Throwback Thursday: 5 Ways to Write a Terrible Novel

Originally published: 18/06/2017

You might recall, if you’ve been putting up with this blog long enough, that I once wrote a post on how to avoid becoming a writer. Of course, if you are a writer, you’ll know how insistent that little Inner-Writer’s voice can be, constantly banging on about the different ideas he’s come up with that you absolutely have to write. You might find it simply impossible not to write.

But fear not, ye who are enslaved by the urge to write. Your salvation is at hand. If you dread becoming a full time author, but cannot resist the urge to write, there is another solution: write badly.

It’s easy to do. Just follow these simple steps.

1. Use Dry Descriptions; Avoid Figurative Language

How you describe things can often be the difference between an excellent story and a terrible one. I can’t labour this point enough. Using metaphors, personifications and other forms of figurative language can turn even the most unexciting passages of narrative into a thing of sheer beauty, whereas dry descriptions can make even the most intense scenes seem duller than the Phone Book. Allow me to demonstrate using the first few lines of John Steinbeck’s Cup of Gold:

All afternoon the wind sifted out of the black Welsh glens, crying notice that Winter was come sliding down over the world from the Pole; and riverward there was the faint moaning of new ice. It was a sad day, a day of gray unrest, of discontent.

Steinbeck, J. (2000), Cup of Gold, Penguin Classics, UK. p. 1

This is what you want to avoid. All Steinbeck is doing here is describing the weather, yet it’s so chock full of figurative and poetic language that it’s an absolute joy to read. It flows beautifully and really makes you feel like you’re there, in the Welsh glens, feeling the cold of winter rolling in from the Pole. If you write like that, everybody will want to read your novel. Instead, aim for something like this:

It had been windy all afternoon in the black Welsh glens. You could tell it was nearly winter. In fact, the river was starting to freeze. The sky was grey and the mood was sad. There was a bit of a breeze and a bad feeling in the air.

Considering the above paragraph is only two and a bit lines long, you’ve got to admit… it’s a tedious read. I got bored writing it! You can be sure your reader will get bored if you write your whole novel that way.

2. Use Stock Characters

You know how I’m always saying that characters are people, and should therefore have all the wonderful complexity and contradiction that make up a real person? Well… forget all that. If you want to write a bad story, you’ve got to make sure your characters are as flat, predictable and stereotypical as possible. So, you might have characters like this:

Johnny Famous (our dashing hero). He’s strong, noble and righteous in all things. He neither smokes nor drinks, has no skeletons in his closet and knows neither fear nor selfishness.

Emperor Zorg (dark lord of all). Wears a black cape and wants to conquer the universe. Thinks love is a weakness. Lives in a black castle, or maybe an underground base.

Daisy Divine (love interest). Stunningly beautiful and serves no function in the story except to be rescued by and fall in love with Johnny. If you must give her a back story, don’t let it be anything that might interfere with her living happily ever after with Johnny.

3. Use ‘deus ex machina’

Even the most well written story can be ruined at the last minute by deus ex machina (‘God in the machine’). This is a technique writers sometimes use (usually when they can’t figure out how to progress the story in a way which is believable and satisfying) which essentially involves a random, improbable or otherwise unsatisfying solution to your story.

Just the other day I was watching an episode of Star Trek: Voyager called ‘Twisted’ in which a spacial implosion ring is slowly twisting and crushing the entire ship from the outside in. Eventually the regular cast find themselves trapped in the one and only unaffected room on the ship and are desperately trying to come up with a solution to save themselves before that room also implodes. Finally, they accept that they can do nothing but accept their fate. The implosion ring enters the room and begins to crush the remaining crew…

Then it suddenly disappears and everything is fine. Turns out the implosion ring wasn’t nearly as deadly as it seemed. In fact, it was trying to communicate.

I wasted an hour of my life watching that. Take note: deus ex machina is a great way to make your readers hate you forever.

4. Employ Numerous Cliches

Actually, just between you and me, you can sometimes include a tiny amount of small, carefully camouflaged cliches in a story and still end up with a good story… but as a rule of thumb, the more cliches you have and the more obvious they are, the more terrible your story will be.

There’s an almost endless list of possible cliches you could use to make your story extra-awful, but a few examples include:

  • The Chosen One: Our hero thinks he’s just an ordinary guy but it turns out he is actually the fulfilment of an ancient prophesy and must save the world because it’s his destiny (in a good story, the protagonist will act in a way which is in keeping with their own motivations and desires).
  • Love conquers all: Just when all seems lost and the world is doomed, the bad guy’s evil plans are utterly thwarted because someone performs some great act of love (usually either involving sacrificing oneself for another or just plain old fashioned snogging).
  • The Final Battle: The whole story culminates in final dramatic fisticuffs between the noble hero and the evil dark lord in which, after a bit of a wobbly start which is supposed to make the reader think all is lost, the noble hero inevitably wins.

5. Info Dump

To understand what is going on in your story, your reader must be aware of certain facts. Characters’ backstories or particulars about how your fictional world works, for instance. Good writers feed this information to their readers in small doses and, where possible, will subtly weave it into the narrative so as not to drag the pace of their story down to a tedious belly-crawl.

But you don’t want to be a good writer! You want to write a terrible novel, so make sure your novel reads like a textbook of facts and figures about the history of your characters and the world they inhabit. Ideally, if you can devote the first chapter or two entirely to providing facts and backstory without getting down to telling the actual story, you can be sure your reader will put your book down without finishing it. If that seems too hard, try to info-dump in a character’s dialogue instead. For example,

‘I was born on the 29th of May 1982 at the Queen Mary Maternity Hospital to Jean and Philip Jones.’ said Peter Jones. ‘I lived with them in the leafy suburbs of Anytown all my life until I met Miss Backstory who broke my heart and now I can’t handle adult relationships at all…’

Follow even just some of these steps and I can guarantee you, you’ll never write a good story in your puff. No matter how many manuscripts you complete and submit for publication, you can still return to your tedious office job day after day, secure in the knowledge that you’ll die at that grindstone before you ever have to take the plunge to become a professional, full time author.


Thanks for taking the time to read this post. If you enjoyed it, don’t forget to ‘like’ this post and also follow us so you never miss another post. You can also follow Penstricken on TwitterPinterest and like Penstricken on Facebook.

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ATTENTION AUTHORS:

Every Tuesday, I post a new edition of Spotlight: a short post which shines a proverbial spotlight on a published novel or collection of short fiction. If you would like to have your book considered for a future edition of Spotlightdrop us an e-mail including a short synopsis of your book and a link to where we can buy it. Better yet, send me a copy of your book and I can include a mini-review.

I’m still looking to interview fiction authors here on Penstricken, especially new or indie authors. Whether it’s books, plays, comics or any other kind of fiction, if you’ve got something written, I want to hear about it. If you’re interested in having your work featured on Penstricken, be to sure to drop us an e-mail or message us on Facebook/Twitter/Pinterest.

Please be advised that due to a recent surge in interest, I am presently committed to a significant number of reviews/interviews over the next couple of months. If you would like an interview or review, I would still love to hear from you, though it is unlikely that I will be able to begin work immediately.

You can check out our previous interviews here:

A Protagonist’s Anatomy #4: Surface Details

Well it’s the fourth and final instalment in this little series entitled A Protagonist’s Anatomy. Over the last three weeks we’ve looked at endowing your characters with motives and goals, backstory and character traits to create that ‘believable person’ that you’ve always dreamed of writing about. Now there’s just one final detail: the surface details.

This is all the stuff you were probably tempted to write at the beginning but were wise not to. But don’t let the word ‘surface’ fool you. This isn’t unimportant stuff (in fact, it’s all potentially crucial stuff). It’s absolutely vital if you want to give your protagonist that perfect finish. It’s just not the beating heart of your character. Therefore, there is one key buzzword I want you to remember as we consider these things: relevancy.

I’ve separated these surface details into two broad categories: basic demographics and physical description. Let’s look at them one at a time.

Basic Demographics

You’ll want to have a page of demographics tucked away somewhere in every character profile you write. I tend to have it right on the front page though it details only the most basic information about your character. I find a simple list is the best approach to this, e.g.:

First name: John
Last name: Smith
Middle names: Matthew, Mark, Luke, Bob
Age: 42
Sex: Male
etc., etc.,

There is almost no limit to the kind of stuff you can include in this section. I’ve seen some authors detail everything from the character’s favourite brand of biscuit right through to the names of all the character’s aunties, uncles, cousins and dogs.

Personally, however, I think there is something to be said for setting sensible limits. By all means, be detailed. You’re making a person. This should be a reasonably long document and there are certainly some basic details which you will certainly have to include such as the character’s name, age, nationality, etc. But do try to restrict yourself to details those details which are vaguely relevant to your story. If your protagonist’s childhood goldfish is never mentioned in the story, nor does it ever enter into the thinking of your protagonist then what is the point of naming it here?

Physical Appearance

Ah yes, the ever contentious physical description. Some authors love them, some authors deny their existence altogether. There’s really two things to consider here: how your character looks in your mind and if/how you describe their appearance.

First, it’s a good idea to have a fair idea in your own mind what your character looks like. I find it helps me to visualise what I’m writing if I feel like the characters have vivid, recognisable faces that I am familiar with. I wouldn’t waste a lot of time on this, however. I usually either base it on someone I know personally or else I find a picture of someone I don’t know on a free picture site like Pixabay and attach it to my character profile just for my own sake (I wouldn’t ever publish this of course!). I might write out a character description for my own use if I have the image clear in my head already but I don’t waste a lot of time on this.

The real question is whether or not you should include a character description in your actual manuscript and if so, how?

I return to our buzzword for the day: relevancy. Believe it or not, lengthy physical descriptions are a big boring boring-ball with boring sprinkles. They drag the pace of your narrative down to crawl and the audience is frankly not likely to remember most of it.

That doesn’t mean you can’t have physical descriptions, but it does mean keep it relevant. Focus on those aspects which tell us something about the character’s backstory (e.g., Harry Potter’s scar) or their personality, e,g.:

A huge man, shapeless of face, with large, pale eyes, with wide, sloping shoulders; and he walked heavily, dragging his feet a little, the way a bear drags his paws. His arms did not swing at his sides, but hung loosely and only moved because the heavy hands were pendula.

John Steinbeck, description of Lennie in Of Mice and Men

This description works perfectly because it focuses so little on the tedious details of eye and hair colour but instead emphasises aspects of Lennie which are crucial to the overall plot: specifically that he is physically big and strong and that he is somewhat mentally vacant, moved by the world around him by doing little to influence it himself.


Thanks for taking the time to read this post. If you enjoyed it, don’t forget to ‘like’ this post and also follow us so you never miss another post. You can also follow Penstricken on TwitterPinterest and like Penstricken on Facebook.

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ATTENTION AUTHORS:

Every Tuesday, I post a new edition of Spotlight: a short post which shines a proverbial spotlight on a published novel or collection of short fiction. If you would like to have your book considered for a future edition of Spotlightdrop us an e-mail including a short synopsis of your book and a link to where we can buy it. Better yet, send me a copy of your book and I can include a mini-review.

I’m still looking to interview fiction authors here on Penstricken, especially new or indie authors. Whether it’s books, plays, comics or any other kind of fiction, if you’ve got something written, I want to hear about it. If you’re interested in having your work featured on Penstricken, be to sure to drop us an e-mail or message us on Facebook/Twitter/Pinterest.

Please be advised that due to a recent surge in interest, I am presently committed to a significant number of reviews/interviews over the next couple of months. If you would like an interview or review, I would still love to hear from you, though it is unlikely that I will be able to begin work immediately.

You can check out our previous interviews here:

A Protagonist’s Anatomy #3: Character Traits

Well it’s already time for part 3 in this little series of posts collectively entitled A Protagonist’s Anatomy. Over the last two weeks we looked at the importance of creating a strong set of motives and goals for your protagonist and how crucial their backstory is in creating a motive which is understandable and believable. This week we’ll focus on adding another important layer which will take the words on your page and make them read like the written record of a real life person: character traits.

Character traits are those little personality quirks that will not only influence the kind of things your characters will do and say but also how they do and say them and you can have lots of fun playing about with different traits to see which ones work the best for your characters. On a more important note, having your character’s traits firmly established in your mind allows you to show your reader exactly what sort of man your character is without ever having to tell them. You don’t need to say ‘Bob was a cold-hearted man.’ You can show us what a cold-hearted man Bob is by the way he interacts with other characters and the kinds of decisions he makes.

There’s no exact rule for determining your character’s traits, but I personally find it helpful to give each of the main players in my stories a balanced mixture of positive, neutral and negative traits, irrespective of whether your character is a good guy or a bad guy. However, while it is a good idea to mix a handful of different traits together to create a reasonably layered and complex character, try to practice a little bit of moderation too. You wouldn’t make soup with peas, brocolli, beef, onions, pasta, cheese, pork, cake, pizza, chicken, tomatoes, salmon, cod, haddock, oranges, bananas and avocados. All of those things might taste nice when combined with the right ingredients, but mixing them all together would be unpalatable. The same is true of character traits. Find ones that compliment each other (without necessarily matching each other) and try not to add too many.

There is, of course, almost no end to the list of possible character traits you might use, but I’ve listed a few below:

Because a character’s various traits must work together to form a single personality, it’s a good idea to experiment with them to see what works. I find writing little zero drafts or character auditions helpful for this process. While some traits may appear to be a more obvious fit for your character based on their motives and goals, there is something to be said for making more unlikely choices. A bitter old man, a hopeless romantic, a loudmouthed blowhard or a mild-mannered introvert may all be motivated towards very similar goals such as the pursuit of love, revenge, justice or whatever other motive you care to mention. The way they pursue their goals and deal with the ensuing conflict, however, will vary greatly. So for example, let’s pretend our protagonist is motivated by a desire for true love and his goal is to woo Jeanie, whom he is in love with. Jeanie, however, only sees him as a friend.

Our bitter old man will respond to Jeanie’s ‘friend-zoning’ with a certain level of resentment. While he may still harbour affectionate feelings for Jeanie, his hurt will likely be manifested in cruel comments and unkind behaviour. Our mild-mannered introvert, by contrast, will disguise how he feels with an easy-going manner and an apparent willingness to be a really nice ‘just friend’ for Jeanie, even though inwardly he still dreams of marrying her. Same motive, same goal, same problem, completely different results.


Thanks for taking the time to read this post. If you enjoyed it, don’t forget to ‘like’ this post and also follow us so you never miss another post. You can also follow Penstricken on TwitterPinterest and like Penstricken on Facebook.

Want a blog of your own? Start writing today with WordPress.com!

WordPress.com Jetpack WooCommerce

ATTENTION AUTHORS:

Every Tuesday, I post a new edition of Spotlight: a short post which shines a proverbial spotlight on a published novel or collection of short fiction. If you would like to have your book considered for a future edition of Spotlightdrop us an e-mail including a short synopsis of your book and a link to where we can buy it. Better yet, send me a copy of your book and I can include a mini-review.

I’m still looking to interview fiction authors here on Penstricken, especially new or indie authors. Whether it’s books, plays, comics or any other kind of fiction, if you’ve got something written, I want to hear about it. If you’re interested in having your work featured on Penstricken, be to sure to drop us an e-mail or message us on Facebook/Twitter/Pinterest.

Please be advised that due to a recent surge in interest, I am presently committed to a significant number of reviews/interviews over the next couple of months. If you would like an interview or review, I would still love to hear from you, though it is unlikely that I will be able to begin work immediately.

You can check out our previous interviews here:

Throwback Thursday: Fiction- Reality Refined

Originally published: 05/11/2017

There are two kinds of story in this world. Those that are not at all true to life and therefore are completely unsatisfactory, and those that create the illusion of being true to life but, in fact, are not. Very few stories (even those meticulously and faithfully based on true events) accurately reflect real life once they’ve been structured in a way which allows them to be communicated, because real life is far too much of a jumble for that to be possible.

‘But wait just a minute here,’ I hear you cry. ‘I read a book/watched a film/attended a play/played a game just the other day there and it was the truest darn thing I’ve ever seen in my entire life!’

Well of course it’s true that if you’re writing a story, you’ll want it to be true to life in the sense that it must accurately reflect the human experience. A skilled author can (and should) attempt to communicate far more fundamental truths than this about life and death, war and peace, society, philosophy, religion or whatever it might be in their stories. And of course, stories based on true events must remain faithful to history. No one is denying any of that.

However, in real life, events are disjointed and random. Things happen for no reason. Reality must therefore be refined in order to turn it into a digestible and entertaining story. For instance, you might be writing a novel (based on the true story) about your holiday to France where you met your future wife and fought to win the respect of her disapproving father. Now while you were there, you also bumped into Mr. Donald, your former maths teacher. It turns out he’s there to attend the Fête de la Musique because (to your surprise) he’s ridiculously enthusiastic about music and will travel far and wide to attend music festivals all over the world. You make polite conversation about this for twenty minutes and then go your separate ways. You put the event out of your mind. Life goes on. It never comes up again. All that you have learned about Mr. Donald, his passion for music or that there is an all-day music festival that happens in Paris every June neither harms or benefits you in any way, at any point in your life, ever.

So… when you come to write the novel about how you went on holiday, met a girl and won the respect of her father, you’re not going to include that event, are you? Because in all story telling, everything happens for a reason. Meaningless events only serve to break up the flow, rhythm and pace of the story. Have you ever been watching a film and noticed that nobody ever says goodbye to anybody else, even on the telephone? Or that nobody ever walks into a room and forgets what they went there for, or forgets what they were about to say. And no one ever needs to go to the toilet, unless there’s a mad axe murderer in there already poised and waiting to kill them. This isn’t true to life at all! In real life, people always forget things, usually do say goodbye on the phone and, more often than not, have uneventful visits to the bathroom.

Not only that, but in all good stories (even those based on true events) there is a clear and identifiable structure, sometimes called the ‘story arc’ or ‘narrative arc’ (a simple definition and description is available here) and all the events in your story should contribute in some way towards its construction. This is not true to life, but it is good story telling. In real life, you meet new people all the time. They enter your life, do or say so many things and then leave your life, often without ceremony. Many different events happen all at once and are often never fully resolved. Good story telling isn’t like that. In good story telling, A leads to B which leads to C and in the end, all the loose ends are tied up. They might not necessarily all live happily ever after, but the story comes to a neat end. Our questions are answered and we are happy to assume that life goes on (at least for the survivors).

If all of this is teaching your granny to suck eggs, let me draw your attention to one more point: dialogue. In dialogue, you walk a fine line between creating a distinctive and believable voice which tells you something about the character and constructing your dialogue in a way which allows your narrative to flow.

It may be difficult to do because we’re all so used to verbal communication, but next time you’re having a verbal conversation with someone, listen to the words they use. Don’t just listen to their meaning. Pay careful attention to every utterance. You will notice that, more often than not, the rules of grammar go out the window. New sentences are often begun before the previous one is finished. People interrupt and talk over one another. Sometimes misunderstandings will derail a conversation (‘Do you like coffee?’ ‘Oh yes I’d love one, thank you!’). Words are often misused (for instance, when people say ‘pacific’ instead of ‘specific’). Sentences are often punctuated by non-sensible utterances (‘erm…’, ‘uhh…’). The list goes on.

Seriously, I encourage you to try it someday. Make a precise transcript of a real-life conversation in exactly the order it is spoken and read it back to yourself. You will marvel at the fact human beings are able to communicate at all when you see just how muddled up our verbal communication is.

In fiction, however, your dialogue can’t be like that. You can add dialects, accents and perhaps even the odd bit of bad grammar to your heart’s content but the flow of the conversation still has to be clear for the reader. Dialogue, just like the rest of your narrative, has a purpose. It drives the story on, and therefore it must accomplish its ends. Still, it must sound believable. You as the author, therefore, walk a fine line between making it sound so implausibly perfect that your characters seem wooden and so realistically imperfect that it reads like meaningless waffle and drags your story’s pace down to a crawl.

Not only that, but you also have to beware of making the content of a conversation sound too contrived. It can be all too tempting to use dialogue as a place to info-dump. E.g., ‘I visited my sister, Andrea McLaren, 24, who lives just around the corner from the butchers on Western Road’.

Real people don’t talk like that. If Andrea’s full name, age and address are important, they need to be worked in with subtlety and believably. There are many techniques you can use to lend credibility to your dialogue, but I’ll come back to that in a future post.


Thanks for taking the time to read this post. If you enjoyed it, don’t forget to ‘like’ this post and also follow us so you never miss another post. You can also follow Penstricken on TwitterPinterest and like Penstricken on Facebook.

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ATTENTION AUTHORS:

Every Tuesday, I post a new edition of Spotlight: a short post which shines a proverbial spotlight on a published novel or collection of short fiction. If you would like to have your book considered for a future edition of Spotlightdrop us an e-mail including a short synopsis of your book and a link to where we can buy it. Better yet, send me a copy of your book and I can include a mini-review.

I’m still looking to interview fiction authors here on Penstricken, especially new or indie authors. Whether it’s books, plays, comics or any other kind of fiction, if you’ve got something written, I want to hear about it. If you’re interested in having your work featured on Penstricken, be to sure to drop us an e-mail or message us on Facebook/Twitter/Pinterest.

Please be advised that due to a recent surge in interest, I am presently committed to a significant number of reviews/interviews over the next couple of months. If you would like an interview or review, I would still love to hear from you, though it is unlikely that I will be able to begin work immediately.

You can check out our previous interviews here:

A Protagonist’s Anatomy #2: Backstory

Real people don’t just pop out of thin air fully formed. Everything about them, from the way they speak to the things they believe, to the way they dress and to the decisions they make, is the culmination of what has gone before. This is is why if you want to write a protagonist of any real substance (and you do, dear reader) a strong backstory will be a vital part of his or her anatomy.

So what is a backstory? I hear you cry.

Put simply, a backstory is everything that happened to your protagonist before the events of your actual novel. More precisely, however, a backstory is whatever has happened in your protagonist’s past to make them who they are today. You may recall that last week we discussed character motive; but what is it that happened in this character’s past to endow them with this particular motive? That’s your backstory.

At this point, I would like to sound a note of caution. It can be tempting to write a detailed backstory which documents every single event in a protagonist’s life but this really isn’t necessary. It may or may not be the case that every single day is formative in the development of real life people, but we’re not writing real life. We’re writing fiction and fiction is reality refined to take away all the rough edges. Therefore, focus on what matters.

I find that the simplest approach is think of your character’s backstory like a photograph of the protagonist’s life. If you look at any good photograph (and I realise I’m stepping outwith my area of expertise here), you’ll see two things: the main subject of the photograph which sits in the foreground and the background which surrounds it.

Children holding hands in the foreground; a cobbled road and sunset in the background.

Your ‘background’ is all the basic stuff that goes into a character’s history: where they come from, who they grew up with, education, work, all that sort of thing. This doesn’t need to be too detailed. I find a simple list of basic facts will do for this point. E.g.:

Hometown: Somewhereland
Parents: Betty (deceased) and Bob
Siblings: Tom, Dick and Harriet.
… and so on and so forth.

Our ‘foreground’ backstory, however, ought to be a good deal more detailed. These are key events that have had a significant impact on your protagonist and were instrumental in making him the person he is today. Take Batman for instance. Why does this millionaire playboy feel the need to dress up in a frightening black costume and throw himself night after night into the criminal underbelly of one of the most lawless fictional cities in America?

Because when he was a little boy, he witnessed his parents being murdered. Every single version of Batman I’ve ever come across includes that key moment because that one event, more than anything else, makes Batman who he is. It’s what endowed him with that righteous fury which now serves as the key motivation behind everything he does. Without that righteous fury, he isn’t Batman; and without that painful single moment in his childhood, he has no real reason to be so motivated. It’s worth your while, therefore, writing out events like this in detail, perhaps even in the form of a little stand-alone short story. You don’t need to include this in your published book (in fact you probably shouldn’t), but it would probably be helpful for you as the author to have a detailed record of exactly what your protagonist experienced.

One more thing to remember: your character’s backstory is not the actual plot of your novel. It’s just the history of your character that makes them who they are today. Most of the background stuff will never need to be explicitly stated in the final published version of your story and even the foreground need not be laboured (though it should be gently inserted somewhere non-obstructive). What matters is that your protagonist has a clear origin so their motives don’t appear superficial to your reader, but your readers do not want to read lengthy portions of backstory which interrupt the flow of the actual plot. Click here to read a bit more about presenting a character’s backstory.

Thanks for reading. Be sure to come back next week for part 3, where we’ll be looking at character traits.

Missed part 1? Click here to go back!


Thanks for taking the time to read this post. If you enjoyed it, don’t forget to ‘like’ this post and also follow us so you never miss another post. You can also follow Penstricken on TwitterPinterest and like Penstricken on Facebook.

Want a blog of your own? Start writing today with WordPress.com!

WordPress.com Jetpack WooCommerce

ATTENTION AUTHORS:

Every Tuesday, I post a new edition of Spotlight: a short post which shines a proverbial spotlight on a published novel or collection of short fiction. If you would like to have your book considered for a future edition of Spotlightdrop us an e-mail including a short synopsis of your book and a link to where we can buy it. Better yet, send me a copy of your book and I can include a mini-review.

I’m still looking to interview fiction authors here on Penstricken, especially new or indie authors. Whether it’s books, plays, comics or any other kind of fiction, if you’ve got something written, I want to hear about it. If you’re interested in having your work featured on Penstricken, be to sure to drop us an e-mail or message us on Facebook/Twitter/Pinterest.

Please be advised that due to a recent surge in interest, I am presently committed to a significant number of reviews/interviews over the next couple of months. If you would like an interview or review, I would still love to hear from you, though it is unlikely that I will be able to begin work immediately.

You can check out our previous interviews here:

Throwback Thursday: How to Kill Someone (in Fiction) and Get Away With It

Originally published 17/07/2016

SPOILER ALERT

While every effort has been made to avoid any spoilers in this post, anyone who has not read The Green Mile by Stephen King or Of Mice and Men by John Steinbeck is hereby advised that this post may contain a few unavoidable spoilers.

As much as I love the BBC sci-fi/drama, Doctor Who, I have to admit that in recent years, whenever one of the main characters die, I react in a way which I am quite sure the writers did not intend me to… I yawn.

I yawn because I just know they’ll be back. No one ever really dies on Doctor Who anymore, or if they do, some wibbly-wobbly timey-wimey thing happens to bring them back. The same goes for the bad guys as well as the good guys; The Master, Clara, Davros, Rory (Okay, strictly speaking he was erased from history, but still the principle remains; he ceased to exist and should never have come back) – they always find a way to cheat death just when all appears to be lost. Which means that for the viewer, all never really appears to be lost. It doesn’t matter if they get vaporised, blown up along with their spaceship or erased from history; the viewer always knows there’s a good chance that somehow, with a little sprinkling of TARDIS magic, they’ll be back.

Dear reader, what a waste this is. In real life, death is final; that’s what makes it such a big deal and why it is such a valuable tool for stimulating the audience emotionally. While killing a character only to bring them back later might seem like a cheap and easy way to make your story more exciting, it robs death of its sting if the audience knows that in this story, death is not final. If you want to produce any kind of reaction in your audience other than a bored yawn when you kill off a character, you’d better make sure the Reaper’s grip is as tight in your fictional world as it is in reality.

Moving on from implausible resurrections which suck all the drama out of fictional deaths, there are a few other unfortunate ways your audience might react to the death of a character. If you read last week’s post, you will no doubt be aware of how fickle a thing the audience’s support for your character can be. Just because you, as the writer, have decided who the good guys are and who the bad guys are, it doesn’t necessarily follow that the reader will like, support or sympathise with the characters you want them to like, support and sympathise with. The reason John  Coffey’s execution in The Green Mile was so sad was because over the course of the book (or movie, whichever you prefer…), we begin to sympathise with him more and more, especially when it becomes clear that he was not guilty of the crimes he was convicted of. If, however, he really had raped and murdered the girls he was accused of, I doubt very much that the typical reader’s response would have been quite so favourable towards him and it would have completely undermined the bitter note on which The Green Mile ended.

There is another point which is also loosely connected to this. Not only is it important that the audience has the right level of sympathy for the character you plan on killing, but the audience also has to have the right level of sympathy for the surviving characters too. After all, what really makes a death scene tragic is often far more to do with these characters than the ones who actually die. In the final scenes of Of Mice and Men by John Steinbeck, one of the protagonists – the simple minded Lennie – accidentally kills a woman (‘Curley’s wife’). Most of the other characters in the story get the wrong end of the stick and decide to lynch Lennie. His friend, George, knows Lennie too well to really believe that he ever killed the Curley’s wife out of malevolence and ends up shooting Lennie in the back of the head to save him from being lynched. There are really two important deaths here: Lennie himself and Curley’s wife. Both of these characters have another character closely related to them with whom the reader has varying levels of sympathy (in Lennie’s case, it is George and in Curley’s wife’s case it is, of course, Curley). George, being one of the protagonists, garners considerable support from the audience on account of his protective behaviour towards the more vulnerable Lennie; Curley, on the other hand, is an altogether unlikable little man who is jealous, quick to anger, full of his own importance and who sees Lennie as somebody he can bully.

We’re not meant to like Curley. He’s a nasty little man from the moment he first appears so when his wife finally does die, all he is concerned about is having his revenge on the naive and lovable Lennie. In fact, the only time Curley ever appears to truly admire another character in the story is when he finds George standing over Lennie’s body and assumes that George heroically wrestled the gun out of Lennie’s hand and exacted revenge on Curley’s behalf – not realising that George killed Lennie as an act of compassion. It is almost impossible to truly sympathise with this man on account of his loss (no matter how tragic his wife’s death may have been) because his own reaction is one of hatred. He always hated Lennie for how he (accidentally) injured and humiliated him earlier in the story and now he finally has an excuse to kill him. That’s all his wife’s death means to him: an excuse to kill a guy he took a disliking to earlier in the story. George, on the other hand, clearly cares about Lennie, despite finding his behaviour challenging at times. Lennie’s death occurs only a few paragraphs before the story finally ends, but in those few paragraphs, George displays more genuine grief and regret over the death of his friend than Curley displays anywhere in the whole story. Thus, a certain bitter poignancy is added to Lennie’s death by George’s reaction, which is not so obvious in the death of Curley’s wife.

The death of a main character can easily be one of the main turning points in your story. A skillful author can use it to provoke any number of responses from all of the other characters, as well as further taking the reader’s sympathies in almost direction you like. Don’t spoil it or cheapen it by killing characters unnecessarily. If you’re going to kill a character then I implore you… don’t remove the fear of death from your story. Make sure dead characters stay dead, no matter how difficult it makes things for your other characters and be sure to do the proper ground work to get the correct response from your audience.


Thanks for taking the time to read this post. If you enjoyed it, don’t forget to ‘like’ this post and also follow us so you never miss another post. You can also follow Penstricken on TwitterPinterest and like Penstricken on Facebook.

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ATTENTION AUTHORS:

Every Tuesday, I post a new edition of Spotlight: a short post which shines a proverbial spotlight on a published novel or collection of short fiction. If you would like to have your book considered for a future edition of Spotlightdrop us an e-mail including a short synopsis of your book and a link to where we can buy it. Better yet, send me a copy of your book and I can include a mini-review.

I’m still looking to interview fiction authors here on Penstricken, especially new or indie authors. Whether it’s books, plays, comics or any other kind of fiction, if you’ve got something written, I want to hear about it. If you’re interested in having your work featured on Penstricken, be to sure to drop us an e-mail or message us on Facebook/Twitter/Pinterest.

Please be advised that due to a recent surge in interest, I am presently committed to a significant number of reviews/interviews over the next couple of months. If you would like an interview or review, I would still love to hear from you, though it is unlikely that I will be able to begin work immediately.

You can check out our previous interviews here:

Throwback Thursday: Like It or Lump It, Your Intended Audience Matters

Originally published 24/07/2016

The Parable of the Audience

by A. Ferguson

The stadium was a sea of overpriced band tees and elaborate haircuts. Heavy metal music was being played, inappropriately, as quiet background music over the speaker system. Suddenly and without warning, the lights went out and the music abruptly ended. The hubbub of chatter and the friendly jostling of the crowd was replaced with an almighty roar as every eye turned to the stage. People pushed and shoved their way to the front, clapping and screaming to be heard above the crowd. A plastic cup filled with beer flew towards the front, showering the ravening crowd as it passed by but no one paid any attention. There was yet another almighty roar as the band ran out on stage and struck the first chord of their opening number: Mozart’s Piano Concerto No. 21 in C Major.

*   *   *

A great number of the posts I’ve written on this site giving writing advice have come about as the result of me learning these lessons the hard way first. This week is no exception.

Every now and again I  hear authors, publishers and other would-be writing gurus all saying the same thing: it is very important to know exactly who your audience is before you write. I don’t mind telling you that every time I hear that, I groan. I don’t like to be restricted by boring things like that; I just wanted to write my story. Let the publisher worry about how they’re going to market my story: I am creating a work of art, darling!

Believe me, if you ever feel that way, you’re not alone. But lately I’ve learned that knowing who your audience is is just as important to the artistic side of writing (the most important part, surely?) as it is to the boring business side of things.

Allow me to explain. I like to write because I like to read. The type of things I write tend to reflect my reading preferences – which is hardly surprising, I’m sure you’ll agree. Now for me personally, there are a few things I like and dislike. For example, I like speculative fiction in various forms especially if it is based on mythology or history, but I also enjoy historical fiction, murder/mysteries and literary fiction. I like a little bit of action and tension in my fiction, but I do not enjoy thrillers which tend to maximise action at the expense of substance. I like the narrative to flow with all the rhythm and expressiveness of poetry while still maintaining believable and natural sounding dialogue. I like complex characters. I don’t mind a little bad language in my dialogue (as far as it is necessary) but I do not like stories which overdo the foul language as a cheap attempt to add grit and I especially despise the use of profanity in the narrative itself except on very rare occasions (and almost all of those occasions involve a first person narrative). In short, I have a bit of a mishmash of preferences. When I finish a book (even one I really enjoyed) I will say something like ‘it was very exciting, but the characters lacked substance’ or ‘it was very thought provoking but needlessly heavy on the bad language’.

Unsurprisingly, when I started trying to write my novel, I brought these and all my other likes and dislikes to the table with me. You won’t find any profanity in my narrative, for example, and only the absolute minimum that is required in my dialogue. But I also wanted to write a story which would appeal to everyone, and needless to say as I continued to work on this story, I found that I was growing increasingly frustrated with it. I just couldn’t seem to make it good although I was having difficulty putting my finger on why… until it hit me:

Nothing appeals to everyone. It is not possible to write a story that will appeal to everyone and trying to bring together elements that would appeal to all audiences only serves to create a mixed up and inconsistent story that won’t appeal to anybody. In tone, my story would have primarily appealed to a YA audience but there were too many elements which didn’t fit to classify it as such. The biggest problem was the protagonist: a bitter ex-soldier in his mid-forties who was struggling to pay his taxes. There were bits of my story that would appeal to some audiences and bits of my story which would appeal to other audiences. Even I, as the author, only liked bits of it. In trying to create a work of art for every audience, I created something that wouldn’t really appeal to anyone, because nothing appeals to everyone.

So I went back to the old drawing board and asked myself just who did I want to write for?

I tackled this question artistically (after all, business and marketing are not my forte. If anything has the power to put me off being an author, it’s the thought of all that stuff but I digress). I asked myself what kind of thoughts I was trying to provoke and what kinds of feelings I wanted to stimulate. How gritty did I want my story to be? How funny? How violent? How sensual? How family-friendly? The more I did this, the more I came to realise what I had already begun to suspect: I wanted to write (this particular story, at least) for a young adult audience.

It came as quite a surprise to me, I can tell you, but nevertheless, I made a decision to go through my story with a fine tooth-comb and make it conform to standards which would suit a YA audience. For example, my protagonist is no longer an angry ex-soldier; he’s the seventeen year old son of an angry ex-soldier. I was a little nervous that if I started to fully young adultify my story, I would ruin it but in actual fact it’s had the opposite effect. Suddenly it works. It flows from point to point with a certain consistency that was missing before and it has made for a better story; not because I made it into a young adult story specifically, but because I decided who my audience was and constructed a story which would fully appeal from beginning to end to that audience. I could have probably done the same for any audience (within reason).

By writing your story for a particular audience, you aren’t stopping other potential audiences from also reading and enjoying your story, any more than being a Mozart fan prevents you from also being a Black Sabbath or Alice Cooper fan (I’ve been known to listen to all of the above myself). All you are doing is adding a consistency to your story which allows it to work and flow in a way which makes sense. Besides, nothing in this life appeals to everybody; therefore, be sure to make your story appeal to somebody… And if the result of all this effort is a more marketable novel then so much the better!


Thanks for taking the time to read this post. If you enjoyed it, don’t forget to ‘like’ this post and also follow us so you never miss another post. You can also follow Penstricken on TwitterPinterest and like Penstricken on Facebook.

Want a blog of your own? Start writing today with WordPress.com!

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ATTENTION AUTHORS:

Every Tuesday, I post a new edition of Spotlight: a short post which shines a proverbial spotlight on a published novel or collection of short fiction. If you would like to have your book considered for a future edition of Spotlightdrop us an e-mail including a short synopsis of your book and a link to where we can buy it. Better yet, send me a copy of your book and I can include a mini-review.

I’m still looking to interview fiction authors here on Penstricken, especially new or indie authors. Whether it’s books, plays, comics or any other kind of fiction, if you’ve got something written, I want to hear about it. If you’re interested in having your work featured on Penstricken, be to sure to drop us an e-mail or message us on Facebook/Twitter/Pinterest.

Please be advised that due to a recent surge in interest, I am presently committed to a significant number of reviews/interviews over the next couple of months. If you would like an interview or review, I would still love to hear from you, though it is unlikely that I will be able to begin work immediately.

You can check out our previous interviews here:

Throwback Thursday: Mr. Holmes (Film Review)

Originally published 29/05/2016 under the title: ‘If You Don’t Like Mysteries, You’ll Love Mr. Holmes’
SPOILER ALERT

Although every effort has been made to prevent spoilers, anyone who has not yet seen the film Mr. Holmes (2015) or read the novel A Slight Trick of the Mind by Mitch Cullin is hereby advised that this post may contain a few unavoidable spoilers.

Last year, I was standing waiting for a bus when one passed by (not the one I was waiting for) with a poster on the side, advertising a new film that was about to be released. The poster was plain white apart from a very well dressed and sour faced Ian McKellen. The title of the film was Mr. Holmes.

‘Oh, a new Sherlock Holmes film.’ I thought, my interest piqued. ‘I must remember to make time to go and see that.’

Suffice it to say I did not remember and, whether it was because of my own poor fortune or because the film was inadequately publicised, I did not see hide nor hair of that film again until this very year when I was perusing Amazon for something to watch and it recommended this little gem to me. The reviews on Amazon were generally good but there were also enough negative reviews to give me doubts. However, being a big fan of Sherlock Holmes and knowing that Ian McKellen’s acting is always a joy to watch (no matter how bad the rest of the film is) I decided to give it a chance.

In this film, Sherlock Holmes is now in his nineties and is struggling with his failing memory. He has long since retired to a farmhouse in Sussex where he lives in relative solitude apart from his housekeeper, her son and the bees he now keeps. Because of his failing memory, he cannot precisely remember how his last case as a private detective ended; however, he is certain that the now deceased Watson’s novelisation of it cannot be correct because it portrays Sherlock as having solved the case triumphantly, as he always does. Sherlock cannot accept that he would have retired except after a terrible failure, and so, with the encouragement of his housekeeper’s son and consumed with guilt over something he cannot fully recall, he tries to write the story of the case as it truly happened. Meanwhile, his housekeeper is growing increasingly restless with her role as Sherlock’s housekeeper-come-nurse and resolves to move to Portsmouth with her son, who has grown very attached to Sherlock. There is also a sub-plot concerning a Japanese man who lures Sherlock to Japan in order to confront him about the disappearance of his father, for which he blames Sherlock.

If you’re looking for a ‘who dunnit’ or another exciting instalment of The Adventures of Sherlock Holmes, you’ve come to the wrong place. Sherlock goes on no adventure in this story, nor is there a particularly mystery to be solved (unless you count his attempt to remember what he has forgotten). Unlike more traditional Sherlock Holmes stories, Mr. Holmes is gently paced and driven by its key themes: regret, ageing, death and senility. I know that probably makes it sound like quite a miserable film, but in reality I found this film to be surprisingly light-hearted and sweetened with a light dusting of humour and sentimentality.

This film is particularly concerned with giving us a glimpse at the real Sherlock Holmes, as opposed to the ‘character out of a pantomime’ he feels he has become through the novelisations and dramatisations of his various cases. Indeed, Sherlock himself appears keen to distance himself from that character. For example, there is a reference at one point to the fact he does not have his deerstalker or pipe. The reason for this, he claims, is that the deerstalker was a mere embellishment and that he prefers a cigar to a pipe; especially now that the pipe has become nothing more than a ‘prop’. It is also revealed to us that 221B Baker Street was, in fact, not his actual address but a deliberate attempt to mislead fans and tourists who were intent on visiting him.

As well as his obvious trademarks, his own personality is also very different from the character we are used to. The writers (and, I should add, McKellen himself) have done a fantastic job here of showing us the other side of Sherlock, without making him a different person altogether. His paternal feelings towards his housekeeper’s son, for example, seem to be a far cry from the cold hearted mystery solving machine that we are all so familiar with. In spite of this, he still retains his uncanny ability to tell everything a person has done simply by looking at them and his philosophy that the truth will always be uncovered by careful analysis of the facts. While he does retain a certain bluntness and an apparent cold heartedness, this seems to be little more than veneer (a thin one at that) which he uses to distance himself from difficult feelings. His warmth towards his housekeeper’s son, the empathy he shows towards his client’s wife and his regret over her death and the deaths of his friends make him seem altogether more human.

His attitudes towards death strikes me as particularly important. He approaches his own looming demise with an apparent nonchalance and claims never to have mourned the dead – bearing in mind that this is set after the death of John Watson, Mycroft Holmes and Mrs Hudson, all of whom were key figures in Sherlock’s life.

I can’t say that I’ve ever mourned the dead, bees or otherwise. I concentrate on circumstances. How did it die? Who was responsible? Death, grieving, mourning; they’re all commonplace. Logic is rare (Mr. Holmes 2015).

This air of indifference is typical of the traditional Sherlock; in Mr. Holmes, however, it sounds quite hollow. The fact that he was powerless to prevent his client’s wife from killing herself, despite recognising all the facts, has affected him deeply – to such an extent that it drove him to retirement. He also regrets that, after breaking off contact with Watson, he never had a chance to say goodbye to him before he died. When his housekeeper’s son is nearly killed by a swarm of wasps, he sees all the evidence of what has happened and, uncharacteristically, assumes it must have been his bees that were to blame (at least at first) rather than notice that the evidence clearly implicates a nearby nest of wasps. While most of us might consider this a normal reaction to finding a boy lying bruised and unconscious next to a hive of bees, it is rather atypical of Sherlock Holmes. The film also ends with him setting up memorial stones for everyone he has lost (or at least, everyone we have heard of anyway)

All in all, this is a enjoyable and easy to watch film but I would certainly caution any lifelong Sherlock Holmes fan that Mr. Holmes is best enjoyed if you approach it with absolutely no preconceptions about what a Sherlock Holmes film should be. It is a very good piece of cinema but it is not a typical Sherlock Holmes film by any stretch of the imagination, nor does it try to be. It’s not a mystery. It’s not an adventure. It’s a drama and a pretty decent one at that. Approach it as such and you will probably come away satisfied.


Thanks for taking the time to read this post. If you enjoyed it, don’t forget to ‘like’ this post and also follow us so you never miss another post. You can also follow Penstricken on TwitterPinterest and like Penstricken on Facebook.

Want a blog of your own? Start writing today with WordPress.com!

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ATTENTION AUTHORS:

Every Tuesday, I post a new edition of Spotlight: a short post which shines a proverbial spotlight on a published novel or collection of short fiction. If you would like to have your book considered for a future edition of Spotlightdrop us an e-mail including a short synopsis of your book and a link to where we can buy it. Better yet, send me a copy of your book and I can include a mini-review.

I’m still looking to interview fiction authors here on Penstricken, especially new or indie authors. Whether it’s books, plays, comics or any other kind of fiction, if you’ve got something written, I want to hear about it. If you’re interested in having your work featured on Penstricken, be to sure to drop us an e-mail or message us on Facebook/Twitter/Pinterest.

Please be advised that due to a recent surge in interest, I am presently committed to a significant number of reviews/interviews over the next couple of months. If you would like an interview or review, I would still love to hear from you, though it is unlikely that I will be able to begin work immediately.

You can check out our previous interviews here:

Throwback Thursday: Figuring Out Foil Characters

Originally published 29/04/2018

We’re all familiar with some of the traditional character types you find in most fiction: protagonists, antagonists, love interests and so forth. But there is another common type of character out there; one which can sometimes be harder to define, though we know them when we see them (intuitively at least). I am talking about foils.

The OED defines a foil in this way:

A person or thing that contrasts with and so emphasizes and enhances the qualities of another.

https://en.oxforddictionaries.com/definition/foil

In fiction, therefore, a foil is a character (or sometimes an object or idea) who highlights the traits of another character (usually the protagonist) by contrasting with them. But apart from that, these characters can play just about any role in your story you like. They can even (and often do) fulfil other key roles in your story, such the main antagonist or love interest (actually, as an aside, I often think love interests make great foils; opposites do so often attract, especially in fiction).

There’s a lot of good reasons to include a foil in your story. They can be an excellent tool for emphasising qualities in your protagonist which you might wish to draw out without stating explicitly. They can also go horribly wrong if executed poorly or needlessly.

As is so often the case, I have one particularly important rule I like to stick to whenever I write a foil (though you can apply this rule to any of your characters). Ready? Here it is:

No character should exist solely for the benefit of another.

Yes, a foil character must, by definition, contrast with another, but if that’s their only function in your story, watch out! All people in real life have their own motives, goals and problems and so should your characters. A good story can get along just fine without a foil character, but a character who serves as a foil and nothing else will be nothing but a burden on your narrative. At best they will read like a two-dimensional sidekick.

No one wants to only be a sidekick.
Image source: http://gph.is/257jTXn

I would therefore strongly advise against sitting down to ‘write a foil character’. Figure out who the main players are in your story first. Ask yourself what they all want, what’s preventing them from getting it and why they are necessary for your story. You may well find that your story will benefit from having a foil and it will probably become pretty obvious who should assume that role once you’ve finished most of your planning.

Take Star Wars for instance. Power and its ability to corrupt is a central theme in these movies. Every Jedi, trained in the Force, faces the temptation to be seduced and corrupted by their power. In the original trilogy, the protagonist, Luke Skywalker, faces this very issue in the form of his foil and antagonist, Darth Vader. Both of these characters come from humble backgrounds, both were trained by Jedi Masters and became powerful Jedi themselves. Yet only Darth Vader was seduced by the Dark Side; Luke resists the same temptation and his life takes a completely different path. Cosmetic contrasts such as differently coloured lightsabres also add to the effect.

Darth Vader works as a foil for Luke, because it feeds right in to one of the story’s key themes and draws out Luke’s inner struggles against the Dark Side. Indeed, Darth Vader serves very much as a personification of Luke’s inner struggles. He represents the course of life Luke can but must not choose.

Darth Vader: You’ve only begun to discover your power. Join me and I will complete your training! With our combined strength, we can end this destructive conflict and bring order to the galaxy.

Luke: I’ll never join you!

Darth Vader:  It is your destiny. Join me, and together, we can rule the galaxy as father and son!

Star Wars (ep. 6): Return of the Jedi

Of course, not all foils are antagonists. They don’t even need to be central characters (I’ve even heard it argued that they really shouldn’t be, though I don’t personally agree with that). All a character really needs to be a foil is to draw out your protagonist’s key traits by contrasting with them. But for my money, a good foil should be a fully-fledged secondary character, antagonist, love-interest, etc. in their own right first and a foil second. Perhaps a better way to think of it is to say that a foil is not so much a character type as it is a literary technique; one which just happens to often be associated with one character in particular.


Thanks for taking the time to read this post. If you enjoyed it, don’t forget to ‘like’ this post and also follow us so you never miss another post. You can also follow Penstricken on TwitterPinterest and like Penstricken on Facebook.

Want a blog of your own? Start writing today with WordPress.com!

WordPress.com Jetpack WooCommerce

ATTENTION AUTHORS:

Every Tuesday, I post a new edition of Spotlight: a short post which shines a proverbial spotlight on a published novel or collection of short fiction. If you would like to have your book considered for a future edition of Spotlightdrop us an e-mail including a short synopsis of your book and a link to where we can buy it. Better yet, send me a copy of your book and I can include a mini-review.

I’m still looking to interview fiction authors here on Penstricken, especially new or indie authors. Whether it’s books, plays, comics or any other kind of fiction, if you’ve got something written, I want to hear about it. If you’re interested in having your work featured on Penstricken, be to sure to drop us an e-mail or message us on Facebook/Twitter/Pinterest.

Please be advised that due to a recent surge in interest, I am presently committed to a significant number of reviews/interviews over the next couple of months. If you would like an interview or review, I would still love to hear from you, though it is unlikely that I will be able to begin work immediately.

You can check out our previous interviews here:

Throwback Thursday: 50 Character Motives For Your Story

Originally published 18/08/2019

If you’ve been looking around my blog for any length of time, you’ll have noticed that I often bang on about giving characters strong motives. That’s because it is very important to do so. Motives are what get your character up in the morning and form the basis for all the specific things your character is trying to achieve. For this reason, they are essential for making your audience understand and care about your character’s goals.

Often your character’s motive will be a deep seated hunger, or longing, which your character hopes to satiate by achieving their goals. Alternatively, they may be driven by some chronic fear, past trauma or intense feelings towards another person or persons. Some motives will have obviously dark overtones, while others may appear more positive or neutral. Don’t let that restrict you though. ‘Positive’ motives can still be turned to darkness in the hands of a well written bad guy and the reverse is also true. For instance, a man motivated by love for his family might murder his teenage daughter’s boyfriend. That’s a positive motive gone bad.

I’ve listed a few possible character motives in the image below and I would encourage you to play around with different ways of interpreting and applying them. Most motives (including those not on this list) can be used in a variety of ways, giving you an almost limitless pool of material from which to create character after character, and therefore, story after story.

Have you tried experimenting with any of these motives? What gets your characters out of bed in the morning? Share your own insights and experiences in the comments below!


Thanks for taking the time to read this post. If you enjoyed it, don’t forget to ‘like’ this post and also follow us so you never miss another post. You can also follow Penstricken on TwitterPinterest and like Penstricken on Facebook.

Want a blog of your own? Start writing today with WordPress.com!

WordPress.com Jetpack WooCommerce

ATTENTION AUTHORS:

Every Tuesday, I post a new edition of Spotlight: a short post which shines a proverbial spotlight on a published novel or collection of short fiction. If you would like to have your book considered for a future edition of Spotlightdrop us an e-mail including a short synopsis of your book and a link to where we can buy it. Better yet, send me a copy of your book and I can include a mini-review.

I’m still looking to interview fiction authors here on Penstricken, especially new or indie authors. Whether it’s books, plays, comics or any other kind of fiction, if you’ve got something written, I want to hear about it. If you’re interested in having your work featured on Penstricken, be to sure to drop us an e-mail or message us on Facebook/Twitter/Pinterest.

Please be advised that due to a recent surge in interest, I am presently committed to a significant number of reviews/interviews over the next couple of months. If you would like an interview or review, I would still love to hear from you, though it is unlikely that I will be able to begin work immediately.

You can check out our previous interviews here: