Credit Liz Westreused under Creative Commons In one of my previous posts I talked about how I use character biographies for my book.
The journey itself is a measure of where the character is along the progression between these two points: Everything else is preparation for this quest, progress along this quest, and aftermath of this quest. The simple graph you see is the thing that is going to ensure that your novel has both incredible characters and satisfying plot.
The Seeds of Change The knot is the thing that is wrong with your character. You as novelist act as Fate or God over this character. So you begin sending difficulties into her life.
She wants to keep things the way they are—stay in an abu- sive relationship, give up on her dreams, not stand up for herself, hang on to her bitterness, etc. So you, as a good fiction deity, rain on her parade. You bring in positive examples of what her life could be like if she were to try an alternative way.
And then you put the squeeze on her something I like to call Escalation. But through the course of the tale you will show her clearly how her solu- tion is harming her and you will show her the bright, happy land she could enter if she went the new way.
She needs to be able to perceive what her alternatives are. What the character chooses in that moment is the all-important thing, the infinite pause when heaven and earth hold their breath to see what this person elects to do in her instant of perfect free choice.
The aftermath of that choice leads to the Final State and the end of the story. Your book is about what your main character decides at her moment of truth.
Everything else is just the vehicle to drive her to that pen- ultimate moment. Can you see how this is an application of our simple graphic?
The trip from one to the other is your story. But to keep your characters interesting you must also think about what your character can become. In fiction, as in life, people resist change.
Right up until the moment when it hurts too much. People dislike change, but they dislike unacceptable pain and consequences even more.16 thoughts on “ Write Better: 3 Ways To Introduce Your Main Character ” jordanflintoff October 26, at am In most of the cases it is specialty of the writers to create suspense in their book’s and novel’s characters.
Jul 23, · Something I left out of my take on Bio's, but just as important to character development: Whatever defining traits you give a character (especially a main one!) should be rutadeltambor.com less defining traits shown more strongly in a situation help make a scene more interesting.
A good character is complex because that means they are like You can bring something fucking amazing to every character you write: we return to the wisdom of my favorite internet dude — Chuck Wendig.
In his post, “25 Things a Great Character Needs,” Chuck talks about the need for a character history. He says, “Your character.
The readers will furnish a perfectly good description on their own if you simply let them know that the Uncle Charley of your story is a butterfly collector, or the elderly toll-gate keeper on the Suwannee River. 3 Ways To Introduce Your Main Character ” if you cannot introduce your own freakin’ character, YOU ARE NOT FIT TO WRITE.
Good writing is always about something. Write the argument of your book in a sentence, then stretch that out to a paragraph, and then to a one-page outline. 1, thoughts on “ 10 Ridiculously Simple Steps for Writing a Book ” Comment navigation.
Older Comments. Kagiso Daniel Makwela says: Since main character and his friends are. Jul 23, · Character Bio's: Why and How Why Then I asked them to describe the main character.
You know what happened? Each of the responses was slightly, if not wildly different, and made me realize both what I needed to add to the scene and what the human imagination is capable of completely making up on its own.
How To Write "Good.