Function Order: Ne-Fi-Te-Si

Thomas has a boundless imagination and endless revisions up his sleeve; when Max demands he shorten his novel, he engages in endless rewrites, often adding entire back stories to minor characters. He writes in such drenched metaphors (purple prose) that he often obscures the meaning he aspires to behind obscure comparisons and meandering sentences. Thomas finds it impossible to center his prose without Max’s assistance; his attitude of “live and let live” means he absorbs as much life, and as many experiences, as he can handle, with the intention of channeling them into his ideas and writing. He can be incredibly changeable; thanking Max out of one side of his mouth, then condemning him, then returning to gratitude for his assistance. His over the top flamboyant attitude singles him out among others, who consider his intellectual work that of a “genius.” There is a deep, compassionate, and caring side to Thomas… and a deeply unhealthy side that more frequently manifests through an enormous ego. He prioritizes his own passions ahead of anyone else; when his mistress asks him to support her by attending the opening of her play, Thomas sneers at her work as trivial and insists he must work – the truth is, he just doesn’t want to go, and refuses to, so he invents excuses. Thomas sneers at anyone who has neither his writing stamina (he wrote a mere five thousand words today)  nor creativity; he levels cruel criticisms against F. Scott Fitzgerald for not writing anything new in five years. He is so awkward with his feelings that he only confesses his deep admiration for Max in letter form, and through his dedication in his second book. He has a barbed tongue and it often comes out when he’s angry; Thomas lashes people up one side and down the other, he cruelly points out their deficiencies, and he accuses them of nefarious behavior. He fights against every edit, up to a point – when Max can show him how purple prose thickens the work and obscures the point, Thomas becomes a brutal self-editor and cuts 90% of the offending passage in giant red chunks. He frequently airs his emotions through bluntness, and cares about the bottom line… just not as much as he wants his work “preserved, intact,” and “not ruined by over-zealous editors!” Everything he writes is based on his subjective personal experiences; he becomes excited thinking about how to incorporate how he met his current flame into his next book. But his flowery style often lacks sensory detail… except when he over-does it. Thomas sneers at anything conventional, but also faces demons from his past. His tremendous success with his first novel makes him fearful of failure, and causes, as Max says, endless “rewriting… because he’s scared,” and that manifests in him altering entire paragraphs, rewriting plot lines, and enhancing new characters from his previous draft (high Ne). Thomas, unfortunately, has such low Si, he fails to recognize that the things which matter most in life – family, friendships, etc – could ground him in reality, whereas he treats them as replaceable.

Enneagram: 3w4 sp/sx

Wolfe is a strange blend of aggression, adaptability, and ego merging into melodrama and self-centered behaviors. He’s so grateful at first that Max is willing to publish his book (after some editing) that he agrees to cut 90,000 words off it, so it will be successful. He is a work-horse, who hardly has any down time – either he is editing, then writing even more, or going out on the town and enjoying himself. He is immensely likable and charismatic, easily making Max into his friend and having seduced one woman away from her husband (she says he needed her, and as a sexual 2, she answered the call). As he becomes more successful, his arrogant side takes over—he argues with Max about his editing job, he angrily asks other authors if Max insists they pare down their word count, and he agrees to go with another publisher to punish Max, rejecting his friendship out of hand and accusing him of overstepping his boundaries. His 4 wing brings in a lot of self-centered behaviors – he can’t and won’t attend his girlfriend’s play, which she has been working on for months, because he has “work to do,” and “his novel is more important.” Whenever he leaves someone, he just abruptly cuts ties with them, based on his feelings. He becomes melodramatic whenever he wants something and isn’t allowed to have it, combs back over his relationship with Max in search of insults, and develops a negative attitude toward him that is unfounded and unfair.