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In this article we'll consider:
What we mean by status
Understanding status in fiction
The two primary types of status
Status and character development
Using status to strengthen your narrative
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The Collins online dictionary defines status as: "your social or professional position"; "the importance and respect that someone has among the public or a particular group"; and "the importance that people give" towards something.
Deny as we might, status plays a part in all our lives – often subconsciously – driving a great deal of who we are as individuals, and how we perceive and interact with others.
Status-driven behaviour is so pervasive, in fact, that journalist and writer Will Storr wrote a book about it. The Status Game examines how a person's relationship to status is the impetus behind every action they take – whether that be serial killing, mass tyranny, or simply negotiating the normal everyday.
For example, though it pains me to admit, I can easily deduce the ways in which my perceptions of status have unwittingly impacted the roles handed down to me, of mother, wife, daughter, sister, friend, worker, etc. The choices I've made and how I've behaved correlate to a desire to prove myself in those roles and compound my "worthy" status.
Unravelling how we are guided by and respond to status in our own lives is an eye-opening and worthwhile endeavour; but applying it to the fictional characters in our stories gives us a handy tool for going deeper into who our characters are, how they interact, what causes conflict for them, and how they need to change in order to grow and achieve what they want (and, of course, why they want it in the first place).
Understanding status in fiction
Status manifests in literature in all its many forms, including social class (North and South), power dynamics (Nineteen Eighty-Four), societal roles (Pride and Prejudice), wealth and popularity (The Great Gatsby), and self-perception (The Picture of Dorian Gray). In the case of the latter, who wouldn't want to look eternally youthful? Why – because we attribute a higher status to beauty.
Without Pip's desire to improve his status in society so he can win Estella's heart, we would have no Great Expectations.
Without Patrick Bateman forcing himself to keep up appearances and maintain his "yuppie" status within the shallow, materialistic environment of his peers in 1980s Manhattan, we would have no American Psycho.
Without Ralph's impulse to maintain civilized order (moral high status) and Jack's contrasting authoritarian leadership provoking a mob mentality and descent into savagery (power high status), we would have no Lord of the Flies.
Wherever there are characters, there is status play of some kind. We’re familiar with the conflict differences in status can bring about, but what about harmony? Characters don’t always have to be on an equal standing status-wise to get along – but it helps if they can find some common ground where the differences in status aren’t a challenge, or where their differences even themselves out.
For example, my lowly social butterfly status will never live up to my husband's high status in this regard. However, I have a higher status in terms of self-contentment, self-occupation and inner peace. Rather than our status differences provoking conflict, we've been able to find balance – the drama of his busy social life dissipates quickly when I listen but don't engage with it; whilst his ease with talking to anyone and everyone at social events saves me the exhausting effort.
So just as in life, harmony can prevail between fictional characters of different statuses, usually if there is at least one foundational element upon which they're on an equal footing.
Also important to remember is that status is not static. A character's status can fluctuate depending on context, relationships, and personal development.
Consider, for example, how you interact with a close friend who knows all your flaws, versus how you interact with an elderly, beloved, and respected family member, versus how you interact with a neighbour you dislike or a salesman knocking your door when you're busy. In each case, your thoughts and behaviours will subconsciously result from the status you apply to both yourself and the individual in that moment.
If you then find out the close friend has been spreading lies about you, or the salesman is personable and pitching something of use to you, your perceived status in relation to them changes. Likewise, age and experience also alter how you see yourself and how you see others.
In fiction writing, by considering your characters’ perceptions of status, you can construct more engaging interpersonal tensions, recognize the potential for conflict and/or harmony, and from this develop naturally occurring character arcs.
The primary types of status
Status can be categorized into two primary types:
External status: This refers to a character’s societal position, wealth, job title, or any outward indicator of rank. A king, CEO, or wealthy celebrity typically is perceived as holding high external status, while a homeless person, prisoner, or outcast might be perceived as having low external status.
Internal status: Internal status relates to the level of confidence, self-worth, and assertiveness a character displays, regardless of external rank. A janitor who carries himself with confidence may project higher status than an insecure executive.
Balancing and contrasting external and internal status can lead to fascinating character studies and unexpected dynamics.
At the beginning of The Hunger Games, Katniss Everdeen's external status is no different from any other 16-year-old girl's, trying to get by with her mother and sister in the harsh environment of District 12. But as her internal survival instinct, confidence, and resourcefulness is forced to grow, so does her external influence and status, positioning her involuntarily as a symbol of rebellion against the Capitol.
Status and character development
A character’s status influences their motivations, decisions, and relationships, providing countless opportunities for growth and conflict.
1. Status as a source of conflict
Conflict often arises when there’s a disruption in the status quo. A high-status character might struggle to maintain their position, while a low-status character may fight to rise. This could be on a grand scale, such as the conflict between Coriolanus Snow and Katniss Everdeen in The Hunger Games, or on a more personal level, such as Lily Bloom and Ryle Kincaid in It Ends With Us, the romance novel with themes of domestic violence and emotional abuse.
Alongside the external status conflict, internal struggles are often taking place simultaneously. In The Godfather, Michael Corleone's internal battle is between the status he wishes to preserve of a clean-living, law-abiding citizen, and the relentless pull of his family's criminal legacy.
2. Status shifts as character arcs
Character arcs usually involve the character changing in some way, and this change results in a shift in their status. A hero might start as an underdog and rise to power; or a powerful or arrogant figure may face a humbling fall from grace.
In The Devil Wears Prada, Andy starts with low external and internal status, but gradually gains confidence and influence, altering the dynamics of her relationships.
In Star Wars, Anakin Skywalker's status fluctuates throughout his turbulent life: born into slavery (low status); training as a Jedi Knight and prophesied as The Chosen One (high status); becoming the Sith Lord Darth Vader (external high status in terms of power, internal low status); destroying the Sith and sacrificing himself to save his son (redemptive, moral high status).
3. Status in dialogue and body language
Characters convey status through the way they speak, act, and move. Understanding the subtleties of your characters' perceived status of themselves and others can make dialogue and interactions more natural and dynamic.
For example, high-status characters may: take up space, maintain steady eye contact, speak in measured or authoritative tones – or conversely, they could also be humble, grateful, and generous. Low-status characters may fidget, avoid eye contact, use self-deprecating humour – or conversely, they may be quick-tempered, bitter, and unforgiving.
Status is not strictly cut and dry; it's subjective. Your character's upbringing, background and personality traits will determine how they perceive status in others, and how they behave according to their own self-appointed status – neither of which will necessarily follow a predictable path.
Think of orphan Annie's optimistic, energetic spirit in the musical Annie, her high internal status leading her ultimately to the loving home she seeks; and also of King George VI's battle with self-worth in The King's Speech, requiring him to manage a low internal status within an external high-status role.
Another example of an outlier is Sherlock Holmes. The fictional detective dominates conversations with his intelligence and confidence, signalling high internal status despite sometimes disregarding social norms.
4. Status reversals for humour and drama
Reversing status is a powerful plot device often used for comedy or tension, usually with the purpose of conveying a moral theme.
A high-status character forced into a low-status position (or vice versa) creates a compelling scenario. Such as Tom Canty switching roles with Edward Tudor in The Prince and the Pauper, the ensuing story a moral lesson in not judging others by appearance, or status.
In the movie Trading Places, a wealthy investor and a homeless man switch roles, using humour to provide insight into human nature and our attitude towards status.
Tips for using status to strengthen your writing
Observe real-life interactions to pinpoint how status is communicated through speech and behaviour; you may be surprised at just how often it comes into play and in what ways.
For example, just for fun, think about a time you were proved correct in an argument, then consider a time you were proved wrong. In either case, how did you feel? Maybe smug when you were correct, maybe irritable when you were wrong – according to your perception of your status relative to the other person's in that moment.
Have status influence your characters' actions and decisions. To be clear, this doesn't necessarily need to be verbalized; your characters may be entirely oblivious that they're reacting to their ideas of status. Simply by having your characters react based on their conscious/subconscious perceptions of status, you'll be making them and their interactions more authentic.
Experiment with status, such as power dynamics, in different relationships, e.g. mentor/student; boss/employee; hero/villain; potential love interests. One shift in dynamics (status) could change the entire relationship, affecting the direction of the story.
Use status shifts to create compelling character arcs and growth. Consider the status of your character at the beginning of the story (internal and external), how it might differ by the end of the story, and how that change might come about during the plot.
Use your character's status in each scene to guide dialogue and body language. For example, if two characters are skirting around an argument and Character A is certain he is right, his dialogue and body language may be confident and domineering (conveying high status); whilst if Character B is intimidated by Character A, he may be flustered, inarticulate or verbally clutching at straws, and either flighty or violent.
Avoid the predictable by thinking outside the box in terms of a character's idea of their own status and how they perceive the status of others. Remember, who your character is and how they perceive themselves is based on a combination of background, environment, life experiences, and also genetics. No two individuals are exactly the same and thus may have different ideas about status.
Any time you have two or more individuals in a scene, consider the status of each, how it impacts their relationship as it stands, and the potentiality for harmony or conflict in later scenes.
Finally...
Creating memorable characters that engage in compelling conflicts and immersive storylines is difficult. But when we recognize that status is, consciously or subconsciously, behind almost everything an individual is and everything they do, it makes exploring our fictional characters in depth more accessible, broadening the potential for complexity and originality.
Simultaneously, by using the interplay between external and internal status to shape character development, we are better able to craft nuanced and dynamic narratives that align with our story's themes, and resonate with readers.
Further reading & listening
The Status Game (2022), Will Storr, William Collins Books, Harper Collins Publishers, Glasgow
"The Status Game We All Play", Sean Illing, Vox
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Tina Williams of Fiction Yogi is a copyeditor and proofreader who works with writers at all stages, giving them the tools to improve their manuscript and level up their writing so they can meet their publishing goals.
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