In a post on Writer Unboxed, Therese Walsh discusses how to use the art of manipulation to create authentic power dynamics in your story. “Whether it’s cherry-picking facts, distorting statistics, or repeating the same selective or false narrative until dissenters are either drowned out or start nodding in agreement, those who hold power often manipulate information to twist fact and fate to their favor, and to maintain control,” she writes. While this sounds applicable to politics, others – such as parents, spouses, bosses, and activists – also wield the power of manipulation.
For manipulation to feel authentic in your story, consider your story world’s power structure and how information flows. “Who presents themselves as a hero when they’re really manipulating the narrative for their gain?” Walsh asks. “Who benefits from the way things are, and who stands to lose if the status quo is upended?” To find these dynamics, look for relationships between characters of unequal power, such as parent-child, boss-employee, or banker-loan applicant, and examine how that power is used.
“If you do have a character who in some way abuses authority, be sure to spend some time considering the why of it, as thin or no motivation here can deliver a thin character,” Walsh says. “Some possible motivations include consolidating or maintaining power; attracting allies; suppressing opposition or progress; providing others with a narrative so they don’t think critically for themselves; simplifying complex issues into black-and-white terms and suppressing nuance; distracting others from their own flaws or vulnerabilities; preventing harm to something they value, including themselves; and financial or other personal gains.”
Manipulative people divide their targets in order to conquer. An abusive spouse will isolate their partner from friends and family, or a manipulative boss might use threats or promises to put employees at odds. “It’s easier to maintain control over people when they’re focused on fighting each other rather than questioning authority, thinking logically, and summoning their best selves,” Marsh notes.
Pushed further, manipulation can create division, making it harder for characters to achieve common goals. “Another boon here is that division-inspired chaos doesn’t have to be restricted to an antagonist; a well-meaning character’s insecurities or beliefs can run up against another well-meaning character’s insecurities or beliefs, and you can exploit those cracks to fuel conflict,” Marsh adds.
Lies are a manipulator’s master tool and the bigger the lie, the easier it is for people to believe it. “One chilling thing about The Big Lie is that it’s a psychological trick: When a story is framed as believable but is audacious, people assume it must be true,” Marsh writes. “A leader, especially, wouldn’t dare invent such a thing. Except when they do.” Because the Big Lie is big, it launches with momentum, making it harder to quash. “In fiction, the concept of The Big Lie can be a device enabling you to create tension and explore how belief systems take root in your characters and your story,” Marsh says. “A lie so outrageous that it becomes difficult to question can shape entire societies, families, and a protagonist’s worldview.”
When repeating the big lie, you don’t need to repeat the lie in full or have the same character recite it. Pull key phrases, concepts, or catchphrases, and have them catch on among your characters. Consider how dystopian novels like 1984, The Handmaid’s Tale, or The Hunger Games used subtlety to reinforce the dominant culture’s message. Assign one character the role of true believer, and let him or her carry the message. The lie doesn’t even have to be new. “Consider a false historical narrative used to oppress a group, a fabricated prophecy that redirects the choices of a kingdom, or a personal deception that separates lovers,” March notes. “Whatever the specifics, the key is to weave the lie with care into the fabric of your story.”
Finally, Marsh notes that manipulators and liars rely on emotions, particularly fear. “Fear makes people do all sorts of things without pausing to apply logic or consult with reality,” she says. “It’s a cheap, but incredibly effective, cheat code.” Consider what your characters fear and who knows about it.
