Tag Archives: Creating Characters

How Your Main Character Builds a Powerful Story

Storytelling, , ,

How Your Main Character Builds a Powerful Story. You want to write the best story you have in you. A story that has you on the edge of your seat while you write it and the reader on the edge of her seat when she reads it.

Character Motivation is Key. Motivation links your main character to your plot. What your character must do, and how intensely she is compelled to do that thing, will determine how gripping your story turns out to be. The character is driven by her motivation. Her actions create your story line. They are the fuse for the fireworks of your plot.

Your Character’s Drive to Act must be Powerful and Dramatic. Otherwise, your story will not be powerful and dramatic. Here’s how to find your way to storytelling power and drama. Take these five steps and you will be dancing the path to a page-turner story.

Step One. I have prepared a list of powerful character motivations. Motivations that can catapult your character and her story into the intensity stratosphere. Choose the motivation that will produce the most drama in your story’s situation by causing the most conflict for your character. Find that motivation list below.

Step Two. For a longer, more complex book, you might want your main character to have a secondary motivation as well. A slightly less driving force than her primary motivation, but compelling enough to create story lightning all the same. Which is How Your Main Character Builds a Powerful Story 

Step Three. Drape your author shoulders in your most grand and glorious imagination cape and brainstorm three possible examples of how exactly this primary motivation might  enter your character’s life with sufficient force to drive her passionately forward page after page. Choose the one that  conjures up maximum conflict and struggle for your character.

Step Four. Brainstorm three specific examples of how this motivation might come to life and be dramatized, as in acted out, in scenes starring your character. Scenes that will capture and command your reader’s attention with sharp dialogue and riveting action. Scenes potent enough to become  pivotal turning points in your story.

Step Five. Brainstorm the specific nature of the struggle, or more pointedly, the trouble that could befall your character in each of these pivotal scenes. Keep in mind that your goal as storyteller is to plunge your character into hot water, then turn the temperature up higher, higher, and higher still. That heat is what sets  pages turning rapidly for your reader.

The Mighty Seven Most Powerful Character Motivations.

#1 – Love – A powerful motivator that can drive a character to her best and worst behavior.

#2 – Self-Preservation – The threat of danger or death is another powerful motivator. Include the preservation others here. The impulse to save another person or persons from peril.

#3 – Self-Knowledge – Be careful about making this a primary motivation in commercial fiction. It can be a bit too subtle and inward for the popular marketplace to embrace with enthusiasm. Still, it may occur as a result of your character’s experiences in your story.

#4 – Pursuit of Adventure and Life Experience – Do not let this particular motivator make your protagonist behave recklessly unless we, as readers, can identify with and support that choice.

#5 – Honor or Duty – These motives can be difficult to make believable in many contemporary, realistic stories. But, if you are writing action-adventure or fantasy, feel free to go for it.

#6 – Greed – All motivations are not honorable or noble. This is one of those. For that reason, you might not want to choose it as fuel for your preferably admirable main character’s behavior.

#7 – Revenge – Another tricky choice. Powerful and believable for sure, but unattractive. Even a character intent upon avenging a wrongful death may be contemplating a heinous act of her own, and that is a touchy storytelling choice. Greed or Revenge work better as motivations for your villain, who must also be strongly driven.

Give your Hero Character Admirable Reasons for What she Does. A smart storytelling decision because, the nobler the motive, the more significant her struggle becomes. And, the more significant we believe your character’s struggle to be, the more we care about her and about your story. Which is How Your Main Character Builds a Powerful Story.

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.

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The Ideal Story Idea Equation

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The Ideal Story Idea Equation. Every writer I know, and probably every writer I don’t know, is praying for the Idea from Heaven. The perfect combination of elements that will create the best story you’ve ever written and take you where you want to be in your writer’s adventure. What we sometimes forget to emphasize is the Combination of Elements part. The Equation.

The Technicolor Idea Strike. Most of us have, on very happy occasion, experienced the exhilaration of a technicolor idea strike. A story concept, maybe a scene, appears suddenly, unexpectedly, like lightning in the mind, revealing something entirely new, previously unimagined. “This is it,” we cry out in creative ecstasy. “This is the story I must write.”

An Idea Is Not a Plot. The problem is that we don’t really have a story. We have an idea for a story, and an idea is only a beginning. A story, particularly in the commercial fiction arena, requires a plot with a beginning, middle and end. At best, our flashes of inspiration will get us through the opening scene, maybe the first chapter. Without lots more work and a much bigger brainstorm, the story tumbles downhill from there.

The Cocktail Party Scenario. Permit me to illustrate with a cocktail party scenario that goes something like this. Author stands at the edge of the party crowd to maximize observation potential. Fellow partier sidles over, discovers that Author is, in fact, an author and suggests some variation on the following. “I’ve got a terrific idea for a novel. Bestseller for sure. How’s about I tell you my idea, you write the story, we split the take fifty-fifty?”

The Peril of Underestimating The Storytelling Process. A giant misconception is in play here. This non-writer underestimates the writing process. Somebody once famously said, “There’s nothing to writing. All you do is sit down at the typewriter and open a vein.” The partier with the great story idea knows nothing about the bloodletting aspect of the writer’s craft. He doesn’t understand that an idea is not a story.

An Idea Is Only A Kernel. That kernel may possess the potential to grow into the next Nora King Mary Higgins Grisham opus or it may not. Either way, tons of nurturing, strain, frustration, doubt and even bloodletting must be applied between planting and harvest. A clever idea is a jumping off place but without the sweat equity required the storyteller is in for a hard fall.

The Equation Begins With Character. An idea flash may reveal intriguing, even startling circumstances, but those circumstances must happen to equally intriguing characters or the agent/editor/reader will soon cease to care.  An intriguing character comes to life on the page, has a history fraught with complex experience, and a personality riddled with contradictions, like Holly Golightly in Breakfast at Tiffany’s by Truman Capote. Such characters are complicated, often confused, and always in conflict with each other.

The Equation Continues With Conflict. Great storytelling is all about story conflict, and that conflict must have enough power to reach beyond the initial story idea. Enough power to propel the agent/editor/reader, nonstop and without much respite, from first scene to last with a riveting rollercoaster ride between, like in The Color Purple by Alice Walker.

A Powerful Story Idea Plants The Conflict Kernel Deep. A powerful storyteller cultivates that kernel through obstacles, frustrations, near misses and reversals as layered and complex as the characters themselves. Conjuring all of that requires opening the previously mentioned vein. A lightning flash story idea makes the first cut, then the real surgery begins.

The Ideal Story Idea Equation Is Simply This. Great Idea plus Characters We Care About plus An Excruciating Conflict Situation equals First Class Storytelling. Which is, of course, not simple to accomplish, but that’s the challenge which creates the conflict at the heart of your great writer’s adventure. Welcome to the rollercoaster.

Alice Orr – www.aliceorrbooks.com

A Wrong Way Home – Alice’s Riverton Road Romantic Suspense Book 1 – is a FREE Kindle eBook HERE. Enjoy!

Alice’s latest novel is A Time of Fear & Loving – Riverton Road Romantic Suspense Book 5. Available HERE.

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!” “Budding romance sizzles in the background until it ignites with passion.”

Look for all of Alice’s books HERE.

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Character Triage – Who’s In? Who’s Out?

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Character Triage – Who’s In? Who’s Out? Every character you start out with in your story may not carry enough storytelling weight to be allowed to stick around. Some will most likely have to go. Which characters do and do not belong in your story? How do you decide? First, let’s make a couple of general lists. Then we’ll move on to specifics.

Character Triage – Who’s In? Characters Who Should Stay in Your Story. They sparkle with contradiction and controversy (like Holly Golightly). They enhance the main characters in the story, making them more intriguing. They aggravate the main characters in the story, making them more conflicted. They have secrets, often dark ones, the main characters would like to know, or should know, but don’t. They have hidden dreams the main characters would like to know, or should know, but don’t. In other words, they generate plot by adding more complications to the story.

Character Triage – Who’s Out? Characters Who Should Leave Your Story. They don’t make anything happen (which is never the case with Harry Potter). They get along with everyone, neither creating nor enhancing conflict. We aren’t interested in knowing more about them. They are not connected with either the main characters or their stories. In other words, they don’t generate plot by adding more complications to the story.  Here are some specific character types that should be shown the door.

Character Triage – The Lackluster Character. Especially when creating the main characters of a series who must be extra unique and compelling. In fact, any continuing character must stand out in order to hold a reader’s interest through several stories. Be careful not to focus on thrilling plot at the expense of thrilling characters. This can be fatal to storytelling success.

Character Triage – The Character Who Cloys. Especially as a romance heroine. She’s cute/adorable/precious, and the alleged hero scampers along in her wake for far too long. At first, she may be lovable for the reader as well. Then, we become exasperated with her and, eventually, out-and-out irritated. She’s a distraction from the story and undermines your hero’s portrayal too.

Character Triage – The Character Who Fails at His Story Mission. Especially as a mystery-suspense hero. He’s the detective who doesn’t detect. A murder is committed, and he should be intent on finding the murderer but does too little to further that quest. He avoids real investigative questioning. He lets others do the legwork. He slows the pace instead of enlivening it. He must thrust himself into danger and battle his way out (like Benedict Cumberbatch’s Sherlock Holmes).

Character Triage – The Interchangeables. Especially as secondary characters. Three sisters or friends or whoever that would be better as two. The extra sidekick clutters the story. She isn’t distinctive enough and her lack of substance drains story vitality. She should be folded into one of the other characters to streamline plot and pacing or rewritten to reveal her individuality.

Character Triage – This is Only the Beginning. A sampling of characters that need to go if you want to write a strong story, and of course you do. Make your own list, maybe even from your own work, but don’t be discouraged when you do. There are ways to save these characters from the no-hope heap.

Character Triage – Every character, like every human being, has a story. Your job as storyteller is to discover that story and give your creations life on the page. When you do, they will not just belong in your story, they will be embedded in your reader’s heart.  Alice Orr – https://www.aliceorrbooks.com

–R|R–

A Time of Fear & LovingFor a great read where every character definitely belongs – Don’t miss Alice Orr’s latest novel. A Time of Fear & Loving – Riverton Road Romantic Suspense Book 5. Available HERE. Look for all of Alice’s books HERE.

 What readers say about A Time of Fear & Loving. “I never want an Alice Orr book to end.” “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.”
“A budding romance that sizzles in the background until it ignites with passion.” “The best one yet, Alice!”

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