Except you really need them to work with you. You really do.
So you keep trying to force them to muddle through the plot you have planned, or you keep trying to cajole them into revealing where they want to go and who they want to have a torrid love affair with next.
I've been there. Trust me. I know. Writing LOST BOY, FOUND BOY was a year-long exercise in, "seriously, Peter? Talk to me, man. Tink? What about you? No? Why? Why do my characters all hate me."
If you're anything like me, you might want to take a break from your actual narrative at this point and spend some time getting to know your characters better. Chances are, once you do, they'll help you bust through any plot devices you're having trouble with, because they'll be that much more multi-dimensional.
So, without further ado: 5 things you need to know about your characters (that you'll probably never even tell your readers: not explicitly, anyway).
1. What do they want in this scene?
Yes. In every. Single. Scene.
What do they want? Why do they want it?
In every. Single. Scene.
It's okay if your character doesn't know: hell, we often don't know what we want, or why we want it, in the scenes of our everyday lives. But as the author, you should.
2. What Hogwarts House are they in?
And be careful, here. Hogwarts Houses are always super interesting to me: the only reason Harry wasn't in Slytherin, remember, is because he chose not to be. You can choose, at the tender age of 11.
So, the question gets more complicated: would the House you think your character would be in now be different than what it would have been or will be when they're eleven? Why? What changed? What stayed the same?
Not a Harry Potter person? No judgment (mostly). The basics here are about knowing what qualities your characters value in themselves and what they value in other people. Does your character think it's better to be kind or to be correct? To have lots of friends or to have a small handful of intimate chosen family? To be on the front lines or in the background? Where are the complexities? The 'yes ands'? The conflicts of values?
This is where your characters get rich in development.
3. What do they do in their down time?
In book cultures of chosen ones and plucky teens saving the world, we often forget the mundane, the "boring", the "oh my Rao I just want to go home and sleep."
Forget what they need to do to survive, for a moment: what do your characters do to thrive?
Or, what would they do if they weren't wrapped up in whatever intensive plot you have lined up for them?
4. Why do they like (or dislike) x person?
We love chemistry in our books, don't we? Two characters meet eyes across the room, and bam. An OTP is born.
And I'm all for that. I'm all about that.
But what sparks that chemistry (or the hatred, or the ambivalence, etc.) between two characters? What, indeed, keeps it going (or not)?
Sometimes, my favorite questions about my characters are the simplest ones. Someone asked me the other day, "What does Evelyn like the most about Sadie?" And I had to scratch my head and think about it for a hot minute. Hell, I'm still thinking about it.
Because it was a beautiful question. And I can write an entire prequel and/or sequel as an answer to it. Make sure those things shine through, even if you're not writing about them explicitly.
5. What is x's relationship with y?
What I mean by that is this: imagine a scene with four characters in it. Let's choose mine, for funsies. Sadie, Evelyn, Zaylam, and Jorbam.
Sadie and Evelyn are dating each other (or at least, they want to; even if they won't admit it yet). Zaylam, Sadie, and Jorbam are hatchling mates who grew up together.
And, Sadie is the POV character.
What about how Jorbam and Evelyn interact? Jorbam and Zaylam, when Sadie isn't there? Evelyn and Zaylam? The three of them, without Sadie?
Fleshing out relationships between multiple characters, in multiple combinations -- even if you don't give a massive amount of tangible detail to your readers about these "side" relationships -- is extremely, extremely important, and it makes for a much richer narrative.
My favorite scene in all of the Harry Potter series, for example, is a small one, an almost insignificant one, in THE HALF-BLOOD PRINCE. Ginny is sitting on the floor in the common room, reading a newspaper with her back against Harry's knees. Some of her brothers are there, too, playing wizards' chess. They're all teasing each other and having side conversations with each other and something about Harry having a hipogriff tattoo. They're all doing their own things: but they're doing it, intimately, together. It warms my heart, every time.
Similarly, my favorite scenes in Grey's Anatomy are ensemble scenes: I love the relationships that aren't the main focus of the show. Alex and Cristina. George and Cristina. (I just really love Cristina, okay?) Burke and Alex.
So, like in HARRY POTTER, one of my favorite Grey's scenes is a really basic one. An ensemble scene, where they're all studying for their boards, and they're all having side conversations and little nervous and excited mannerisms. They're all living their own, full, independent lives, and you can tell from how they're all doing their own thing: but they're doing it together.
It's those little things -- those tiny interactions between characters whose relationships aren't what the story is about -- that can make or break rich worlds and sweeping plots.
Build them out, even if it's just in your own notebook or google doc of character files.
It'll show up in your writing. I promise.