Characters (Part 2) - Motivation

I can guarantee that every moment of your entire life there has always been something that you wanted. It could be an object like a book or a specific car, or it could also be an emotion like happiness or satisfaction. Before you tell me that I am wrong and there was moment X where you were happy and nothing could ever go wrong, I will reply, “Ahh, but you wanted that moment to continue.” Even when we seem to have no motive, there is always a desire behind our actions. Even if we are doing it for someone else. 

Every time a character acts, speaks or thinks there should be a motive behind it. If there is a dog that appears in your story for one paragraph, it wants something. It probably won’t be motivated by anything more than food, but that is still something. 

While we can’t always decipher what those around us want, we need to be clear when writing our books because if the reader is going to relate to our characters they need to understand the reasoning going on behind their actions. If my protagonist decides to leave her family but I don’t explain why, the reader won’t understand why they are hurting their family simply to get a job in another country. But if you explain their desire for adventure, and that they understand the pain but that it is necessary, suddenly you can emphasize and be on board.  

There are two different motivations that can affect your character: outer and inner. 

Outer motivation can be easy to describe. It is a runner’s desire to win their marathon, or complete it with a high score. It is a chef’s desire to bake that perfect cake. It is something that can be quantifiable and attainable. A final scene of a novel will have them finishing that race with the score that they wanted, or taking that cake out of the oven and seeing how perfect it is.  

That is not to discount outer motivations as being simple because they are necessary. It is these visual clues that most readers will look for to deem success for their protagonist. They won’t be satisfied if that runner never gets the time they wanted or if that chef will always bake flat cakes. Suddenly the whole point of the story was for naught. 

But it is because they are combined with the inner motivation that they seem more meaningful. This is an emotionally based motivation. A character is seeking a certain feeling. Perhaps it is the satisfaction of baking that cake, or the elation of crossing that finish line and seeing everyone in the crowd shouting their name. Either way, a non-self-reflective protagonist will only ever think of that outer motivation and it is the writer’s job to share that inner motivation with the reader.  

True, some writers won’t concentrate at all on inner motivation, and yet some won’t ever concentrate on outer motivation either. I believe that they are both important for good story telling but every writer has a different opinion. Every reader has a different opinion. I like to know that something more than just an emotion has been created because while a writer can depict the feelings of euphoria that are happening, I like having the tangible event so that I can feel it for the protagonist as well. I can be along for the ride with the protagonist and feel as though I have succeeded as well. 

Reading is all about having an experience that you wouldn’t otherwise have, especially for me because I love fantasy and I will never be able to meet a dragon, so being able to go through the events with the protagonist is important to me.  

Whatever the motivation of the character is, it must be present throughout each action and thing that they say. The motivation does not have to stay the same the entire time either. As they accomplish smaller things, their motivation can change and develop. The runner had to finish top eight in a smaller marathon on their way to the major event. The chef had to prove he could bake a cupcake before he was allowed to tackle a bigger dessert. Or the chef discovered he no longer cared about the cake and instead wanted to open a cupcake store.

There needs to be that consecutive building of introducing the motivation, struggling with its completion, and finally achieving it. Though it does not always have to be achieved either. There are some stories where the protagonist might have wanted something that was impossibly out of his reach so even when he tried his hardest he was unable to attain it. The lesson learned here was that we have to be reasonable with our expectations. Like I had to come to terms that I would never be able to meet a dragon.  

As you can tell, there are many exceptions to the rules so I can never say, “You must do this.” However, before you decide to bend the rules, consider learning them first, that way you know how to break them to more effect. Every character must have a motivation, even if they will never meet it, and they must actively work to get it.

Characters (Part 1) - Believable Characters

Characters can be created through any number of means. They are the way in which the reader must experience the story. It is through them that they experience the plot, the setting, everything that you've worked so hard to create, which is why they should not be overlooked. Great characters can add a lot to a story and there are many readers who are more interested in characters than setting or plot. They enjoy reading for characters who make them question.

There are many ways to create intricate characters. I have heard that many people are successful when basing their characters off of people that they know in real life. I would never be able to do this. One, because often times their personalities aren't what I'm looking for for the story that I want to write. And two, you have to analyze characters really well to be able to use them in a story and I would rather not psychoanalyze my friends and my family.

I usually start with how I want my characters to behave throughout the story. Do I want them to be intelligent? Do I want them to be self-reflective? Do I want them to be rash or indecisive? This is how I approach creating a main character because a lot of the story is based upon them. Then I will expand to creating their parents and now I have to start thinking more in depth. If my main character is always polite, is it because their parents taught them to be that way? Or is it because their parents are always rude and the child wants to be as different from their parents as possible?

Secondary characters are always there to fill out a role at first. It will be the helpful best friend, or the love interest. Then once I have figured out vaguely what I need the character to accomplish throughout the story, I can then fine tune their personalities.

Some writers enjoy writing out profiles for all their characters but I don't like doing this. I prefer to just start writing my story and discover them as it moves along. Also, I don't have the patience to do it. But if it's something that you're interested in, here is an example of one that includes all sorts of details about a character like physical traits and personality things. In my mind I don't like doing extra work so unless an idea doesn't come to me beforehand, I like to make things up on the spot.

No matter how you choose to create your characters, there are some things that you need to ensure to include so that your characters will be believable to your reader. It isn't enough to say that they are sassy, short, and a girl. Or tall, shy and a guy.

The first important quality is flaws. No human is perfect so your characters shouldn't be either. Part of what makes up our personality are our flaws. Is you character impatient? Sarcastic? Soft spoken? Pessimistic? You can also give them physical flaws, but be warned that making your character clumsy is overdone and no one buys into that anymore. Don't you dare try to make the flaws cute by having the protagonist have a snorting laugh that everyone thinks is adorable. If people think it's cute then it isn't a flaw.

So if you choose to have a snorting laugh be a flaw, have everyone be embarrassed for the protagonist when they do laugh. Maybe his or her friends have grown to accept it but when they meet new people, the strangers are startled when they first hear it. Therefore all flaws should be what they are: something that is considered a bad trait.

If a character never struggles or never has any doubts then how can you expect someone to relate to that? Even the most confident individuals have days where they aren't feeling great. One day they might not like how their hair looks, or they might get a pimple. Though you don't have to dwell on any flaws, it is important to have them. Therefore when a character pushes past their shyness to do a speech that is really important, the reader will know the sacrifice that was made. Or if the protagonist is always complaining, when they hold their tongue at an opportune moment that can be appreciated.

An underrated quality that is necessary for a story is for the protagonist to be proactive. While many of us like to believe that we are procrastinators, if your character is sitting on their butt all day not doing anything then the story won't take place. If they aren't enthusiastic in what they are doing, how can you get a reader to care? Unless you are an amazing writer, you need a proactive protagonist. They will drive your story forward.

That is why villains are often so well loved. Heroes are always reacting to what the villains are doing. Villains are actively completing their goals so we root for them to succeed because they are doing something. Without any villains to do bad things, heroes would be boring. They can't do something until the villains misbehave. So you want your characters to be acting instead of reacting. While it is fine for them to react a few times during your story, don't have that being their only action throughout your entire book.

Finally, however you choose to write you characters, ensure that they are consistent. Even if they are going through a character arc and are changing throughout the story it doesn't mean that they will become a brand new person. Their mannerisms will remain the same. Their hobbies will remain the same. As funny as it would be if you had your protagonist say that great one liner to the villain as they are fighting in the final scene, if it's not something that they would believably say then it has no reason to be there. Don't sacrifice consistency for a joke, or an emotional scene, or whatever it is. In the long run it's not worth it.

A way to test whether your character is developed enough is to write a conversation between two people and have two distinct voices so they can be differentiated without needing dialogue tags. Keep in mind the way that people speak. Therefore a sailor might use lots of sea proverbs. Or someone might speak eloquently if they are well educated. A person's personality can be shown so easily through dialogue that it must be exploited to the best of your ability.

Narration

I could discuss the pros and cons of points of views for days. So instead here are some links that do a much better job then I ever could at analyzing them:

Here is a link of Brandon Sanderson discussing it in a video.
We can always trust Writers Digest to come up with some excellent points.
Finally, a fun forum discussing it.

I personally enjoy writing in third person. I don't have a particular reason why. Maybe I detest having to somehow introduce the main character's name awkwardly at the beginning of the book so the reader isn't halfway through before they stumble across someone saying the name "Tom" and wonder who that character is (when it's really the main character's). Or that, in fantasy, I find so many authors using third person that I just emulate what they do. Whatever the reason it makes me feel more comfortable so I write it that way.

Whatever point of view is chosen, all authors have to follow the same rule. The narration should reflect the main character's personality. (This doesn't include omniscient where it is supposed to be a higher being or the narrator's voice coming through.) No matter what the character is experiencing, their perspective or bias on the world is meant to come through. So while a rich person would see a moldy piece of bread and toss it aside, a beggar might think it to be the best food he has had in days.

This is easier said than done and I suck at it. I am constantly trying to give my main characters their own perspectives but somehow my loud mouthed commentary always seems to come through on the page instead. Also, since my book is a fantasy based in a more medieval world, I have to make sure that I don't use modern slang as well. Everything must sound posh and elegant. Instead of "Jim thought it was the greatest idea" it's "Jim believed it to be a remarkable idea". Or something along those lines.

The worst part about it is that it has to be so subtle that no one ever comments on it. When it's done well it passes unnoticed but when it doesn't work suddenly it is staring right out at you like a sore thumb. So if no one ever notices it then you know you've done a good job.

Over the years I have gone back and forth over how much description I should write compared to dialogue and internal thoughts by the main character. When I was younger I enjoyed description much more but over the years I have developed more of a liking towards dialogue. Whenever I do my first draft of a scene, at first it is mostly dialogue with an action thrown in their every now and then if it's important. It is only when I go over it later that I decide what the description and action should be.

There are no limitations as to what is the proper amount of description or dialogue per page, but it depends entirely on the writer and the genre that it is in. Every reader has a different opinion so for one person there might be way too much description, while for another there might not be enough. There are so many expectations that you should write what you feel is best at that moment then find time later to go through it and see how long it needs to be. If something requires a couple pages of description as it is vital for the story to make sense then you should never be worried about doing it. As long as it is interesting and there is a reason behind in, then do it. 

If that didn't help at all, grab a book in the genre that you are writing. See how other authors do it and make up your own mind. Chances are that if you want those readers to enjoy your book then you might want to make your own book similar in terms of description and dialogue percentage as the popular books of your genre. For example, a fantasy book will have more descriptive detail of landscape then a romance book which will focus on emotional descriptions as well as physical. Each genre is different so you have to tailor it to your own.

Prologues

I will be the first to admit that I don't like to read prologues because many of the ones that I have read tend to be boring. Or, they are so great that the rest of the book is a let down because it doesn't have the same energy as the prologue. But I will never skip over reading one because to me, everything that's written in a book is meant to be read and I trust the author to have made it all relevant to the overall story. The only thing I skip over are the quotes at the beginning of chapters because, when I do understand what they mean, it feels like a spoiler for that passage.

Anyways, I don't write prologues myself. There are many people out there that hate them with a passion and I can see why, though the intensity is a little strange. After all, it's just ink on paper. But if you are writing a prologue there are a few things you might want to consider. 

If the prologue you currently have follows the same tone as the rest of the story, consider making it chapter one. While a reader will feel free to skip over a prologue, they won't ever skip over chapter one to make it to chapter two. Even if the point of view is different, if the tone feels the same you can often slip it in at the start. JK Rowling did this with her first Harry Potter book, The Philosopher's Stone. The first chapter happens ten years before the rest of the story, and follows characters perspectives that we will never explore again because Harry becomes the focal point. 

There are reasons to write a prologue, as well. 

Event earlier in history

Perhaps your story is about a war between rabbits because a century before one rabbit stole another rabbit's carrots. Instead of inserting it in the early chapters of your book you want to incite excitement right away and have a conflict from the get go. But this could easily become the situation I explained above where the prologue is better than the rest of the story. You have to make sure that the century later bunnies are doing interesting things as well. 

Different point of view

In your bunny war, perhaps you want to see from the opposite side to show the reader that both parties just want to finish this war so that they can go back to regular life. Or, there is a fox who has been waiting in the dark and will attack when all the bunnies are out in the open during a battle. So he slinks off, knowing that he will come back, eventually. 

Exposition

This one could get boring quite quickly. All it is, is an introduction of the world with the main characters or someone else so that the reader can get familiar with your setting. This way there will be less to introduce into the first few chapters. But unless there is a definite reason for why you have this, it should not be there. Having exposition just piled into a prologue is the reason that this literary device is getting such a bad rap. If it isn't interesting and mandatory for the story because it can't be told anywhere else, take it out. 

Foreshadowing

I usually don't like these ones. It's where you will get a snippet of the story at the beginning to add a feeling of foreboding because the main character is in an unclear-yet dangerous-position where they are fighting for their life. Or, going back to my bunny story, the main bunny is hopping through a finished battle, looking at all his dead comrades around him. But the problem I have with these is that you don't know what's happened, and you also don't know the main character, so it feels as though the author is taunting the reader. It's like they are saying, there's this really cool scene coming up but you can't actually read it yet because it's in the actual story. The issue here is that once I have gotten to the event, I have completely forgotten about the prologue. Therefore the prologue had absolutely no effect other than make me annoyed when I first started reading.

If you are adamant about writing your prologue, I have a few suggestions. Keep is as short as possible. A reader will most likely read a prologue if it is only one page, or one paragraph, rather than a full chapter length. It won't take as much time so they will skim it before getting onto the reason they bought the book: chapter one. 

Give it a different tone from the rest of the book. If it feels like the same as chapter one then it should be chapter one. Give the reader something they won't experience for the rest of the book because this will only happen once and it needs to leave an impression. If the space is going to be used, make sure that it deserves to take up that space.

Short Stories

Word Count: 140068

I am happy with where I reached plot-wise before the bike trip. Not only did I reach the point in my story that I wanted to be at, but I also got a lot of writing done, especially this weekend. In two days I wrote just over ten thousand words. I am satisfied with what I have done. Some of my writing was really rough but I pushed myself to get through some of the scenes that I didn't enjoy doing.

My main focus this summer will be writing short stories. That way I don't have to concentrate on this story and it will give me a break from these characters and this world. In case I do want to continue on with this story I have stopped at a point that I could easily pick up when writing in a notebook. At the moment I am motivated to keep going but that might taper out during the trip and shorter stories might be more fun. I have few stories that I have been wanting to write about for a while now so those will be a good jumping off point so I don't have to worry about not having any ideas.

Last week I also toyed with the idea of reading a poem to get in the mindset of writing but it did nothing for me. I probably need to do it for much longer to get any effect but, honestly, if I am tough with myself and force myself not to get sidetracked I get enough motivation anyways.

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A short story is still be fully developed, even if it is briefer than a novel. It is generally between 1,500 and 30,000 words. Though it follows the same rules as a longer piece of work in terms of basic story writing, it is not as elaborate. There is less room to explore ideas so they must be presented succinctly.

There are five key elements to recognize when writing a short story story: character, conflict, setting, plot and theme.

Instead of a full cast of characters, only a handful will be introduced. Therefore they must all jump out of the page immediately as there is no time to slowly introduce them as the story progresses. They should each have a unique voice and be vibrant on their own. But at the end of the day there is only room for one main character. There is no time to develop any subplots so if the story you have in mind has those I would suggest writing a novella or a novel instead.

Similarly there is only one major conflict. If there is an event where there might be a man vs self and man vs society conflict, you will have to choose which is more prevalent.

There can only ever be a couple locations so be mindful of where you place your setting. While you are limited in number, you are not limited in imagination. Make those few places as captivating and original as you possibly can. Don't settle for a nondescript room. Imagine a bedroom with glow in the dark stars peeling from the ceiling, or toys stuffed into every corner.

A major difference between short stories and novels is that your plot has to be one three act structure. There is no time for multiple climaxes or other plot devices. You can experiment about where your climax is placed throughout the story of how you achieved it, but make sure it makes it in somehow. When you think of that memorable way to finish your story, please keep in mind this list of endings that have been seen one too many times.

Finally, short stories are good to explore one theme. With a novel it can be difficult to stick to one common theme (a problem I am always confronted with) and things are often muddled in its length. With a short story it is easy to concentrate on one theme to explore.

A benefit of writing a short story is that you can use unusual techniques and not worry about the risks involved. You can try having a different perspective or using magical realism without worrying whether it will work because you aren't spending as much time on it as you are on a novel. This is the time to try out all the techniques you've heard of but never attempted. You never have to worry about tiring out your reader with an unlikeable main character because they only have to stick with it for a couple thousand words.

Keep in mind that a short story is meant to be read in one sitting. You are not going to transport the reader on this huge adventure but make sure that you are rewarding them for their time. A short story is more than a vignette into someone's life, a quick peek behind the curtain. They need to feel satisfied with what they have read so if nothing happens in your story then it will be boring.