In life, we act” out of character” in reaction to an unexpected or unusual event.  This atypical behavior can be both negative and positive.  We might lose our “cool”, speak harshly to someone we care about, show up uncharacteristically late, cry uncontrollably, act abusively or become unusually quiet.  In contrast, we may act assertively when we are normally shy, hesitant or afraid, or we might behave confidently when we are normally insecure.  Either way, when the event ends or the situation returns to normal we usually do too.

Acting” out of character” can be a good thing, but more often it is not so good.

What behaviors do we consider to be normal, or “in character” for the people we know, or for ourselves?  We should know that first to recognize behaviors that are “out of character”.  Do we really even know the person who seems to be acting against their nature?  Are we sure we know what his or her “in character” behaviors really are to begin with? And, further, do we know what is “in” and “out of character” for ourselves?

In writing fiction, acting “out of character” is a good thing. We have our characters act “out of character” when we want to highlight a plot-point, a secret, a scene, or a message, among other reasons. Our character faces a challenge or an opportunity and the way she handles that situation reveals more to the reader than an expository narration alone would.  Usually, to make the story more interesting or suspenseful, the writer makes something happen to which the characters must respond while the audience watches them to see how they will handle themselves.

In Acting Against their Nature, Writer Digest Contributor Tiffany Yates Martin, wrote in the WD July/August 2024 issue the following: Human nature can be complex and opaque, but even our seemingly irregular actions are almost always based in reason, even if not in logic”.  Martin explains that Consistent characterization stems from three main elements: their personality traits, their background/situation and their identity, in other words, who your character innately is, what forces shaped them, and who they have become as a result.

She explains how writing “out of character” behaviors can reveal suppressed beliefs, fears or pains lurking beneath the surface that emerge in reaction to a trigger (an event such as I pointed to earlier).  One of the ways to show the evolution of character, in addition to creating external forces that push or compel the character, or showing the character internally motivated to act against their nature, is to reveal that “ out of character” behavior is true to the character:  stories of seeming transformation where the character’s arc is to return to their true nature that’s been buried underneath the burden of life’s challenges.  This includes everything from childhood trauma, to misconceptions about themselves or the world, to fear or self-doubt, or any other number of ephemeral demons that have divorced them from the authentic nature.  This is evident in stories in which the Protagonist travels her arc of reconnecting with the core of who she really is.

Adding to this idea,  David Desteno and Piercarlo Valdesolo claim in their article: How Even the Best of Us can act Out of Character,  that everyone — even the most respected among us — has the capacity to act out of character.    According to DeSteno, while character is typically thought of as something fixed, it’s actually much more dynamic.  If you look at the scientific data, what we see over and over again is that people’s moral behavior — for ill and for good — is much more variable than we would ever expect.

Sometimes acting against our grain might get us in trouble, or on the other hand, it could seal the deal.  When we react too emotionally, failing to think the problem through first, we may feel regretful later or unintentionally hurt someone we care about in the process.  Yelling at a child in the midst of a chaotic day, speaking harshly to a friend during a misunderstanding, or saying things we do not mean to a loved one when we are in the center of the situation can cause detrimental consequences, many times so damaging that we cannot go back to the way it was before. 

In contrast to this idea not to act out of character, however; Eddie Pinero, in his podcasts, tells his listeners to act “out of character” on purpose. He talks about the words “I am” and who you believe yourself to be. People tend to follow through with whoever they believe themselves to be. Believing you are capable, energetic or happy and acting that way can make you become that way.  This tool, to act “out of character” on purpose can be used to build, but like the hammer it can also tear down.  Like the water that preserves life but can also take life, and so many other things that have a positive and a negative, acting “out of character” can be a good thing and a bad thing.

However, in our fictional stories, it is a good thing. We like to create these “out of character” episodes to increase tension, add suspense or flavor to the story. We want our characters to go against their nature, behave in ways they shouldn’t or don’t usually, to reveal, embellish, or push the story forward, unlike real life where acting “out of character” is only good when it makes us stronger, to be avoided when it makes us weak, too emotional or careless in our treatment of others. 

So, go ahead, act “out of character” when it builds but avoid it when it tears down.

In your fiction, however; have a field day pushing your characters to act “out of character” whenever you want to do either (build or tear down).  Your characters won’t mind and your readers will be grateful.