In a youth-obsessed society, learn how to write powerful older characters with Melbourne-based author Anna Johnston. Shift the clichéd narrative around ageing to joy and authenticity. Before the Writers Victoria workshop on Saturday 23 August, Anna shares incredible insight into depicting older characters who are authentic, vivid and complex.
Anna Johnston was on track for a career in medicine before her heart led her elsewhere – into her grandfather’s nursing home, where she became a social support coordinator. When injury left her unable to continue working in aged care, she began to write about it, channeling her love for older people (especially her late grandfather Fred) into her debut novel The Borrowed Life of Frederick Fife.
Your novel The Borrowed Life of Frederick Fife explores the tough realities of ageing with wit and heart. When you’re writing about serious themes with humour mixed in, how do you gauge whether the comedy lands or flops?
I usually test it by feel first – does it make me smile, even in a heavy moment? Then I rely on trusted readers. Humour is so subjective, and when writing about ageing, it’s important the joke never punches down. If the humour feels like it’s coming from affection and shared humanity rather than mockery, I know I’m in the right territory.
I always think of the saying, ‘When life gives you lemons, make lemonade.’ To make lemonade, you need sugar – and for me, humour is that sugar, making the sour sweet and the unbearable bearable. So it’s important to get the mix right, so both can shine through.
I try to approach older characters the same way I would any character – as complex, evolving people with rich inner lives. That means showing their humour, flaws, desires, and growth, not just their age or limitations.
Settings like nursing homes are often seen as the ‘end of the road’, so to speak, but your novel shows they can still be full of life and joy. How do you bring liveliness and complexity to characters living in these spaces?
By treating them as fully human. People in nursing homes have histories, humour, relationships, and agency – they’re not defined by where they live. I try to show characters who are still growing, making choices, forming bonds – and who are far more than just residents in an aged care home. Just because life ends in a nursing home doesn’t mean living has to.
It’s really important to me that older characters aren’t valorised only for youthful traits or because they can prove they’ve “still got it.” They should be seen as worthy heroes of their own stories – even in the face of physical or cognitive decline.
I’d argue that some of the biggest and most aspirational character arcs can be found in older protagonists. Having lived through many stages of life, they carry the weight of past choices, relationships, and regrets – which makes their transformation more poignant. When they confront limitations or discover new purpose, it highlights their resilience and often defies the societal expectation of stagnancy.
Their arcs show that growth and connection are possible at any age, offering a deeper, more nuanced exploration of identity, love, and redemption – one that feels especially powerful and inspiring.
Writers are inspired by the people and stories around us. What ethical or privacy considerations do you think writers should keep in mind when portraying older family members or ageing individuals in fiction or nonfiction?
It’s a fine balance. Drawing from real life can bring authenticity, but it also carries responsibility – especially when writing about older family members or ageing individuals who may be vulnerable or unable to respond publicly. I think it comes down to intent and empathy.
If you’re writing nonfiction, transparency and consent are key, as with characters of any age. But when someone has dementia or impaired capacity, it becomes even more important to tread gently. They may not be able to give informed consent or fully understand how they’re being portrayed, which means the writer’s duty of care is even greater. Speaking with relatives and loved ones can also be a key part of the process.
In fiction, even when characters are inspired by real people, it’s worth asking: have I portrayed this person with dignity? Have I simplified or exaggerated them for effect in a way that might hurt? Keep coming back to your intention – why am I writing this?
Ultimately, just because a story is true or compelling doesn’t mean it’s yours to tell – and it’s important to honour the privacy, complexity, and humanity of the people who inspire us.
What advice would you give to writers who want to explore ageing, death, spirituality or cultural beliefs, but are hesitant out of fear of ‘getting it wrong’ or facing backlash? How can they approach these topics with both curiosity and care?
My advice is to lead with humility and a willingness to listen. When writing about ageing, death, spirituality, or cultural beliefs – especially if they’re outside your lived experience – it’s important to approach the work with empathy rather than authority. These are deeply personal, often sacred parts of people’s lives, and they deserve time, care, and thoughtfulness.
Engage with as many authentic voices as possible – read memoirs, listen to stories, and most importantly, talk to people who live these experiences. Be open to both learning and unlearning. Sensitivity readers can also be an invaluable part of the process. You won’t get everything perfect, and that’s okay. But if your intention is sincere and your approach grounded in care and respect, it will show on the page. You don’t need to be an expert, just willing to learn and revise. It’s okay to be nervous – it means you care about getting it right. Write with respect and always be open to feedback.
Without giving too much away, how do you approach writing about older characters in an authentic and non-cliché way?
I try to approach older characters the same way I would any character – as complex, evolving people with rich inner lives. That means showing their humour, flaws, desires, and growth, not just their age or limitations. I explore how their past choices shape their present, how they’re still making decisions, forming relationships, and changing. I begin by asking: who were they at thirty? What are they still passionate about? What are they not saying? Age doesn’t erase personality – it adds layers to it. Avoiding clichés means giving them nuance: letting them be funny, flawed, resilient, stubborn, romantic etc – all the things younger characters get to be, too.
The Joy of Writing Authentic Older Characters with Anna Johnston
Saturday 23 August, 10AM–1PM
In person at The Wheeler Centre
Through discussion, exercises and examples from literature and film, Anna Johnston will teach you how to craft older characters from an original, authentic perspective.
Sign up for the workshop The Joy of Writing Authentic Older Characters today.`