Continuing from my post last week on fast notes on characterization during a Donald Maass session.
These are an eclectic gathering designed to make you think differently. Have fun!
“These are the moments the characters become larger than his or her own life. Break out of box, out of character, do the unexpected. The are the moments we remember.”
“A “wink” can be the most unexpected thing a character can do.” But it must be out of character.
“Take your characters to places they would never go.”
Eventually they have to become who they really are – reverse or repent of what they’ve done.
Stop thinking about redeeming our characters. Can’t always be thinking of redeeming them.
Redeem them from what? Take your characters to the bad/dark/confused place, wrong place, then redeem them.
Consider story as a whole: What is the main problem facing protagonist?
What is the main conflict? Goal? Of the story?
Character driven story, where problem is internal: Protag ask can I discover who I am, grow up? Is there an outward representation of the inner problem? Journey of time and place.
“I must go somewhere to find myself.”
New possibilities: what would make this problem matter more to protagonist?
What would give it more personal meaning. Important to protagonist, why?
What are additional reason why this problem matters to protagonist?
What is new in the problem? What can protagonist discover along the way that gets to her?
Dimension of problem matters more when it effects more people? Does it touch upon or challenge aspects of protagonist it didn’t before?
Why? Keep asking why with each discovery!
Why must the protagonists solve this problem? If she doesn’t, what would she personally lose? Brainstorm every possibility from the abstract, to the personal, to the petty.
What would make this problem matter even more? Be more significant. Why does it bother them uniquely? Others see and work problem, but for protagonist it’s personal. Why? How does it connect to protagonist’s childhood. Psychological reasons why this problem matters.
MBT Moment: At My Book Therapy we call this the dark wound of the past. The “thing” that has formed a lie and fear in the hero and/or heroine.
“What makes the problem so important to protagonist he or she would sacrifice anything rather than live with this problem unsolved?”
“How does it matter more than life itself?”
“What about her childhood gives this problem great significance?”
MBT Moment: A dark moment from the past usually leads to a lie if left to fester. That lie builds into a fear. This is what drives and motivates the protagonist at the beginning of the story.
Raising the personal stakes in the story – what protagonist has to lose – if things don’t come out the right way is important to do. Raise outward stakes are easier, but raising the personal stakes is important.
Romantic pairing doesn’t matter until it matters to one of the protagonists. (this person, infuriating, unbearable, hot, but the protag can’t deny she wants to be with him.)
PERSONAL STAKES MATTER!
Raise stakes, keep tension rising, keep readers more deeply involved.
DEEP POWERFUL STORYTELLING IS OFF BALANCE.
Don’t take the safe way.
THERE ARE TOO MANY SAFE MANUSCRIPTS!
RH: Dig deep. Figure out what drives your characters! Then paint the page.
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Best-selling, award-winning author Rachel Hauck loves a great story. She excels in seeing the deeper layers of a story. With a love for teaching and mentoring, Rachel comes alongside writers to help them craft their novel. A worship leader, board member of ACFW and popular writing teacher, Rachel is the author of over 15 novels. She lives in Florida with her husband and her dog, Lola. Contact her at: Rachel@mybooktherapy.com.