It Takes Two to Tangle Your Story

Storytelling, ,

It Takes Two to Tangle Your Story. This is true in real life and in fiction writing. Here’s the difference. In real life, we try to avoid tangles, difficulties, and conflicts. In fiction writing, the more struggle you conjure up, the stronger your story will be.

Your Main Character – Your Hero – Must Have Someone to Tangle With. This someone may be a pesky sidekick or a possible romantic partner or a probable enemy. Whatever their relationship, this other character exists, mainly, to intensify your hero’s story.

This Character Gives Your Hero Someone to Talk With. Your main character’s internal thoughts move into external dialog. Internal monologue often reads as static and slows the pace of your story. Dialogue looks more active on the page and usually reads as more active also.

This Dialogue Must Be Highly Interesting. You make this dialogue highly interesting by creating complex, fascinating contenders to match your complex, fascinating hero. These more secondary characters possess opinions and attitudes different from those of your main character.

Differences Create Story Conflict. Which varies in intensity depending on the relationship. An enemy may even pose a threat to your hero’s life. By contrast, lovers and sidekicks debate your hero, irritate her, openly conflict with her. The clash is heated, but seldom flares into violence.

The Conflicts Between Mutually Caring Characters are Often Only Variations in Attitude. But they force your hero to articulate her feelings and beliefs. This helps your reader know her better and empathize with her. Empathy is critical to hooking your reader into your story. Reader connects with Hero. Yet again – It Takes Two to Tangle Your Story.

Caring Characters may Differ Intrinsically from Your Hero. The lover or sidekick may have something major to learn in life, an internal struggle that might not be resolved in this story. Unlike your hero who ideally learns and grows in some important aspect of her life.

Contrast these Characters Extrinsically Too. Family and culture, life experience, social and economic status. Differences in circumstance provide potential fireworks in relationships, which may be sexual or not. Fireworks ignite reader interest, which serves your storytelling purpose.

In Fiction Too Much Harmony is Boring. In real life we want everyone to get along. In make-believe, your characters may like, or even love, each other. But if they get along too well for too long, the story drags, falls flat, and you lose reader interest. Make them struggle with each other.

Create Struggle Between Your Caring Characters – But the Struggle Must be Real. Strong stories require powerful drama. You, as author, must know what qualifies as legitimate drama. Character banter, however clever, lacks the power to be strong storytelling on its own.

Real Problems Between Characters Create Real Conflict. The bigger their problem grows, the more intensely the conflict escalates. Plunge your characters into hot water in the form of relationship trouble and turn up the temperature. Trouble is at the heart of strong storytelling.

Give Your Hero Strength to Stand Up for Herself and Others. She refuses to be passive. She acts on what she believes to be right, no matter how much trouble and conflict she may encounter. Consider including a romantic interest to intensify that trouble and conflict. Remember – It Takes Two to Tangle Your Story.

Give Her a Romantic Partner Strong Enough and Good Enough to be Worthy of Her. A relationship of equals has huge potential for dramatic tension. Power, drama, and intensity ignite your story of tangled relationships. Go ahead. Set fire to the page.

Alice Orr – https://www.aliceorrbooks.com.

ASK ALICE Your Crucial Questions. What are you most eager to know – in your writing work and in your writer’s life? Email aliceorrbooks@gmail.com. Or add a comment question to this post.

Alice has published 16 novels, 3 novellas and a memoir so far. She wrote her nonfiction book No More Rejections: 50 Secrets to Writing a Manuscript that Sells as a gift to the writers’ community. Her latest novel – A Time of Fear & Loving – Riverton Road Romantic Suspense Series Book 5 – is available HERE.

A Time of Fear & Loving

Praise for A Time of Fear & Loving: “Alice Orr is the queen of ramped-up stakes and page-turning suspense.” “Warning. Don’t read before bed. You won’t want to sleep.” “The tension in this novel is through the roof.” “I never want an Alice Orr book to end.” “The best one yet!”

Look for all of Alice’s books HERE.

https://www.facebook.com/aliceorrwriter
http://twitter.com/AliceOrrBooks/
http://goodreads.com/aliceorr/
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Strong Relationships Blaze Your Story Pages

Writing Career Tip, ,

Strong Relationships Blaze Your Story Pages. “What is wrong with this relationship?” A central human issue in real life. An equally central issue in writing fiction.

Relationships are the Bottom Line of the Fiction Market. Readers want answers to these life questions. How do you find a relationship? How do you sustain a relationship once it has begun? How do your regain a relationship that seems irretrievably lost? How do you correct the flaws that undermined the relationship in the first place?

These Mysteries Haunt the Heart of Every Relationship Story. Which is why interpersonal entanglements are prime reader interest territory, and not only for women’s fiction. Any story that involves adults interacting has the potential for a relationship entanglement. That conflict – particularly if it is a romantic struggle – increases your story’s sales potential by leaps and bounds in the publishing marketplace.

Your Goals are to be Published – to Attract Readers – to Become a Beloved Author. Dramatic conflict between your characters supercharges your potential to reach each of these goals. Relationship storytelling is a very savvy choice for any career-minded author. Strong Relationships Blaze Your Story Pages.

Women’s Fiction and Book Sales Potential. Approximately eighty to eighty-five percent of U.S. readers. are women. The majority of this female audience reads women’s fiction in some form. Literary stories, mainstream commercial novels, category romance. An immense market where agents, editors and, most crucially, readers search for enthralling author voices.

You and Your Stories Can be Among those Voices. The key to sought-after-author status in women’s fiction is a heartfelt, convincing relationship that comes to fiery life on your pages. Such relationships are the backbone of this flourishing segment of the book market.

Your Story’s Primary Relationships Focus on Your Main Character. But it takes two to tangle. Your protagonist needs characters to relate with, romantically and otherwise. Reader engrossing plots, and subplots, can arise from any troubled relationship. A friendship. A parent and child. Your hero confronting her rival or her captor or her tormentor. Possible combinations of  colliding characters are as varied as your imagination.

Still – the Most Popular Story Relationships are Between Lovers and Potential Lovers. Readers seek roadmaps for navigating this problematic area of human interaction. They are also drawn to the story tension inherent in a tale of two people attempting to love one another in the face of mounting obstacles and formidable odds.

Here Lies Storytelling Paydirt. Your two central characters  collide. They struggle intensely, dramatically, powerfully. They make turbulence of their lives and excite your reader’s interest. They do so most credibly when their struggle reflects the turbulence and excitement of real human experience. Which could be based on your own experience.

Your Personal History is Fertile Research Ground for your Stories. Mine the conflicts and struggles that lie beneath that ground. Disguise them in whatever fictional form you choose, but keep the emotions real and true. Do this, and you will create stories that kindle into life, because Strong Relationships Blaze Your Story Pages.

Alice Orr – https://www.aliceorrbooks.com.

ASK ALICE Your Crucial Questions. What are you most eager to know – in your writing work and in your writer’s life? Email aliceorrbooks@gmail.com. Or add a comment question to this post.

Alice has published 16 novels, 3 novellas, a memoir, many articles and several blogs so far. She wrote her nonfiction book No More Rejections: 50 Secrets to Writing a Manuscript that Sells as a gift to the writers’ community. Her latest novel – A Time of Fear & Loving – Riverton Road Suspense Series Book 5 – is available HERE.

A Time of Fear & Loving

Praise for A Time of Fear & Loving: “Alice Orr is the queen of ramped-up stakes and page-turning suspense.” “Warning. Don’t read before bed. You won’t want to sleep.” “The tension in this novel is through the roof.” “I never want an Alice Orr book to end.” “The best one yet!”

Look for all of Alice’s books HERE.

https://www.facebook.com/aliceorrwriter
http://twitter.com/AliceOrrBooks/
http://goodreads.com/aliceorr/
http://pinterest.com/aliceorrwriter/

 

How to Write First Class Secondary Characters

Writing Tips, ,

How to Write First Class Secondary Characters. The Hero of Your Story Lives in a Larger World Beyond Herself. She lives in a fictional world you have created. A world populated by other people usually referred to as secondary characters. I suggest you also think of them as supporting characters because they support  your main character and her story.

Your Hero Drives Your Story. But, no matter how substantial and fully realized she may be, if her supporting cast is weak, your story will be weakened too. Your story structure will be in danger of toppling —  off your reader’s bedside table into oblivion. As Mike Nichols said of all characters. You must give your secondaries their own beating heart humanity.

Create a Full Cast of Individuals who Come to Life on the Page. Functionaries won’t do, characters who walk on stage, perform a task or two, then disappear forever. If someone makes an appearance for any reason, however mundane, they must appear again in some meaningful way. They add to the emotional truth of your story. They are not just furniture.

Some Supporters Appear Often and Prominently, Others Less So. But they all perform actions that drive the story forward or amplify your hero’s role. They may not be as fleshed out as your hero, but you, the author, still must know and imagine them to be flesh and blood individuals, complete with compelling and memorable details. Click here to learn about this detail.

Your Hero’s Support Character may be a Lover, Enemy, Friend, Whomever. He or she may lessen story tension by making us laugh now and then or enhance that tension by introducing an obstacle to your hero’s goal. Whatever the secondary character’s purpose,  they must be carefully written to have an impact and engage your reader.

The Most Readily Effective Cast is Headed by a Trio. The hero, her mate or sidekick, and the villain. The hero leads the story; the other two support the story. They are the foundation upon which the story is built. They keep your story moving. You must explore two critical questions for each. What must they do in this story situation? Where do they belong – on which side of the story conflict?

These Questions Relate Especially to the Motivation of a Mate or Sidekick. How this character responds. Why they respond. These are the essentials of their story role. Dig deep to find the best motivation ideas for this character. Determine what their resulting actions will be, and you have discovered how they will enlighten your story situation.

The Arc of the Sidekick’s Development Illuminates the Path they will Take. Make detailed notes on how they do or do not resolve the two crucial questions mentioned above. Whatever their path, these must be strong secondary characters. Their actions create dramatic events. Their interactions with the hero add emotional depth to her character, and to the story.

You are the Creator of your Story World and of Every Character’s Purpose. These characters serve your hero’s goals or impede them. You, as Creator, determine the specifics. The scenes, the action, the dialogue. Choose each of these for each character by weighing its potential to intensify story conflict. Because powerful conflict and struggle are the most essential support every successful story requires, and they are absolutely never secondary.

This is How to Write First Class Secondary Characters.

Alice Orr – https://www.aliceorrbooks.com.

ASK ALICE Your Crucial Questions. What are you most eager to know – in your writing work and in your writer’s life? Email aliceorrbooks@gmail.com. Or add a comment question to this post.

Alice has published 16 novels, 3 novellas, a memoir, many articles and several blogs so far. She wrote her nonfiction book No More Rejections: 50 Secrets to Writing a Manuscript that Sells as a gift to the writers’ community. Her latest novel – A Time of Fear & Loving – Riverton Road Suspense Series Book 5 – is available HERE.

A Time of Fear & Loving

Praise for A Time of Fear & Loving: “Alice Orr is the queen of ramped-up stakes and page-turning suspense.” “Warning. Don’t read before bed. You won’t want to sleep.” “The tension in this novel is through the roof.” “I never want an Alice Orr book to end.” “The best one yet!”

Look for all of Alice’s books HERE.

https://www.facebook.com/aliceorrwriter
http://twitter.com/AliceOrrBooks/
http://goodreads.com/aliceorr/
http://pinterest.com/aliceorrwriter/