful new friends, saw the publication of my first two novels and empowered me to express my artistic vision in ways that I never imagined. When I read Julia Cameron’s book, The Artist’s Way, I began to wonder if in fact what I saw as a lucky string of chance events was really a matter of listening to a still, small voice that has always intended better for me than I could have imagined for myself.

In a nutshell, Julia Cameron says that, whether you call it destiny, the hand of God, or just the creative direction of the universe itself, our purpose is to create and we allow ourselves and others to stymie our creativity.

Bertram: Are we really fulfilling our destiny, though, or does it just feel like it? The solar system seems to be designed perfectly, with the planets constantly moving, yet staying out of the way of the other planets. But it wasn’t always so. At one time they were banging and crashing into all sorts of space debris, and over billions of years they annihilated everything in their path to end up the ordered system we know. So, is our writing destiny the same? Something we see only in retrospect, perhaps, with our brains trying to make sense of chaotic events?

Lazarus: Do you think when you write that you are fulfilling an essential aspect of your truest purpose for existing?

Bertram: I do think the universe itself is a creative power that we tap into, and that we are creative by nature. But . . . if we are all fulfilling our natures as writers, who is fulfilling their natures as our readers? Writers need readers, and now that there are (supposedly) more writers than readers, how can writing really be our destiny? Except personally, perhaps.

Lazarus: Cameron teaches two “sacred acts” in The Artist’s Way. The morning pages (3 pages you write when you first get up in which you allow your inner self to freely express itself) and the artist’s date (essentially, you have to have 2 hours a week in which you go off by yourself and do exactly what you want).

When I first started doing the morning pages, I was correcting my spelling and changing my word choices. All of that was stymieing the child inside me; and if I don’t let that child have a say, he disrupts whatever the grown up Laz wants to do

Bertram: Three pages when you first get up in the morning, just to express yourself? I never could understand how people can dash off the pages like that. It takes me an hour or two to write a single page. I try to be more spontaneous in my blogs, just to let the words and feelings flow, but it still takes me more than an hour to write 300+ words.

Lazarus: Whoa, Pat, sounds as if you’re a “blocked creative”

Bertram: Blocked creative? Maybe I just don’t have any ideas. Or maybe my inner child likes to play with words and sentence structure.

Lazarus: Well, seriously, what would happen if you just started describing how you were feeling at the given moment?

Bertram: Usually when I sit down to write I don’t feel anything but peace. Not a whole lot to say about that. And when I do let the words roll out, I usually end up with a silly character interview or something equally worthless except as a blog post. I really don’t have a lot to overcome. I figure my inner child is my outer child. Pat Bertram was two years old on May 17th. That’s when I started from scratch to create myself as an author rather than just a writer.

Most of my inner demons I let out while writing my first book. I don’t usually acknowledge it as my first book — it was too much me and not enough creativity. To say nothing of terrible writing. Still, it did help me work through the past and allow me to re-emerge as . . . still don’t know, actually. I’m still emerging.

Lazarus: How many stories do you currently have swirling around in your cerebellum?

Bertram: None. I know you don’t believe it, but it’s true. If I had any stories there, I’d be writing them.

Lazarus: How do you know when you’ve heard a worthy idea for a new novel?

Bertram: I don’t know. Mostly I have to put several ideas together. And I don’t have any ideas right now.

Lazarus: Do you often suffer from long “dry spells” in which you don’t have anything to write or you don’t know how to get started?

Bertram: Is it a dry spell if you don’t feel like writing? Or if you’re doing something else instead, such as promoting? Even when I’m writing, I have more non-writing time than writing time. I need to let things percolate.

Lazarus: Yes, I call it “marinating.” How long does it usually take for your stories to percolate. Do they progress in stages?

Bertram: Definitely stages. Even when I know where I am going with a story, I seldom know the details.

Lazarus: But I have the sense that you’re implying you can’t promote and really write creatively. Is that right?

Bertram: I have a one-track mind

Lazarus: But not obsessive?

Bertram: No, not obsessive. I just can’t commit to two projects at once.

Lazarus: Have you ever had the experience of being so hooked, engaged in a story that you turned your back on other pursuits just so you could write?

Bertram: No, not really.

Lazarus: You’ve completed four novels, though you told me Light Bringer is going through a final polish. How long do each of these projects take and usually how much time elapses between them?

Bertram: Light Bringer has been ongoing for eight years. Or thirty-eight if you include the research. It won’t be completely finished until it’s published later this year.

Lazarus: Thirty-eight years of research? So you’re bringing your entire life’s experience to bear on this piece.

Bertram: Yes. Everything I ever learned. And studied. Daughter Am I was the quickest — outlined in one day, written in a year. A couple of months usually elapse between books, mostly so I can type them up. I write long hand.

Lazarus: Pat, does the average reader perceive the deeper messages you conceal in your stories?

Bertram: I don’t know. The books are written so that even if they don’t see anything beyond the basic story, they should still like them. At least that’s the plan.

Lazarus: Had to back up and start over when you said that. So you acknowledge then that your books function at differing levels of depth; that there are meanings to be fathomed that someone reading just for enjoyment might miss?

Bertram: It’s possible that there are meanings people will miss. Heck, I missed some of it! When I proofed A Spark of Heavenly Fire, I saw themes that I didn’t put in there.

Lazarus: You didn’t put there? Is it fair to say that a really well written book will plumb emotional, human themes beyond the writer’s intention? And that’s what’s happened with your books?

Bertram: When a story flows, when everything is motivated, it makes sense that some ideas, emotions and themes show up that aren’t planned. If the characters are true, it has to happen. I am not saying that the characters do things that I don’t plan. Their actions are completely planned. But some underlying truths could emerge.

Lazarus: This is the contradiction in you that is so mysterious: you talk about being methodical, plodding, taking years to write a single piece; and yet at the same time you admit that the story flows from a place deep within you and parts of it emerge unannounced.

Bertram: I have a dual nature: half mystic, half logician.

Lazarus: Did you ever think that you are really “discovering” the story: that some mystical intentionality has dropped the clues of the story in your consciousness, in your experience and intended you to find them and fashion them together?

Bertram: Of course.

Lazarus: Then writing these stories is your destiny?

Bertram: So this is what you were leading up to.

Lazarus: It’s not like you didn’t see it coming.

Bertram: I don’t know if the stories are my destiny, but I do think they wanted to be written.

Lazarus: Yes! Wanted to be written. They wanted to be written by you. And I like the notion of “half way.” They came to you in pieces and only half conceived. They were waiting for you to complete them.

Bertram: But it’s also possible that mystical intentionality is myself.

Lazarus: Okay, that’s a realistic point of view.

Bertram: One thing that’s always puzzled me is that when I sit down to write, my mind goes blank. Other people can write a book a month. They can let the words flow. I have to dredge each word out of my mind. Yet, when my books are finished, there is an inevitability about them as if they were inspired, not perspired (at least it seems that way to me). But I don’t believe that they are “destined.” It’s all the little choices I make along the way that creates the inevitability. When you start writing, you have the entire world to choose from, but as you make choices — genre, setting, characters, plot, etc, etc, it narrows the story world and keeps narrowing it until it seems inevitable. Yet it all comes from the thousands of choices that we made.

Lazarus: I have one other question about the way you create these stories: is it possible it takes so long to write them because it is mentally strenuous for you to overcome your own internal resistance to writing?

Bertram: It’s possible. Yet when I started writing, I had nothing to overcome. I wanted to do it. It was only when I had four unsalable books that the logician in me decided it was silly to keep writing.

Lazarus: So now that you’re published (and selling! Unsalable my eye) can you tell the logician to take the back seat? Though Julia Cameron wouldn’t call it your logician. She would call it your Censor.

Bertram: Right now, the logician really doesn’t have anything to do with it. My problem is I don’t write books I know how to write. I have to learn how to write each book. And the one I’m doing now has me totally flummoxed. It’s truly a ridiculous project. Three distinct parts with distinct themes.

Lazarus: What? I thought you said you didn’t have a story rolling around in your head.

Bertram: It’s not in my head. If it were, I’d be writing to get it out of my head. It’s an incredibly silly/mystical/apocalyptical story. I started it when I thought I couldn’t get published — decided that I would write something totally unpublishable.

Lazarus: “Totally unpublishable.” (translated) “I’m writing this just for myself and the beauty of writing”?

Bertram: For something to do.

Lazarus: Oh, you are so perverse!

Bertram: After I started writing it, I got a computer and had to learn that. Then I got the internet and had to learn that. Then some idealistic publisher (Second Wind Publishing) decided to publish my books, so I had to learn how to promote.

Lazarus: Something else I want to explore. First let me ask if you saw Spielberg’s “Minority Report”?

Bertram: No.

Lazarus: Spielberg is to filmmakers what you are to novelists: intentionally convoluted. He makes these incredibly compelling movies and critics totally don’t even get them.

Bertram: I am not intentionally convoluted!!!

Lazarus: Okay, if you were an intentionally convoluted person and someone called you on it, wouldn’t you say you weren’t?

Bertram: You’re right, an intentionally convoluted person would not say they were convoluted, unless of course it would make them seem doubly convoluted by agreeing that they were.

Lazarus: But we need to tie this back in to your particular talent we’re talking about tonight. In the same way as “Minority Report,” More Deaths Than One is incredibly full of irony. It’s a very gratifying novel, even as it surprises the hell out of you.

Bertram: I’ve been wanting to ask you for months. When we talked that time, I asked if you were disappointed in More Deaths Than One, and you laughed and said no. Why the laugh?

Lazarus: . . . So I’m wrestling. Shall I let you off the hook by letting you ask me a question? Okay, but I won’t stay distracted for long. I laughed because the book was totally unexpected. I knew when I first read the initial chapter during the TruTV Search For the Next Great Crime Writer contest on Gather that it was written lights out. Where you took it in terms of 1) character development; 2) plot twists (I love plot twists); 3) ironic subthemes; and 4) emotional gratification was truly gripping and surprising. I laughed because anyone who knows anything about writing would know how good it is.

Bertram: Tell that to the 200+ people who rejected me.

Lazarus: Steinbeck submitted 40 novels (different novels) before he had one accepted. This says more about the publishing industry than you. Now back to the task at hand: “The devil in Ms. Bertram.”: Your romance vignettes that were published in Love Is On the Wind are the most ironic, humorous and biting pieces I think I’d ever read — but undeniably focused on romance. Beneath them one sensed an incredible bittersweetness. So my question is, why did you write like that? I guess what I mean is, you are a true romantic at heart — but I don’t think you believe in romance.

Bertram: I thought I was just trying to put a twist on a story.

Lazarus: So, what, you think I’m falling for that?

Bertram: Well, you silence me. I have no idea how to respond to that.

Lazarus: Either that or I got a little too close to home.

Bertram: Could be. But I never thought of myself as either romantic or unromantic.

Lazarus: Let me ask it in a more friendly way, . . . thinking . . . How about this: in your heart, there are things you want to say to romance readers, but you don’t really think they’ll hear them. Yes or no.

Bertram: I don’t know, but I don’t think so. I don’t like category romance. I think the stories are generally too trivial to be truly romantic.

Lazarus: Ah — there it is. If what you had written had been logical, dispassionate, then the answer would’ve been “no.” The answer is “yes.”

Bertram: Huh?

Lazarus: What you want to say is, “don’t trivialize love; go deeper.” Right?

Bertram: I guess. I read many books that are well written, but they leave me cold because in the end the stories are trivial. Love shouldn’t be trivial, but they make it so.

Lazarus: Okay. In your two published novels, you manage to take the subject of romance and examine it in a plethora of meaningful ways: pure attraction; devotion in the face of great hardship; true love lost and then recognized for its falseness; rescuing disguised as love. Yet despite the quality of the loving relationships you examine in your stories and the romantic element that is clearly present (and there is nothing trivial about them), you haven’t really give us a romantic story yet.

Bertram: The very first book I ever wrote was supposed to be a romantic story of love that transcended time and physical bonds, told with sensitivity and great wisdom. I quit a job when I was young to write that book, discovered I had no talent for writing and no wisdom, so twenty-five years went by before I tried writing that book again. That’s the one that I don’t acknowledge as a book. Someday I’ll get back to it. I know the basic story, but don’t know how to say what I want.

Lazarus: Have you read my novel Lacey Took a Holiday? It’s an intentional convolution of romance. As we would say in classical literature, “romance turned back upon itself.” The characters are both extremely flawed: the girl is a drunken prostitute; the guy is a bitter, widowed war veteran. They begin their relationship when he kidnaps her out of a brothel.

Bertram: I read it. It’s profoundly moving. The theme that I mentioned earlier that I saw in A Spark of Heavenly Fire was the theme of love in all its guises. You use that theme in your books, too. It’s especially apparent in The Medicine People, though the book is being sold as a mystery, like mine.

Lazarus: Yes, love in all its guises: you make Pippi an incredibly sympathetic character when it would have been so easy to turn her into someone we intensely dislike.

Bertram: Pippi was supposed to be the character I hated. It was supposed to be a silly sub-story about the unattractive woman getting what the attractive one didn’t. A childish theme, really.

Lazarus: Pippi embodies the woman searching for love. She ends up discovering that the only love she can trust is self-love. Suppose you wrote a sequel about Pippi. What would happen to her?

Bertram: I don’t know what will happen to Pippi. Haven’t thought about it.

Lazarus: I never realized it until now, but there is a tremendous comparison between the two women in A Spark of Heavenly Fire. It cannot be characterized simply the way you did: beauty loses out to plain. That’s what the unaware reader will get out of it. It’s much deeper than that. The women drive the story. It’s their strength that carries the day in the face of the plague, the atrocities and the recovery.

Bertram: Yes, the women drive the story. I wrote the book to prove a quote by Washington Irving: There is in every true woman’s heart a spark of heavenly fire, which lies dormant in the broad daylight of prosperity, but which kindles up, and beams and blazes in the dark hour of adversity.

Lazarus: I would like to share another thought about your writing — both your ability and what you’ve achieved. Let me preface it by saying that I’m no critic — which is to say that I really do understand literature as opposed to formulae. I feel what authors are saying in addition to recognizing the beauty in the way they say it.

Thus I feel the need to point out what you might not even acknowledge: you have a marvelous ability to write the longest parables in all of literature. A parable unglues the world as it is perceived and rebuilds it in a wiser and more beautiful way. That’s particularly true in A Spark of Heavenly Fire and even more so in the ironic, visceral More Deaths Than One.

Bertram: Again, you’ve silenced me.

Lazarus: You know, some writers will tell you that they treat their stories/books like children. You don’t do that. It’s something more than that with you. It’s metaphysical. A mystic statement.

Bertram: No, they’re not my children. One thing I have to believe: that these books will find a readership. That they have enough substance for people to talk about them. Do you think that’s possible?

Lazarus: I think your books are really mainstream books. The real difference between a mainstream book and a genre book is that a mainstream book intends to have something of merit to say. I think, with your books, there are several important realities: 1) They’d make damn good movies — which is to say they have great popular appeal and people will read them; 2) They could be studied in literature classes, and in that respect people will talk about them and discuss and learn; 3) I think to really, really get the lessons at the heart of your books you have to be a worldly, mature person. So if I say that people will have a lot to talk about in your work, I’m really implying all three of these things.

Bertram: This has been the most unlikely discussion.

Lazarus: Thank you, Pat, for the conversation. I look forward to being a writing colleague of yours. In the years to come, I anticipate reading many new works that evolve from that place where you have no new ideas, works that really do lurk in your inward being.

See also: The Most Unexpected Truth About Writing

The Most Unexpected Truth About Writing

My guest today is Lazarus Barnhill, author of the wonderful and profound Lacey Took a Holiday and The Medicine People, available from Second Wind Publishing. Laz talks about destiny, which is a perfect topic for his guest appearance here on my blog. We met in November 2007 during an online writing contest (TruTV Search For the Next Great Crime Writer Contest on where we finished consecutively  — 10th and 11th — out of over three hundred entries. Now we are colleagues again — this time at Second Wind Publishing. Lazarus says:

“We are not accustomed to thinking that God’s will for us and our own inner dreams can coincide.”  –Julia Cameron, The Artist’s Way

It was Monday, August, 20, 2007, and I was driving home from down east North Carolina in a driving rainstorm.  After I dropped off my daughter at her home, I turned on the local NPR station.  As it happened, I tuned in precisely in the middle of an interview.  It became clear within a few seconds that I was listening to an author who had just had his first book published.  Because I was trying to catch up on the information in the report, I paid especially close attention and was able to piece together that there had been an online contest, the winner of which received a contract to have his book published by a major house.  As an aside, the interviewer concluded the report by saying that the same literary website was about to host a second contest.  This second one was for romance novels.

At that particular moment, I was sitting at a stoplight.  I remembered how, a few months before, I had finished a novel that-if you closed one eye and squinted just right-could be considered a romance: Lacey Took a Holiday. The light was still red, so I took out my extra fine point felt tip pen and scribbled the site on the back of my hand: “Gather”.

This commenced a twenty-month string of the most unlikely events: the following day was the last day to enter the romance contest and I made it in just under the wire; in the process of reading the romance chapters of almost 300 other authors, I became well acquainted with a number of them and for the first time recognized a “great miscarriage of publishing justice” (there were far, far more worthy romance novels than there were agents and publishers to snatch them up); many of the quality writers began to coalesce into writing groups and I was actually invited to join in with them; a third Gather contest — crime/mystery novels — commenced soon after the conclusion of the romance competition and I had, only days before, finished a crime novel (The Medicine People); once again I encountered and befriended a number of outstanding writers and experienced the reality that only one of them was going to receive a book contract; at the end of that contest, a blended group of romance and crime authors decided to take matter into their hands and start up a publishing company; that company (Second Wind Publishing), ten months after its inception, has twenty books available for purchase in multiple venues with another twenty waiting in queue.

The other day I was marveling at the uncanny string of events that brought me so many wonderful new friends (by the way — thanks, Pat, for the invitation to be here!), saw the publication of my first two novels and empowered me to express my artistic vision in ways that I never imagined.  Ironically, as I participated in the Gather contests, I had assumed I would be one of those writers who might pen a worthy story, but never get picked up by an agent or contracted by a major publishing house.  In retrospect, I’ve gotten to the point where I feel pretty lucky that I didn’t.  In fact, as I read Julia Cameron’s remarks in her wonderful book, The Artist’s Way, I began to wonder if in fact what I saw as a lucky string of chance events was really a matter of listening to a still, small voice that has always intended better for me than I could have imagined for myself.  If Julia Cameron is right, that same little voice has something to say to all of us.

My premise is this: whatever force there is out there in creation (call it God, destiny, a Higher Power or whatever you want) actually wants you to write. When you write, you are fulfilling an essential aspect of your truest purpose for existing. What do you think?

Here is another far out, mystical question: for the sake of argument, let’s say the universe wants you (in fact the whole perverse group of us literary creative people) to write. Is there such a thing as praying for help with your writing? What would you pray? “Get me unstuck, O literary angel”? What about this, “Let my writing muse guide me to express my truest self as a writer, and trust the outcome to be in greater hands than mine”?

What if your literary angel has a purpose and story in mind for your writing that is greater than anything you can currently imagine? Of course that implies that being on the NY Times bestseller list may not be the greatest destiny.

See also: Pat Bertram And Lazarus Barnhill Discuss Writing as Destiny

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