This week: Choosing the Right Adventure Edited by: Roseille ♥ More Newsletters By This Editor
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Everyone's writing process works differently. Maybe stories spring full fledged from your brain like Athena. Maybe you have a character you want to work with but your plot is a bit hazy, or a world/situation/magic system you want to play with, but no characters. Maybe you have both, but they're a bit mismatched, and the story fizzles every time you try to write it.
The more closely you can match your characters and their conflicts to the adventures they go on, the more compelling and fast-paced your stories will be. In this newsletter, I'll talk about a few questions you can ask yourself to make sure your characters and conflicts fit. |
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Let's go back to 2012 for a moment. I promise there's a point, and I won't keep you there long. I know some folks don't find use in anecdotes and practical examples, so if you just want to skip to the questions, scroll down to the scene break.
Ahem. Anyway.
In mid-September, 2012, the fantastic daily contest, "The Writer's Cramp" , posted a prompt urging entrants to write something that involved resource scarcity. I immediately envisioned a desert world. I knew that was what I'd write about.
I'd chosen my setting, but it had no characters. I suppose I could have chosen any random Bob or Sally to populate that world, but instead I decided to try something different. I tackled this question: Who would be most at risk in this world? Whose very existence is in conflict with a desert? Well, everyone's, I guess, because if water is scarce, every single life is threatened. (It's always fun when your setting comes equipped with conflict!) But because I love to write science fiction and fantasy, I went a step further and decided that anything water-dwelling would be particularly threatened by such a world.
I decided to write about a merperson in a too-small aquarium tank in a traveling circus too poor to continue paying the steep price for the hundreds of gallons needed to fill the tank. Either the merperson could come out of the water (and face death) or the circus would go under, attempting go get enough water to keep him alive.
I was pretty happy with that story at the time, I'll admit. It did what I meant it to.
It doesn't have to be so dramatic, and it's often a lot subtler when you're writing contemporary fiction or more shoot-'em-up action fare rather than sci-fi or fantasy! You don't always have to choose the sort of character who would be most severely affected by any given adventure, but it can make for the sorts of stories that write themselves!
If you start with a universe or adventure, ask yourself these questions:
What are the unique features of this world/location? (Steep stairs everywhere because it's a city built into a mountainside? Days that last 126 hours and are characterized by sizzling heat and near-constant daylight? Snow six-feet-deep in the winter? The characteristic intolerance to new people or ideas that one often finds in small towns? A haunted bathroom? A nice house that—surprise!—is occupied by hundreds of grumpy feral cats? A monthly market where the organs of supernatural creatures go up for sale to collectors?) It's okay if there's more than one unique feature to your location, or if you have multiple locations, each with distinct cultures and climates and challenges for one or more of your characters.
To what kinds of people might these unique features prove challenging? (Don't be afraid to go extreme! Extreme answers might be the ones that come first, actually. Keep going, though. The complex, nuanced ones may come later. For the above example, a house filled with feral cats could be challenging for a person with an allergy, or a person with a fear of cats, or a person with a dog, or a family with young children, or.... The opportunities are endless, and they don't have to be extreme.) Your plot won't always come from the answer to the question. Maybe you just choose a relatively regular family with a kid who wants to befriend the feral cats and gets hurt by them multiple times, but that's only a thematic echo for the character's longing for connection, and the real plot is about him making his first new friend at his new school. (Whether he makes headway with a grumpy feral kitten would be entirely optional, of course.)
If you start with a character, try asking these questions:
What are the unique characteristics, fears, desires, needs, and struggles of this character/these characters? (They could be diagnoses or past traumas, cherished dreams, disabilities, special interests, plans for the future, treasured relationships, living situations, socioeconomic statuses, weaknesses, phobias—the list goes on and on.) Then, depending on which one of those many possible examples jumps out at you, you might ask some of the questions below...
What sort of situation would make the character face these fears? (This one is pretty straightforward. If your character fears death, threaten her life. If he fears failure, maybe he's in a situation beyond his abilities. Those are the obvious and easy ones, but there are millions of different answers to any one question. The first one that comes to mind won't always be the best.)
What sort of situation would threaten the character's status quo or deny the character something he or she needs? (If the character is happy and well-adjusted and popular, is there a situation where these things could be to the character's detriment? Alternatively, is there a situation that might threaten to take away those things? They should, of course, be things the character doesn't want to lose. If a character is popular but doesn't want to be, losing the respect of her peers isn't a genuine threat.)
What situation might be uniquely challenging for a character with this particular set of struggles?
Once you have those answers in hand, you may find it a bit easier to craft a character, situation, or world dripping with organic conflict. And luckily, the character's world or adventure doesn't have to be the only thing that provides challenges. Maybe you have a human antagonist who also comes into conflict with your protagonist's needs, and the conflict in your story is multilayered.
Examples:
Zombie apocalypse + character with limited mobility
Animal shelter volunteer work + character who despises dogs
Alaska in summer (where the sun is up almost all day) + a vampire
Speech competition + minimally verbal autistic protagonist with something important to say
Planet with multiple moons + a werewolf (See: " In Between Moons" I loved that concept!)
Speed-dating event + character determined to remain single
Color-coded wires on an active bomb + colorblind protagonist
Clown convention + person with coulrophobia
The above examples are purposely extreme. Maybe you can look at them and determine what the genre or subgenre might be. There's some suspense, some fantasy, some drama, some romance, some adventure. Stories where the character's experiences, desires, and struggles come into conflict with a prominent element of their world make for compelling reading.
Maybe your particular tale doesn't need to be quite so extreme. Maybe you have a character who is already in love with someone her family hates being set up on a date with someone Dad-approved but uninteresting, or a character with minor claustrophobia getting locked in a dark closet with a classmate they hate, or a private detective forced to investigate accusations of infidelity against their own half-sibling.
In any case, it doesn't hurt to make sure that the adventure you create provides some compelling challenges for the characters who undertake it. |
Get creative, and share your words with the world:
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