[identity profile] mbarker.livejournal.com
original posting 5 February 2009

Will you remember me in the morning?

Writer's Digest, February 2006, the column on Fiction Essentials by James Scott Bell, on pages 18 to 19, suggests that you add one or more of these important traits to your lead character to make a hero that everyone will remember. "Grit, Wit, and 'It'"

Bell starts out by reminding us that John Gardner pointed out that memorable characters make memorable novels. So you want to have compelling, interesting characters. Stop and think about it -- when you think about a novel, a really great story, don't you think about the person in the middle? So what makes a character unforgettable?
  1. Grit. Courage in the face of challenges, threats, catastrophe. When the going gets tough... and the way that characters show grit is through action. You need to set it up, and then prove it. So early in the story, there need to be some smaller challenges -- and the character can either stand up to these or give in. Then, in the climax, that's when the character really shows true grit. "Be sure to play up your character's inner battle at the time of challenge. This will add a layer of depth to the confrontation. No one except James Bond goes into battle without fear."
  2. Wit. Laughing with a character is good. Someone who provides you with sharp insights, often self deprecating. You can show your character making fun of him or herself early in the book. Or perhaps you want to take the edge off of some of the sentimentality? Characters with wit that the reader enjoys are hard to forget.
  3. It. Apparently this is an oldie, that means personal magnetism. The kind of person that walks into a room and everyone looks, either in admiration or envy. So how do you build that kind of a character? Bell suggests starting with a visual image -- find the magazine picture that fits your character. Second, take them to an imaginary party. What do the other people at the party do when your character walks in? What do they say? Third, do some foreshadowing. Have a scene early in the story where someone is drawn to the main character.
So that's the suggestions. Add one or more of these characteristics to your character, and see what happens.

Exercise? How about starting with the characters that you remember from your favorite stories. What makes them unforgettable? Is it one of these three characteristics, or is it something else? Whatever it is, think about how it was shown to you in that story. Now borrow that characteristic and that method of exposing it, and translate it into your own work in progress. Think about how your main character might display that characteristic.

And write.

when you wish upon a star . . .
[identity profile] mbarker.livejournal.com
Originally posted 11 June 2007

I'm slowly working my way through Plot & Structure by James Scott Bell. Right now I'm on page 8, with a section about the power of story. This is where Bell talks about "telling a story in a way that transports the reader." Let's face it, most readers want to get away from their world. They want an experience that is different than their normal day-to-day routine. Or as Bell puts it, "what the reader seeks is an experience that is other." A story gives the illusion of a different side of life events. And we want conflict, story, experience. The plot is a structure that helps readers get into the fictional dream and stay there. Okay? I don't think we need to pound this little two page section to pieces, but it is important to think about it.

Bell says we'll be going over it again, but his basic approach to plot is called the LOCK. Lead, Objective, Confrontation, and Knockout. Simple, right? Just four letters to remember to get a lock on your plots!

L is for Lead. I am pretty sure he means lead character, not lead pencils. So a strong plot needs an interesting lead character. "In the best plots, that Lead is compelling, someone we have to watch throughout the course of the novel." Not necessarily sympathetic, but someone that we want to watch. Okay? So that's our Lead, the L in our LOCK.

O  is for Objective. Where is the character going? He needs an objective, a want, a desire. Normally the character either wants to get something or get away from something. The story question is pretty simple -- will the lead achieve their objective? Note: the objective needs to be important to the lead. So now we have LO in LOCK, our Lead and their Objective.

C is for Confrontation. Opposition, obstacles, something gets in the way. Make it tough for the lead to get to their objective. Confrontation! That's the LOC in LOCK - a Lead with their Objective and the Confrontations on the way.

Last, but obviously not least, K is for Knockout. What Bell is talking about here is the ending. A clean finish, with one person standing and the other knocked out. It shouldn't be obvious, necessarily, but it should have a real knockout finale that makes the reader satisfied. Send the lead over the top, let them find a hundred yellow ribbons round the old oak tree,  blow the bad guys into little balls of juicy hamburger, whatever, but don't wimp on the ending.

And that, in a nutshell, is Bell's basics. A Lead, with an Objective, who faces Confrontations, and has a Knockout ending. LOCK that up and write!

Page 13? And there's over 200 in the book. We are going to be reading a while, aren't we?

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