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Plot happens outside, but story happens insideDonald Maass, The Emotional Craft of Fiction
For people to love your story, they need to love (or love to hate) your character.
The most beautiful writing in the world, the most exciting action sequence in history, neither of these will make people love your story.
But a compelling character will steal their heart, sneak into their memory, and make them come back to your writing over and over again.
Wouldn’t it be great to have raving fans?
How do you make your character compelling without spending too many words tracing their inner thoughts? How do you balance character growth with action?
Step 1: Know Your Character
None of us step out into the world in the morning as a fresh new creation.
We walk out of the door with hang ups and passions and prejudices and ingrained behaviors, all of which come from a lifetime of having experiences and reacting to them.
Lisa Cron, in her excellent book Story Genius, talks about this brilliantly:
You have to know your character’s childhood damage, she says, and the protective behaviors they created. If you can set your story at a point in their life when those behaviors no longer serve your character, you have automatic conflict built into your story (and conflict makes stuff happen!)
Top Tip: do some ‘discovery writing’ about your character before you ever try to write the actual story. It will make your first draft go soooo much faster.
- The Emotional Wound Thesaurus by Becca Puglisi and Angela Ackerman
- Psychology Workbook for Writers by Darian Smith
- Sacred Archetypes by Carolyn Myss
Step 2: Nobody’s Perfect
In our quest to make readers love our protagonist, we can forget to give them flaws.
But how do you give them a flaw, without making them unlikeable?
The best resource I’ve come across came from the podcast Writing Excuses, where they talk about playing with three different characteristics as if they were sliders on a mixing board. Your character can be competent, proactive, and sympathetic, but they can’t be 100% (or 0%) of all three at the same time.
Contractors say, “You have have a job done well, fast, or cheap. Pick two.”
At any one moment in a story, a character can be extremely competent, extremely proactive, or extremely sympathetic. Pick two.
And then play with those levels throughout the story. (Think about how Hermoine Grainger changes over the course of the first Harry Potter book. At the start she is the most competent and proactive of the three friends, but nobody likes her. By the end, she has given up some of that proactivity and learned to lean on her friends. She acknowledges that Ron is more competent at wizard chess, and lets Harry be the one to face the last big challenge…and we like her a lot more, for it.)
Top Tip: Playing with character competencies is a great way to make them more or less sympathetic without having to give them a ‘tragic flaw’.
- Writing Excuses episode on character ‘sliders’
- The Negative Trait Thesaurus by Becca Puglisi and Angela Ackerman
Step 3: Show Their Inner Conflict In Action
In critique groups I usually hear two opposing critiques of character, depending on the writer’s natural tendencies:
- The writing’s beautiful but it’s a little…slow (translation: nothing happens!!) OR
- It was very exciting…but I’m not sure why I’m supposed to care (translation: explosions and chases are great, but your character has no inner depth)
Whether you naturally write lots of action, or spend a lot of time dwelling on inner feelings, a good writer needs to be able to balance action and inner conflict, to create compelling characters.
One of the best ways to do this is to turn off the inner dialogue and show your character taking actions or interacting with physical objects that
- Are symbolic of their inner struggle
- Matter to this character for a specific reason (which you know, and can reveal to the reader)
- Remind the reader of the stakes, without you having to spell it out.
For example, in the beginning of the movie Die Hard, a watch-word for action-based storytelling, John McClane picks up a picture of his happy family from a desk in his wife’s office…and winces.
In that moment (right before he gets embroiled in the explosions and flying bullets) the viewer remembers that this is not just a wise-cracking action hero. He’s a man who is losing his family and isn’t sure how far he’s willing to go, to put it back together.
That’s the question the rest of the film answers.
And it’s the reason we, as viewers, care.
Top Tip: Turn off the inner dialogue and give us a moment, filled with all five senses, where your character demonstrates their emotions, on the outside.
- Die Hard (watch how the film makers slip in little actions that remind you of the inner journey of the main character, even as the bullets fly)
- The Emotional Craft of Fiction by Donald Maass
- Characters, Emotion & Viewpoint by Victoria Lynn Schmidt
Big Final Caveat
All of this kind of craft-based instruction is useful for developing your writing…but only if it doesn’t slow you down while you’re creating first drafts.
If you’re writing the first version of a story do not stop to worry about ‘showing not telling’ or whether your character is sufficiently proactive in this moment.
All of this can be fixed in the rewrite.
And one of the best ways to figure out what’s working and what still needs work in your story, is to show it to other readers.
Perhaps the idea of a critique group terrifies you. Or maybe you’ve been in groups in the past that were frustrating, or just ‘meh’.
If that’s you, I have a gift for you: a free guide to critique groups, including:
- All the personality types you’ll encounter in a group
- How best to interact with each
- What you need to know to to give and receive great feedback
Don’t waste time being afraid of feedback, any longer. It’s the single most important thing you can do to get your writing closer to the point where you can really begin to delight readers and build a raving fanbase.
Download the Critique Primer Now
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This time next year, you could be staring at a list of achievements that are directly related to the goals that matter to you…
Listen to the podcast episode that goes along with this post:
The Allure of the Fresh Start
I love the idea of a fresh start, don’t you?
It doesn’t matter when it happens (New Year, the first day of spring, the start of a new academic year), I’m always ready with my list of “this time it’ll be different” resolutions.
- This time I’ll get my assignments done ahead of time!
- This time I’ll write every day, even if I don’t feel inspired!
- This time I’ll floss three times a day!
And What Happens Next?
You know what I’m going to say, don’t you?
I’m excited to follow through on my plans for about three days.
Then I start to force myself to stick to the new regime.
Then I start to miss a day here or there…
…and suddenly it’s June and I’m flipping through my journal and I find that massive, guilt-inducing list of Things I’m Going To Do Differently This Year, and my shoulders slump, and I spend the next three weeks in a slump, wondering why I can’t get anything done.
This month’s theme here at StoryADay is: Make It Better.
Here’s some recommended reading from around the web on various aspects of making your writing life better.
MAKING YOUR WRITING BETTER
Here are three articles on how you can make your writing better to read, easier to sell, and impossible to put down.
Confessions of A Slush Pile reader – really useful article on why one reader rejected stories from a publication (even if your’e not submitting stories to publications, this is a great list of ‘what will put your reader to sleep’ and help you improve your writing)
Hunting Down Story Goals Plot holes are deadly to your story, but just as deadly are the other ‘holes’ that you might not be thinking about. This article tells you what they are and offers up a handy, printable template for keeping track of the important details. This might be overkill for short-short stories, but could be really useful for longer short stories, novellas and definitely for those of you working on novels.
It’s A Story, Not Just A List of What HappensIn which I offer up some writing advice gleaned from watching an interview with Trey Parker and Matt Stone — of South Park fame, among other things. [quick read]
THE WRITING LIFE
All writing is not created equal, argues James Scott Bell, while Ruthanne Reid shares advice for not quitting even when you can’t write.
The Five Modes of A Writer’s Life James Scott Bell talks about the five types of writing day you might have (from the inspired ‘flow’ state, to the solid reliable quotas of the “pro”). This is an encouraging article to help you make your commitment to your writing better: understanding that every day is not going to be blissful, really helps you stick to your priorities!
3 Steps to Writing When Life Goes NutsWe all have them: weeks (months?) when life gets away from us and writing seems impossible. This encouraging article from Ruthanne Reid commiserates, then gives you some concrete steps to take, to keep your writing life alive.
REVISION WITHOUT TEARS
Two tools to help you revise without drowning in a vat of your own words (and tears).
The 7DayStory – This email course, that I created with Gabriela Pereira of DIYMFA, takes you through the process of writing, REVISING and releasing a short story in seven days. It’s free and, if you’re looking for a methodical way to work through the revision process, pay particular attention to days 3–6
Climbing Mount Revision, One Step At A Time – The guest post that began the 7DayStory process, by Gabriela Pereira of DIYMFA.com
BETTER CRITIQUE GROUPS
Critique is a funny thing. If you get lucky, you find a great group and you’re all mature and experienced. If you’re not so lucky, you get newbies or jerks. If you’re thinking of starting a group (or want to make yours better) start by showing them this video: Professor Puppet’s Writing Critique instructions.
This short, funny video by my buddy Gary Zenker, is a great introduction for anyone new to critique, or who needs a refresher Air this video at the start of your group, to set the ground rules in an entertaining way!
How To Ask For — And Act On — FeedbackIf you have other writers willing to read and critique your work it can be really valuable. Here’s are some of the right, and the wrong ways, to deal with feedback.
I hope these evergreen articles will help you Make It Better this month and in the future.
Do you have any tips for things that have made your writing or your writing life better? Share in the comments!
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