Writing Tips
Writing Tips

On writing characters who are smarter than you are

This comes up a lot in workshops and I want to give it a serious answer because the usual advice ("just fake it") is not helpful. When you write a genius character - a chess grandmaster, a quantum physicist, a criminal mastermind - you are not writing their intelligence. You are writing its effects. The genius sees the board differently. You don't need to understand every move; you need to understand that everyone else is three moves behind and show us that gap. Practical techniques: 1. Research the domain enough to know what the questions are, not necessarily the answers. Your genius character asks better questions than other people. 2. Let the genius be wrong about things outside their domain. Sherlock Holmes is rubbish at normal human interaction. This isn't a weakness in the character - it's what makes the intelligence feel real. 3. Write the other characters's reactions to the genius. We understand that someone is exceptional by watching others fail to keep up. 4. The genius should have a blindspot the reader can see but the character cannot. This is where your story actually lives. What domains have people found hardest to write intelligence in?

jjames_okafor·61d ago
41 votes

2 replies

ssilke_bauer60d ago

The domain I find hardest is pure mathematics. I can fake physics reasonably well because the consequences are physical and visual. But a character who is a brilliant pure mathematician - how do you show us the actual insight? I've tried writing the emotional experience of mathematical understanding rather than the content of it, which sort of works, but it always feels like I'm describing music to someone who can't hear.

17 votes
yyuki_tanaka59d ago

The blindspot point is crucial and I want to expand on it for musical theatre specifically: the genius character in a musical almost always has the blindspot of not understanding what other people feel, which means the song they sing in Act 2 where they finally understand is earned dramatically. But you have to plant the blindspot in Act 1 through behaviour, not exposition. Show us three moments where the genius fails to read the room. Then the moment they get it lands.

12 votes

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