How to establish your characters: middles
Last time I wrote about how to establish your characters during your book’s opening. Having done so, readers are poised to watch those characters evolve as the book progresses. How do you deliver on that in the 80% or so of your book that takes place between the opening and the climax?
Last time we worked with some example characters: a lost job applicant in Chicago who smooth-talks a local into escorting him to his interview, a frontier wife whose unexpected rope skills save her husband from drowning in a difficult river crossing, and a shrinking-violet character who holds back, never giving his all. We’ll extend those examples in this article.
Give the character an epiphany moment
You establish that a character needs to have an arc by showing us some flaws in them. The beginning, when you were illustrating key personality traits or creating mysteries about the character, was when you were showing us that this character has some room to grow. To change. That’s necessary for a character arc, but it isn’t sufficient.
That is, it’s not enough for readers to see this. The character needs to have an epiphany moment in which he or she realizes it too. Something has to happen which lets the character see the deficiency within themselves. The establishing stuff in your book’s beginning just sets the stage. You need the epiphany moment to kick off the character arc, to put it in motion.
For example, perhaps after our shrinking-violet character blows the game for his team by not giving 100%, he gets chewed out by his teammates and the girl on the team he was interested in—who had maybe just agreed to go out to dinner with him—decides she doesn’t want to see him socially after all. “Look, Charlie. You’re a nice guy, but you don’t come through. If the team can’t count on you to dive for a catch, how can I count on you if things get serious?” That could serve as a wake-up call to Charlie that, indeed, he could try harder.
Bear in mind, that’s not the beginning-and-end of his character arc; a character arc can’t flit by in a single moment. The epiphany moment is just the start, and in the beginning Charlie will likely rankle against this new-found and unwelcome insight into himself, rationalizing and retrenching his behavior before he actually begins to change.
Show signs of altered behavior
Still, the middle of your book is a pretty long stretch, and you’ve got plenty of space in there to move the character past that initial epiphany. To do it, you have seven ways to show character growth at your disposal. Since there’s already a whole article about that (c’mon, click the link; you know you wanna) I won’t rehash it all here except to say that here in the middle of your book is not the place for the character arc to come to its conclusion. Save something for the end, you know?
Reveal some backstory
Back in the beginning, when you were creating mysteries about your characters by showing surprising skills and abilities they have, what you were really doing was hooking the reader by eliciting the reader’s curiosity as to how the character came to have those skills and/or abilities. The middle of your book is a great place to give drips and dribbles of backstory which reward readers for their curiosity. Give us some payoff.
But, don’t simply answer the question. Give us part of the answer, in a way which is satisfying to some portion of your readers’ curiosity, but which also heightens their curiosity. In other words, let the answer raise its own, more significant questions.
Remember the smooth-talking job candidate? In the middle of the book you might reveal that he used to work for the FBI, studying con-men in order to help the bureau catch them, until he was kicked out for ... well, you hold that part back. Now the reader wonders why he was kicked out. Is our guy really a smooth-talker by nature, or is he just employing techniques he studied from real con-men?
Or take the frontier wife with the husband-saving rope skills. As the book’s middle progresses, you might slowly reveal that in her youth, she escaped her domineering, controlling parents by stealing a pair of her brother’s clothes, dressing like a man, and joining up with a Texas cattle outfit. But something happened, and while she is now living as a woman again, she’s also secretly on the run from the Texas Rangers. Why? What happened? Do her husband and children know about her past? Don’t tell us. Yet.
Give us a meaningful payoff for our initial curiosity for our characters, but do it in a way which makes us even more curious for later.
Struggle with the book’s underlying conflict
But perhaps more important than any of that, you establish your characters in the middle of the book by showing them struggling with the book’s underlying conflict. Whatever it is, it ought to represent a significant challenge or obstacle for your characters in pursuit of their goals. Maybe the smooth-talking ex-FBI man is actually a good person whose major problem is staying true to himself. Suppose the reason why he got kicked out of the FBI—not time to reveal that yet!—is making it such that he can’t pass a background check, and as thus can’t get a decent job. This threatens him at the bottom levels of Maslow’s hierarchy, which puts him in a bind: does he continue to struggle, to rebuild his life while being true to the kind of person he wants to be, even though he knows it would be a lot easier just be a con-man? He spent years at the FBI studying those very skills!
Think hard about what your character’s most deeply rooted conflict is within the story, and let the surface level conflicts bear on that deeper struggle. Think deeper than your mere plot. This example character’s surface level conflict is about getting a job, but the challenges he faces in doing that bear on the deeper, personal struggle he is going through.
To sum up, your book’s middle section needs to do these things:
Get your character arcs moving with appropriate epiphany moments.
Follow through on that by using the seven ways to show character growth as the bulk of the plot progresses.
Reveal enough backstory to satisfy part of your readers’ curiosity, while using what you’ve revealed to raise bigger questions.
Show your characters wrestling with—sometimes even being beaten by—the deep, personal conflict simmering underneath your plot.
The middle of a novel is a big, tricky balancing act for the novelist. You must balance the revelations and discoveries you present to readers with new mysteries, conflicts, and stakes. You must do both, because with no revelations at all, the book becomes difficult for readers to sustain. But if you don’t sustain any mysteries, readers will be left with little motivation to continue reading. The techniques in this article help you with this balancing act. Epiphany moments give the reader satisfying moments of drama (because they usually come out of some kind of confrontation), yet they presage the whole chain of the character’s arc. Answers to surface-level backstory can lead to questions that dig below the surface.
< Back to part 1, openings | Next time: part 3, what to do at the end of your book. >
January 25, 2011 22:23 UTC
How to establish your characters: openings
Among the many jobs a book’s opening needs to accomplish, one of the more important is to establish your book’s characters. You need to let your readers know who the players are, what their relationships are (at least initially), and enough about what kind of people they are that readers can develop a sensibility about how these people are likely to act.
It’s a tall order, but there are some core strategies you can use to help achieve these goals, while at the same time moving your story forward.
Show your characters in action
First, please, show your characters in action. Show them doing something. And I don’t mean walking down the street. Show them in the act of attempting to achieve a goal, prevent something bad from happening, et cetera. I don’t really care what it is, just show them trying. It doesn’t matter what the outcome is, but readers need to see the effort and the reason for it is pretty simple. Seeing the effort reassures us that this is a character who will be worth watching for 300 pages.
When your book’s opening shows us a guy walking down the street, or a lady sitting at her kitchen table having tea as her day begins, that’s not very interesting. It doesn’t give us a lot of confidence in that character as being someone who can bear the heavy load of being a protagonist. Nobody wants to spend 300 pages with a character who doesn’t do anything.
This is not to say that you can’t put a guy walking down the street on page one. You can. But you need to show us why that’s interesting. You need to do something with that scene that allows the character to make a meaningful choice or take a meaningful action. Maybe the guy is in Chicago for a job interview, trying to make his way on foot from his hotel, only he isn’t quite sure which way to go. He’s going to have to choose whether to go left, right, or straight, and his choice is critical to arriving at the interview on time.
Show your characters in conflict
Within the action, look for ways to put your characters in conflict. Conflict, in novel-writing terms, is any situation in which a character’s goals are impeded by something. Could be an explicit antagonist trying to mess up the protagonist’s plans. Could be a physical obstacle, a raging river that was only marked as a stream on the map. It could be a situation, not enough dinner to feed the family and the surprise guest/business associate the thoughtless husband brought home. The obstacle could be internal, as in the interviewee’s lack of knowledge of how to get around the streets of Chicago.
Again, the reason why conflict is an effective characterization tool is simple: the conflict itself forces characters to respond. In watching their responses, we learn about them. Does the interview guy stop to ask directions, or does he wander around hoping for the best? Does he call to warn the prospective employer he might be late, or does he arrive tardy with some half-baked excuse about the hotel’s wake-up call being late? A character’s response to any conflict tells us a great deal about who that person is.
Conflict is also dramatic. Conflict carries with it the implicit threat of failure. The guy might actually be late for the interview, heightening the stress of an already stressful situation. The raging river might sweep away the frontier family’s horse and wagon, greatly increasing the danger that they won’t make it to California. Opening your book with a strong conflict for your character to face is a wonderful way to kick things off with a bang.
And speaking of the threat of failure, I would argue that in your book’s opening, the stronger choice is usually to let the character fail. Let him be late and lose the job. Don’t just give the family a moment of panic when the horse stumbles halfway across the river, but let the river win. The reason for this, too, is simple: failure throws the characters’ plans into disarray, and forces them to react. Just as with watching them respond, their reaction to failure teaches us a great deal about them.
Open your book by putting your characters in conflict situations, so we can watch their response, the outcome, and their subsequent reaction.
Create mysteries about your characters
So you’ve created a conflict situation, put your characters into a stance of action, the question then becomes how can you work the character’s choices and actions in order to deeply hook the reader? You can create mysteries.
The idea here is to show something unexpected about your character, something that is naturally applicable to the scene, without explaining it. Show us a skill, a talent, an attitude we’re not expecting. Maybe the interviewee stops a random person on the street, and smooth-talks that person not into giving him directions but in fact escorting him by cab to his destination and paying the cab fare for him. We’re likely to be surprised and intrigued to see such a display of charisma and persuasion. After the horse goes under, maybe the father also falls into the river and is only saved by his wife’s quick-thinking and dead-eye aim with a lasso. We’re likely to wonder how she came to have such impressive rope skills.
But don’t explain. Let us wonder. The reader’s curiosity is your most powerful asset, and if you can show us something we don’t quite understand, we become wildly curious to learn the backstory behind it. Don’t give it to us. This is the wrong time for a backstory infodump. Make us read onward into the story in order to learn why the character can do those things.
For instance, maybe the interviewee used to be a ... no. I’m not going to tell you now, here in the opening of this three-blog-post series. I’ll tell you in the next installment about what to do in the middle of the book, and ditto for frontier-woman and her rope-work. See? Now aren’t you at least a little bit curious how they came by those abilities?
I should warn, though, there is a danger to be aware of: if what you show the reader is so surprising and unusual that we can’t even imagine how it’s possible for the character to do that, then what you’ve created isn’t mystery but incongruity. Maybe it really does make sense in light of backstory you don’t want to give us yet, but you can’t let the reader think it’s just some weird, crazy thing you pulled out of your butt in order to concoct an exciting opening. That’s a sure way to lose the reader. So, if the thing you reveal is that surprising, what you can do is let other people in the scene wonder, too. That reassures readers that you know what you’re doing. That you understand how hard it is to believe what they just read, but that you have a plan and all will be revealed in good time.
Illustrate key personality traits
Again, readers want to know what kind of people they’re dealing with. Particularly helpful is when you can illustrate a personality trait that is at the heart of the arc you’ll be putting that character through. Perhaps your protagonist is a bit of a shrinking violet in the beginning, afraid to take risks and make sacrifices. Imagine you have in mind that by the end of the book he will be called upon to take a significant risk, and that his ability to do it stems from the personal growth he experiences during the story. While you could open your book with something like this:
Charlie was the kind of guy who held back, never giving his all.
you’ll do much better to illustrate that trait in the course of an early scene. Readers will believe it a lot more strongly if you make them understand that for themselves, rather than spoon-feeding it to them. So you’ll put Charlie in a position where he could take a risk, but doesn’t.
Maybe he has joined an Ultimate Frisbee team because the woman he’s interested in plays on it. Other players routinely make leaps and diving catches, but not Charlie. At a critical moment during a big game, Charlie doesn’t dive for a pass he could have caught, resulting in the other team taking possession, and Charlie’s team losing the game.
His teammates chew him out for it. “What’s the matter with you? You totally could have caught that if you’d tried!” Charlie, of course, will have a perfectly good rationalization for his behavior. “Why should I risk injuring myself diving to catch a frisbee? It’s just a game.”
Seeing those events transpire will be a hundred times more convincing than simply telling us that Charlie’s a milquetoast fellow. It does so through action and conflict, thus keeping our interest high. And it sets up his overall character arc, so that by the end of the story when he finally learns that sometimes risks and sacrifices are necessary, his eventual act of bravery will hit home much stronger.
To sum up, your book’s opening needs to do these things:
Show us who the character is.
Make us curious about that person.
Give us a reason to care about the person.
You do this because your opening scenes and chapters need to hook the reader. Part of your hook comes through the (hopefully) intriguing nature of the situation you show. But the other part, and I would argue the larger part, comes through your characters. Novels are ultimately about characters doing things. Trying to affect the course of events. Your opening needs a hook, but your characters are the bait.
Next: part 2, How to establish your characters: middles >.
December 17, 2010 19:02 UTC
What Star Wars teaches us about character introductions
In real life, we make judgments about people, often within mere seconds of meeting them. Those judgments, whether right or wrong, are incredibly difficult to change later on. You don’t, as the saying goes, get a second chance to make a first impression.
The same is true in our books. Scenes where we introduce readers to new characters are tough to do well, because we don’t get much space to play with before readers make up their minds. Not many paragraphs pass before readers decide whether they like, loathe, admire, or pity a new character. So we have to act fast.
Star Wars is a great example of how to do this well, and exhibits most of the core techniques I want to talk about. Star Wars (and I’m talking about Episode IV, here) manages to convey to us, in very short amounts of screen-time, the essential nature of all of its main characters and shows them to be unique, distinctive individuals. We can take some lessons there as to how to effectively introduce our own books’ characters.
Show them in action
When introducing a protagonist or other POV character, consider showing them in action. By this I mean putting the character in a scene where he or she has to actually do something. Make it a situation where the character has to make some kind of choice and take some kind of action (preferably, a difficult choice and an unpleasant action) in order to affect the outcome of the situation.
Early on in Princess Leia’s introduction—it’s not her first scene, but it’s close—she is faced with a no-win choice: give up the location of the rebel base, or see her home planet of Alderaan destroyed. We can see how difficult a choice it is for her, through her visceral, bodily reactions. She’s heartbroken to betray the rebellion, but she can’t let an entire planet’s population be eradicated either. It’s an impossible choice, but she makes a choice anyway, and we see the pain of it in the down-turn of her face, the slump of her shoulders.
What does it tell us about her? It tells us that she’s an important person within the world of the movie. It tells us that she is fundamentally a protective, nurturing person, in as much as she tries to protect the people of Alderaan even though she must make a huge sacrifice in the attempt. The scene portrays her as a deeply sympathetic character. But note—and this is important—the sympathy comes not from the choice itself but from how she feels about it, which we viewers read through her body language. Had she treated the choice differently, in a casual or cavalier manner ("Well, Tarkin, I can’t have you blowing up a whole planet, so hey, the rebels are on Dantooine. Go get ‘em, big guy!") we’d have had an entirely different feeling about her.
Show them in conflict
One of Luke Skywalker’s first scenes is a minor conflict between him and his Uncle Owen. We meet Luke in the scene where the Jawas sell R2-D2 and C-3PO to Luke’s family. Having made their purchases, Uncle Owen tells Luke to get the new droids cleaned up. Luke replies with:
But I was going into Toshi Station to pick up some power converters...
Epic whine. A whine that will go down in history. But, he obeys his Uncle. What’s going on here from a character perspective? We’re being shown that Luke is a relatively powerless figure. He has no authority, and little control over his life. Physically, we can see that he’s a very young man, so this makes sense and is something most viewers can empathize with. We’ve all felt that way from time to time. That’s the sympathetic hook of Luke’s character. But it also shows us that he’s not satisfied with the life he lives. He rankles at the limitations of both the life he lives and the place he lives it. As he remarks to C-3PO:
Well, if there’s a bright center to the universe, you’re on the planet that it’s farthest from.
Conflict is a wonderful way to bring a character’s deeper motivations up to the surface where we can see them. Whether those motivations come out through dialogue (as they do here), through choices made as the conflict progresses, conflict is a great way to let us know what really drives your characters.
Show them using key skills, attitudes, hobbies, et cetera
We first meet “Old Ben” Kenobi, the “crazy old wizard” after Luke gets his butt kicked by the Tusken Raiders. (Side note: Luke clearly loses that conflict, which greatly re-enforces his powerlessness.) Kenobi comes breezing into the canyon, his brown robes flowing in the breeze, and the raiders all take off. Young, strong, able-bodied Luke was child’s play for the raiders, but creaky old Ben Kenobi scares them off without so much as breaking a sweat.
It’s not difficult to understand that this Kenobi guy must have something going for him. He’s got some kind of mystic juju going on in that scene which is nothing to sneeze at. At that point in the movie, we have no idea what his deal is, not yet, but we get it: he’s a powerful figure. His subsequent dialogue with Luke further reveals him to be both kindly and wise.
In hero’s journey terms (and Star Wars is definitely a hero’s journey story), even in this short introductory scene Kenobi is an obvious fit to be the story’s mentor character.
Use vivid imagery
Don’t discount a vivid set of visuals to introduce a character, either. Like Darth Vader. Even without John William’s unforgettable musical theme for Vader, we know he’s a total badass from the moment he steps into the smoke-filled corridor of Princess Leia’s spacecraft. His imposing physical stature, jet black outfit, and billowing cape all speak of power. The symbology is not subtle at all, but it is pulled off with such panache that the overall impression is powerfully striking.
Show other characters’ reactions
Speaking of Vader, he’s also a great example of how other characters’ reactions can show the viewer (or reader) a more complete picture. He shows his face—well, his mask anyway—and storm-troopers snap to attention along the corridor’s walls. They make room for him to pass. Rebel soldiers avert their eyes and clasp their hands behind their heads. Those reactions, even though they come from nameless (and for the stormtroopers, literally faceless) extras, tell us everything we need to know about Vader. When Vader steps into that corridor, he’s the man. He’s in complete control of the situation, and no one is about to defy him.
Except, getting back to her for a moment, Princess Leia. And what does that tell us about her? That she’s strong, oh so strong, and indomitable.
Make use of setting
Where we meet characters says a lot about them too. We meet Luke out in the ass-end of nowhere on his Uncle’s moisture farm. He could scarcely be in a less influential setting. It’s a great setup for Luke, because for him Star Wars: A New Hope is a fish-out-of-water story. He’s the backwater nobody who finds himself suddenly thrust into the middle of hugely important, high stakes events. That we meet him in such an inauspicious location, and particularly since the previous scenes involved spaceships and Very Important People, shows us exactly the degree to which Luke is going to be an unlikely hero, bumbling through very much out of his depth.
Han Solo’s introduction is also rich with setting. We meet him in the practically the sleaziest dive bar in the galaxy. That alone sets him up as an unsavory rogue character. We then see him shoot his way out of an encounter with a bounty hunter, and with more than his share of casual bravado, establish that he is as much in control within this environment as Vader was back on Leia’s spaceship. We’re also left with no uncertainty that this Han Solo guy is likely the worst of possible choices Luke and Ben have at their disposal for getting off Tattooine, except that he’s their only choice. His roguishness, established as much by the setting as his actions, works to sell the desperate circumstances Luke and Ben are in.
Note, too, that this is a perfect introduction for Han Solo in terms of setting up his overall character arc. He flips from being an indifferent mercenary figure to being an active ally to the rebellion. And in later movies, he shows his softer side, his willingness to take risks for those he cares about, and so forth. His arc is all about that shift from being a self-centered opportunist, to a more idealistic supporter of a cause that is larger than himself. For that to work, we have to meet him while he’s still a pompous jackass, and the Mos Eisly cantina scene is a great setting to establish that as a starting point for him.
Drop some hints about backstory
The opportunity of meeting a new character is not an excuse to tell us their life’s story. It is not an occasion to indulge in a massive backstory infodump. Don’t go there. Just don’t.
It is, however, an opportunity to create some mystery by hinting at interesting elements of backstory. The opportunity of meeting a new character is to raise some compelling questions in the reader’s mind which you can then explore more fully as the story moves on.
Darth Vader’s physical form hints at significant backstory. From the first second we see him, he is obviously a physically powerful character. And yet, there’s that mechanical, raspy breathing that hints at an underlying frailty. He’s got machines and blinking lights all over his chest. You cannot help but look at him and wonder What’s under the mask? And how did he get to be that way?
When we meet Luke Skywalker, it’s in the context of his aunt and uncle. The dialogue takes particular care to give us their names, Aunt Beru and Uncle Owen. Shortly thereafter, we see that he doesn’t simply work on their farm, he lives with them. The subtext of the conversation where his Uncle refuses to let Luke send in his application to the Academy tells us that they are his caregivers and surrogate parents. So we wonder Why is he living with them? What happened to his real parents? We’re not given some kind of heavy-handed flashback montage showing us what happened to Luke’s parents (we had to wait 20+ years and five more movies to really understand that), but we are given hints that there is a compelling backstory there.
When we meet Obi Wan and come to understand that he isn’t just a crazy old man like Uncle Owen told Luke, that he does have some kind of power, we’re forced to wonder What the heck he’s doing living out in the middle of a nowhere desert?
We’re forced to wonder. And because of that curiosity, we’re compelled to keep watching. It works in books, too.
The number-one job of a character introduction
If I can sum all this up, my advice would be this: Craft your character introductions to tell us what’s most important about that person. You don’t get much space before the reader’s first impression is set, so make it count. Concentrate on conveying the one thing you most want us to believe about that character.
And make it something good, because above all, we need a reason to be interested. Give us some reason to love, to hate, to admire, or to pity the character. As long as we feel something about the person, we’ll read on. As long as we’re interested in who they are, we’ll be interested in what happens to them. The second we realize there’s nothing about a character that interests us (usually because the writer has left them too opaque), we lose interest in the story itself.
July 30, 2010 19:00 UTC
What potholes can teach you about plot holes
I defy you to look at that picture and not think “what kind of idiot would drive his car into a pothole like that?” Maybe not in those words, but be honest: your first thought upon seeing that picture was probably some kind of reflection on the driver of the car.
If not, you’re a better person than I am.
Why should this be? The driver didn’t put that pothole in the street. He or she didn’t fill it with brown water making it look like nothing more dangerous than an enormous puddle. It’s hardly the driver’s fault, so why do we so quickly jump to conclusions that blame the driver for falling into the hole?
We do it because situations are rarely so simple as to have a single cause.
Chain of causality
Most situations, or at least the interesting ones, have a chain of causes behind them. Remember that old children’s rhyme about “for want of a nail, the shoe was lost?” The one that starts with a horse losing its shoe, and ends up with the loss of a kingdom? This goes for plot holes too, except in reverse.
The driver drove into the pothole. Yup. He did it. But before that, some rain came, or—ooh! even better, maybe a nearby sewer pipe leaked raw sewage into it—thus obscuring the hole. But before that, before you can even have the possibility of there being a sewage-filled pothole, you have to have a road. So somebody had to build the road, which means some surveyors and soil engineers and so forth came, poked around, and decided it was ok to build a road right there. One of those guys must have missed an underground stream that sucked the soil away from under the road, thus allowing the road to collapse in a giant hole. It was that guy’s fault. Or maybe it was the fault of the people on the planning commission who decided there ought to be a road there in the first place.
You get the point. It wasn’t really the driver’s fault. The ultimate fault lies much further back in time, along a chain of causality that the driver can’t possibly have been aware of. There’s a whole system of causation that led up to the driver half crawling, half swimming in abject misery, out of a sewage-filled pothole.
But systemic causation, as it’s called, is hard to understand. At the very least, understanding it requires some thought and effort. In real life, and in the act of reading a novel, it is always much easier to lay the blame on the most proximate cause of the situation. We blame the most immediate link in the chain.
That’s why we blame the idiot driver, even if it’s not his fault.
Plot holes make your characters look bad
What’s true for potholes in the road is also true for plot holes in your novels. They make your characters look like fools. Only as a secondary effect do they make you, the writer, look amateurish and unskilled. That’s embarrassing for you, but it’s fatal for your characters. By the time your readers work their way far enough back through that chain of causality to find the root cause—you—the damage has been done. The reader has already had those negative thoughts about your characters.
You can’t take those thoughts back. You know how in a courtroom, when a lawyer says something out of bounds and the judge directs the jury to “disregard the prosecuting attorney’s remarks?” Who are they kidding? The jury isn’t going to forget it. It’s exactly the same here. By the time the reader gets around to realizing they ought to blame you for the plot hole, it’s too late. The jury is tainted. The reader has already become prejudiced against your character because of the plot hole.
Two kinds of holes to watch out for
Strange actions: The first is when you make a character do something inexplicable. Something that may well achieve an obvious story objective for you, but which is difficult to reconcile with what the reader knows about the character’s motivations and state of mind. If you leave the reader scratching their head, wondering “why would he do that?” then you’ve got a problem.
You may be entirely correct, from a story structure perspective, to want the character to do that thing. That might be absolutely the right thing to happen in the story. The only problem is that you’ve created a nonsensical moment for the reader because you haven’t done the work of putting the character in a frame of mind where it makes sense for him to do that thing.
That is, if you want your character to suddenly throw a turkey drumstick at the bride while she’s taking her wedding vows, you’d better set it up ahead of time so the reader will understand, at that very moment, why your character would do such a thing.
Thankfully, most writers understand this, and I don’t see a lot of this type of plot hole in my clients’ work.
Strange inactions: The second kind of plot hole, the kind I see much more often from my clients, is when the writer fails to let a character do something that makes obvious sense to the reader within the context of a situation. I see this all the time, I really do. Writers set their characters up with all sorts of nasty problems to wrestle with, but they fail to notice that the situations they’ve crafted still permit their characters to take obvious actions that would solve the problem.
This happens because writers want their characters to take more difficult paths towards the solution. And rightly so: difficulty equals drama. Where they go wrong is that they don’t first eliminate all the obvious strategies. They just make their characters jump straight to the difficult way of doing things.
Worse, they also usually fail to let their characters even consider taking any simpler steps to solve the problem.
Take the turkey drumstick guy again. Maybe he doesn’t want the bride to marry that particular groom, because you’re writing a romance novel and romance novels thrive on unrequited love. If he’s sitting in the audience, he’s got a problem. How to break up this wedding? Chances are he doesn’t actually have a turkey drumstick to chuck at the bride—that would just be weird. So what’s he going to do? One obvious thing would be, when the minister says “speak now or forever hold your peace,” for him to stand up and say something. It can be a total lie, that doesn’t matter. Surely he could think of something to say—"she’s carrying my baby!"—that would prevent the ceremony from getting to the kissy part.
If the reader watches this character let that moment pass without uttering a word, and without even thinking about uttering a word, then you’ve got a problem because you just allowed your character to let an obvious solution to his problem pass right by. Maybe that’s on purpose, because you want the guy to have to really fight to win her over. Having her be married certainly raises the level of challenge—and thus drama—he faces. Good instinct.
But you can’t leave the reader wondering “why didn’t he say anything?” It’s fine that he doesn’t, so long as you make it make sense. Maybe at this point he’s not sure yet he wants to fight for her. Maybe he’s being all noble, letting her have what she seems to want. That’s fine. Give the reader a reason so his inaction makes sense.
But you can’t just let the moment pass un-remarked upon just because you’re too eager to get on with the solution you have in mind. Sure, you the writer have already picked a solution. But a real person—which you want your character to be—would try, or at least consider, many possible solutions along the way.
Strange and inexplicable inaction, even more than strange actions, demands justification.
You might get lucky
As it happens, there is a third kind of plot hole that doesn’t reflect badly on your characters. So take heart: If the stars align in your favor, you may be dealing with this third kind. These are the plot holes so horrible they make you look bad directly. Typically, this third kind is when you make your characters do something they shouldn’t actually be able to do, but that they obviously wish they could. Like, when your character discovers he’s out of ammo, but then a couple of pages later fires two more shots at the bad guy anyway.
Outright errors like that can’t possibly be the character’s fault. This kind of plot hole only makes you look bad. Lucky you!
But most of the time, you won’t get lucky. Most plot holes are more subtle, more insidious, and much more damaging because they involve the choices and actions your characters make or fail to make. This is one of the hardest parts of learning to write effective fiction because it demands so much from the writer.
To avoid damaging your characters through these kinds of plot holes, you must become skilled at a kind of controlled schizophrenia. You must be in many heads at once. You must be in your own head so you can keep the story moving where you want it to go. You must be in the heads of every character in a scene, so you can keep their choices and actions consistent with their goals. And, on top of all of that, you must also be in the reader’s head, so you can spot when a character’s action or inaction will seem strange.
That’s a lot to keep track of. Yet you must do it because ultimately you are responsible for the entire chain of causation of the situations in your novel. The whole chain of causation is your creation, but never forget that readers will blame your characters first when something in that chain goes awry.
April 15, 2010 18:02 UTC
What makes a sympathetic hero?
One of my favorite writers on Twitter, K.M. Weiland, posed a question today as to what qualities make a protagonist into a sympathetic hero. That is, what is it that makes readers care about the character? What makes readers view the character as a hero? It’s a great question.
K.M. will probably give her own notions on her blog, and I hope she does, but in the meantime here’s my take on it. In answering, I’m going to tackle heroism first.
Heroism Heroes are characterized by action. The hero actually does things. He or she doesn’t sit around watching things happen, or waiting for situations to resolve themselves. You may have a protagonist who is passive like that—although I wouldn’t recommend it—but readers won’t view that person as a hero.
What distinguishes heroes from other characters is a personality that turns toward action when faced with problems. That’s the hero’s default response: to decide what to do, and then do it. Other characters may, by default, run away. They may put their blinders on and ignore the problem, hoping it will go away. But not a hero. A hero faces the problem in all its possibly terrifying ugliness, and gets to work. That’s what makes a hero.
And please, don’t let the word “action” confuse you. While this does apply to action novels, it’s broader than that. I’m talking about “choices a character makes and follows through on.” It’s not just, for example, running into the burning building to save a child, or barreling into a firefight with guns drawn against the bad guys. In the right circumstances, simple things like picking up the phone to call your mother can be every bit as dramatic and heroic as any death-defying act.
Sympathy That said, actions alone do not guarantee that a hero will be sympathetic. You can have a character who is the most action-oriented hero in the world—decisive, never at a loss for what to do—and yet still fail to have readers care about him in the least.
To get sympathy, you need emotion, not action. To engender sympathy in your readers, you need to your hero to display believable emotional responses to the difficult, terrifying problems you throw at them. An iconic example that jumps to mind is from Raiders of the Lost Ark, when Indiana Jones runs from the boulder. Classic.
It works, because Indy shows obvious fear in the situation. He doesn’t just see the boulder, calmly say “Oh, a boulder,” and scoot away. No, he RUNS! away. Hard. Fast. Terrified. Showing the obvious and believable emotion creates sympathy because viewers know how they would feel in that situation. Most of them would be similarly terrified. I know I would.
It works the same in books too. Confront your character with a dramatic problem, and readers will know how they themselves would feel in that situation. When your character feels the same way or a similar way, that creates sympathy.
A sympathetic hero, then, is a hero who has ordinary, believable feelings about difficult situations, but who isn’t paralyzed by those feelings. A hero is character who acts anyway, despite those feelings.
Mix it up While you’re busy creating all these emotionally difficult moments of action, take care provide some variety. Why? Because readers aren’t all the same. Let’s take some classic phobias as examples. Some people are afraid of heights. Others, of spiders. Or snakes. Or confined spaces. Or the number 13. Some people are afraid of confrontation. Or of people being upset with them. Or of social situations.
Emotional challenges come in all shapes and sizes, and your readers won’t actually sympathize with all of them. That’s why you should mix it up.
Let’s say your hero is afraid of heights. So, naturally, you set a pivotal moment of action on top of a tall high-rise building. The kind that’s tall enough that if you fall, you’re going to have plenty of time to think about it on the way down. Stepping out onto that roof top in order to take action is going to be an emotionally challenging moment for the character. But in order to act, he or she needs to bypass the fear and do it anyway.
For readers who are also afraid of heights, this scene is going to resonate with them like crazy. They are totally going to sympathize with the character’s fear, and when they see the character overcome it, they’re going to totally view that character as a hero.
But not me. I actually enjoy heights. On some intellectual level, yes, I can recognize and appreciate the character’s difficulty. But it’s just not going to create the same sense of sympathy in me as it would in an acrophobic reader.
However, I’m not such a big fan of social situations and being the center of attention. Public speaking is very, very hard for me. So, show me a character who is shy like me but is called upon to convince a crowd of skeptical listeners to go march on City Hall, and I’m there. You’ve got my sympathy.
I’m not saying to make your characters into total neurotic wrecks so as to resonate with the fears of as many readers as possible. But if it fits with your story, try to give us more than one. Your character will feel more real, more fully developed that way, and will inevitably be more sympathetic for it.
Update: Due to a particularly brilliant comment on this post by one of my readers, there is now a Part 2 article that looks at another very (very!) useful way to create sympathy. James Bond uses it all the time, and look at how successful that character is!
March 17, 2010 19:46 UTC
Hook 'em with character
“You’ve got to open with a strong hook.”
Ask anyone in the publishing industry—agents, publishing house editors, sales reps—and they’ll all tell you that opening a story with a strong hook is a great way to make your manuscript stand out from the rest.
But what does that actually mean? It’s pretty vague advice. If you press them on it, they’ll give you something like “Well, the story has to open strong. It has to pull the reader right in, grab them by the shirt collar, and make them want to read the next page.”
That doesn’t help much, does it?
Then there’s the other school of thought, summarized very well by Elizabeth Lyon in her book Manuscript Makeover:
I know a few people, very few, who can spout plot summaries of novels on request. What most people remember, I contend, are their favorite characters.
She’s right. The thing is, these philosophies mesh very well together, because a strong hook also shows your characters.
Today I’m going to tell you exactly what a strong hook is, and give you practical, hands-on tips for how to open with one, and how to how to make your hook show your characters.
A strong hook is nothing more than something that grabs the reader’s attention. That usually means crafting a surprising situation that is thick with conflict. Why? Because conflict drives the reader’s curiosity: what’s the conflict about? What’s at stake? Who’s going to prevail?
Raising questions in the reader’s mind compels them to keep reading. And in your opening scene, more than anywhere else in the book, you want the reader to keep reading.
Yet, all too often I see manuscripts that open with some of the most boring situations imaginable. People waking up in the morning, walking down the street, going about ordinary, day-to-day activities. Don’t do that. Somewhere in your plot, is some interesting, pivotal event that gets the main storyline going. Right? Say yes. There had better be, and it had better come soon.
Find a way to put this event front-and-center on page one. In paragraph one. Ideally, put it in the very first sentence. Open with a scene of conflict. Work to immediately raise those questions in the reader’s mind. Don’t think it’s better if the conflict sneaks up on the reader. It isn’t. Jump right in.
That’s one component of a great hook: opening big, picking the right scene from your overall story to open with. Do that and you’ll raise the right questions in the reader’s mind. But the hook won’t have any bait if you fail to make the reader care about the answers.
In my experience, this happens when the big opening scene fails to establish the main character’s personality. You can’t fix this by throwing in a sentence or two of description. You can’t fix it by telling the reader that your character is a smart-ass, or is utterly fearless, or is a rotten drunk.
To establish your main character’s personality well, you have to show it, not tell it. And that, in turn, means creating opportunities for your character to display his or her attributes in action.
There’s lots of ways of working a character’s attributes into a scene, but in an opening scene one of the best ways is to make sure that your main character drives the scene, rather than letting the scene drive your character.
I can’t tell you how many opening scenes of manuscripts I’ve read that have a lot of conflict in them, but in which the main character doesn’t actually do anything, doesn’t affect the outcome of the scene. Openings where the main character is buffeted about by events, making no effort to participate in them, letting the chips fall where they may.
That is not a recipe for making readers care about your main character. Who wants to root for a character that doesn’t do anything? One way or another, you have to make your main character drive that scene.
This doesn’t mean that your main character can’t be in a world of trouble. It’s probably better if he or she is. This doesn’t mean he or she has to prevail in the scene’s conflict. In fact, he or she should probably not prevail.
What it does mean is that you need to show the character trying to affect the outcome of the scene. You need to show them making decisions, taking actions, reacting to events, engaging in dialogue.
Every one of those elements is an opportunity to show character.
Actions speak louder than words, right? There’s no better way to learn what someone’s really made of than to watch how they act in an atypical situation. You won’t learn anything about someone from watching them walk down the street, get up in the morning, or any of those other un-conflicted, daily life situations.
But watch them act in the middle of a crisis, and you’ll come to know what kind of person they are really fast. Authors have the extra luxury of not only showing how a character acts, but also of showing how they think. Use it. Give the reader that extra insight into your character’s mind.
Here it is, boiled down: A great hook shows character through conflict.
Tattoo that on your forehead if you need to, but learn it. Take a look at the opening scene of whatever book you’re working on right now, and ask yourself, is this a great hook? Is there enough conflict here, and have I used it to show my main character’s personality? Is my main character driving the scene?
This is how you not only pull the reader into the story by raising questions, but also make them care about the answers.
July 20, 2009 18:04 UTC
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