ESTABLISHING A WANT, A NEED AND A FLAW | CREATING CHARACTERS

Inner conflict and purpose is crucial for creating a engaging narrative and a believable character for your story. This starts with establishing a want, a need and a flaw for your character(s). Three elements that later make up the bedrock for their decitions making on-page. What you pick for your characters' want, need and flaw are highly relevant to your plot. The more they are tailored to what will happen in your plot, the more layered your story will feel. Plot points in your story should target your characters Flaws and Wants and force them to make though decitions to get to where they think they Want to be, but eventually getting what they Need. So what do your character want, need and how are they standing in their own way?

 

This post focuses on positive character arcs.

 

In this post I will be using examples from one of my own on-going projects to examplify the W-N-F's. They may be tweaked if the story needs it, but now they are what they are. My story is a coming-of-age with a maiden archetype which means that the protagonists story is about discovering your own identity, power and responsibility in the world, often facing an authority or predatory figure. 

 

Want

The want in your story is the goal your character have when we meet them on the first page. It is a goal that they believe will solve the symptoms of their flaw. The goal the character set at this point is the external plot of your story.

 

• Their want needs to reflect or extend something deeper within the layers of the character. The "why" to why they want what they want is directly linked to their Flaw.
• It is oftenmost something external (physical) they want that they believe can solve their inner problems.
  
• The want can be a worthy goal on its own, but for your character in this specific context it is keeping them tied to their Flaw. It's not fullfilling them like they Need it to.  

Want in my project: Complete a big mission her father has bestowed upon her to ensure his company's safety, and by extension, her own. She wants her father's love and sees this as the way to obtain it.

 

Need

Your character need a realization. A new truth to combat their Flaw. They will obtain this as they grow through the plot, and their view on their Flaw changes to make them able to overcome their external problem. At a point, your character will have to willingly sacrifice their Want to obtain their Need. 

• The character should be able to demonstrate their new belief physically and visually at the end
  

 

Need in my project: She needs to become her own person, seperate from her father, and figure out what she wants for herself. As well, gaining the physical skills and means to protect herself, and what she loves.

 

Flaw

A flaw can also be refered to as a "misbelief" or "Lie" and is  a conviction your character have about themselves and\or the world that is faulty and holds them back from what they Need. It can be stated in one sentences, possibly with a qualifier to make it specific enough. This misbelief is created somewhere in their backstory - often out of a type of trauma or unfortune - that leaves them disempowered against the plot at the start of the story. The flaw is the fundement their character arc will change from.

Flaw in my project: I can only obtain love and safety by doing as my father commands.

 

Ghost\Wound (backstory that eventually lead to this misbelief): Her father becoming abusive after her mother's death

Symptoms of her flaw: people-pleasing, hypervigiliant, too easily forgiving, does whatever her father asks, afraid of upsetting her father, feelings of worthlessness.

 

Reflections in her outer world: Isolation, acts as perfectly as she can. Visibly self-neglect. 

 

How is the Lie making them miserable in the opening scene: this is a secret, but fill it out for yourself :)

 

Interweaving Want and Need to create tension

In the plot, the character will be drawn between their want and their need. This will create tension in scenes where they have to choose one of them. For much of the story, your character may progress towards one, but as a price getting further away from the other. Back and forth. Until they decide on one.

Sources:

Creating Character Arcs: The Masterful Authors Guide to Uniting Story Structure, Plot and Character (2016) by K. M. Weiland  

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OUTLINING A SCENE | LEARNING THE CRAFT

 

Compared to plot structure, scenes are some of the smaller units in your story. They are events contained within a single location for a continuous amount of time. A scene contains action, dialogue and descriptions, and can be as short as a few lines or an entire chapter. Just like plot structure, scenes also have structure, and which specifics you want to apply depends on the effects you want to create at a certain place in your book. In this post, I will explain some of the alternatives based on a few books I just read (sources at the bottom).

 

This blog post contains the following:

• Basic scene structure (for outlines)
• How to open a scene
• What do add to the middle of a scene
• How to end a scene
• Choosing the right scene length
• Sources

 

Basic scene structure

• Goal: your protagonist's goal going into the scene
• Conflict: what gets in the way of the protagonist reaching the goal
• Disaster: what goes wrong when they're trying to navigate the conflict and how does it rise the stakes

 

Sequel scene

• Realization: what they think they must do to get to their goal based on the defeat
• Dilemma: the protagonist considering whether they will do it
  
• Decision: the protagonists new decision about how to obtain their goal
  

The photo above, a reendition fo the concept presented in Lisa Chron's "Story Genious," depitch a scene template that divides plot and inner conflicts into two parts of a scene. Plot is the outer happenings while the inner conflict is how it emotionally and intelectually impacts the character and their decitions\actions.

 Additional to this structure, you should be able to answer this about your scene:

• Who's the protagonist and what's their scene goal? Why is this their goal? Why does it matter?
• Who's the antagonist and how are they directly or indirectly causing trouble for the protagonist?
• What POV are you writing your story from?
• What's the setting (room, landscape, weather, etc.)? How does it impact the plot and\or character?
• What new plot information is revealed in this scene? It can be a meeting, discussions, something discovered, a realization.
• Suspense - What conflict\suspense\drama is testing and exploring the characters personality in this scene? 
• How is your dialogue deepening emotions or creating tension among different characters? 
• How long should the scene be to best convey the mood and tone in it?

 Keep in mind:

• Use all five senses to pull the reader into the moment.
• Use literary devices like metaphors and similes to explore themes, emotions and subtext.

 

 

How to open a new scene - introduce who, where and what!

A new scene should drag your reader along for the ride. No matter which you choose, the opening part of your scene should (i) establish where your character are after the previous scene, and (ii) establish the protagonists goal in the scene.

 

You can do this several ways:

• Open with the setting
• Open with character
• Open with on-going action
• Open with narrative summary 

Open with setting

When the setting is relevant both to the plot and character, opening with it can be a clever choice. Especially, if your story is set in a location unknown to the reader. The setting needs to include:

•  specific, visual details about the place
• metaphors and\or similes that reflects the tone of the scene
• an experience of the surroundings that reflects the narrating characters interior experience of the place
• show how the immediate setting impacts the protagonist
• Tip: Describe their surroundings through action to move the story

Open with character 

If you open with character, your goal is to introduce your character as soon as possible (within two paragraphs) and reveal their goal for the scene.

Open with action

The earlier you starts the action, the faster the story is moving along. You should be demonstrating (showing) the action. Opening with action or "in medias-res" means that you have not explained what's going on yet, but the story has already started. Therefore, using tone and action to set the reader's expectations are crucial, and will inform the reader about what type of story they're venturing into. How the protagonist acts in this scene must also be true to who they are.

 

Slowing down, to bring the reader into the character, setting and story will happen in the following scenes. 

 

Open with narrative summary

At the beginning of your novel is one of the easiest places to use narrative summary, but it should be using sparingly. Narrative summary is telling, and may serve a purpose when (i) information needs to be conveyed before action, and (ii) when demonstrating the characters doesn't reveal characters thoughts or intentions. 

The middle - rising the stakes!

The middle of your scene is also where you find the climax of it. It is where the stakes for your protagonist rises, they may find themselves trapped or in a sub-plot that will impact their main plot. You can obtain this effect by (i) rising the stakes by demonstrating what they may loose or win and how this creates inner conflict, and (ii) heighten the expectations and significance about what's going on.

•  trap your character in a conflict that will lead to a consequence that will drive your plot
•  trap your character in a sub-plot related to the main plot that they have to solve before they're able to go back to the main plot. They will experience consequences in the sub-plot that also impacts the main plot. 
• withhold important information, objects, locations, emotions to increase the sympathy for the character and increase the readers interest in the characters

 
Each scene should include at least one of these:

• Plot information that's not shared
• Endanger the character in some way to show how they react (their reaction reveal their true selves)
• An unexpected revelation 
• A character gets a new chance
• Establish a frame of safety and security about who the character is

 

The ending - mood, phasing and plot

The ending of a scene serves many purposes. It should (i) conclude some of what's been going on in the scene, (ii) give the reader enough time to digest what they've read, and (iii) prepare for the upcoming scene.

 

Zoom-in 

If you end your scene by zooming in on the closeness between characters, it can heighten intimacy and emotional connection, or create a moment of realization for the protagonist.

 

 Summarize 

Inner monologue or swift dialogue that shows the characters reaction to what just happened will establish where the character stands physically and emotionally by the end of the scene. If you have a complex plot or a sized character cast, it will help the reader keep everything well-sorted. Summarizing can show the characters change across several scenes. 

 

Dialogue

End the scene with a dialogue that reveals new information. This will create a surprise and add intensity to your story.

 

Cliffhangers

By ending your chapters on a cliffhanger, the reader must turn the page to know what will happen to the character. A cliffhanger laves the character stuck in a difficult situation with no clear clues about if they're getting out injured or not. Cliffhangers creates suspense, but it's important to not use it by the end of every scene. You need to slow down and give the reader a break as well.

 

Zoom-out 

Visual descriptions linking the character to the here and now. Use all the senses to pull the reader into the time and place. Zoom-out sequences can be good after action scenes or as a break between two action scenes.

 

Philosophical musings

Reflect upon scenes with a philosophical lens that explores the themes in the book. You can do this by adding a description that reflects or attempts to give the answer to a question in the book. For example, a character walks across the beach, looking out on the horizon as the sun sets. They're unsure about whether taking the travel or opportunity offered to them is the right choice. Use comparison, similes and metaphors to establish tone.

Concluding 

The scene  concludes with something that has happened, and cannot be taken back. For example, a plot point or a death. For example, "It was true. James was dead."

 

Scene length

Long scenes

The purpose of long scenes are to (i) slow down the phasing after a fast-phased scene of action or dialogue. This gives the character and the reader enough time to digest what happened, and to rebuild the suspense. Uses a lot of dialogue and new actions.

 

Short scenes

Short scenes are effective at creating differences between characters, increase the phasing after a slow scene, and shares bite after bite of information that helps establish urgency. This will keep your reader invested. There can be several short scenes within a chapter.

Sources

Make A Scene (2007) by Jordan E. Rosenfeld

Description & Setting (2005) by Ron Rozelle

Story Genius (2016) by Lisa Cron

 

BOOKS ON WRITING | LEARNING TECHNICAL WRITING SKILLS

The calendar year is nearing its end, and by the time this post is published I've read, noted and worked my way through my first handful of books on technical writing skills. This is a part of crafting a novel that eluded me for all my years up until now. Primarily because I never had enough time to work on a project I wanted to write in depth. I consistently dreamt of crafting a riveting story, but I struggled consistently too.

Earlier this year, I began my deep dive into writing. I began looking at structure before I dived into smaller parts of storytelling and techniques that creates different effects in a story. Creating a well-paced, well-written work require a skilled ear, understanding of your character and setting, specificity, and so on. None of which I've been consciously aware of and known how to use outside of "vibes" and "luck."

 

This year I've dabbled in the following themes:

• Plot structure for romance novels
• Entwining plot structure and character arc (hero's journey)
  
• Archetypal characters
• Finding your characters purpose and what gives a story meaning
  
• The elements of a scene
• The rhythm of language
• Tools that creates specific effects in a scene
  

 ✦ This star marks a book as one of my favorites on the list. 

Romancing the Beat: Story Structure for Romance Novels by Gwen Hayes

In May, I read a short book introducing me to the plot structure of a romance novel. It was titled "Romancing the Beat: Story Structure for Romance Novels (2016)," and is written by Gwen Hayes.  Romancing the Beat was my first experience with technical writing skills outside of elementary school. It proved itself a managable place to start without feeling overwhelmed. As someone who've tried (and failed, always closing the tab in confusion) to read up on plot structure through blogs and websites, I learned that craft books was far more helpful to me. I could reread, take notes and highlight the parts that expanded my understanding of the introduced concepts.

 

Romancing the Beat was not necessarily what I needed the most for my project at the time, but it expanded my understanding of the romance genre and what makes up a "true romance story." For example, the necessary element of a happily ever after or happy for now at the end.

Creating Character Arcs: The Masterful Guide to Uniting Story Structure, Plot, and Character Developement by K. M. Weiland ✦

I read several books by K. M. Weiland this year. Creating Character Arcs was my first. This is the book that helped me begin grasping plot structure - especially the hero's journey - and different plot beats that impacts both character and plot. This book introduced me to how to structure a full novel (the main acts), and where they should take place and what should take place; how to write a good opening scene that introduces plot, character and setting; giving a character a want, need and a Lie.

 

Structuring Your Novel: Essential Keys for Writing an Outstanding Story by K. M. Weiland ✦

I also begun reading Structuring Your Novel. It deepenes what I'd read in Creating Character Arcs and focuses on story structure for each story beat, but also how to build a scene with a goal, conflict, disaster and sequel. 

 

Writing Archetypal Character Arcs by K. M. Weiland

My goal by reading this book was to better understand character arcs and what archetypal means. Writing Archetypcal Characters introduces six main archetypes - the maiden, the hero, the queen, the king, the crone and the mage. They represent transformational character arcs where one arc moves into the next. The character can choose between the "light" or "shadow" side of these arcs based on the role they have in a story. Archetypcal characters arcs can deepen theme and be used on the protagonist, antagonist, and side characters. Using information about archetypal characters, themes and conflicts can arise naturally based on this type of characters present.

This is a work that was dreary to read through in one sitting, but a work I will refer back to as I needed.

 

Story Genious: How to Use Brain Science to Go Beyond Outlining by Lisa Cron ✦

Story Genious was the first book I had to work through as I read. The book begs you to question "why" anything in your story happens, digging into the layers of your characters motivation to create a cohesive answer, incl. purpose and context, to all the "why's" of your story. Story Genious empathizes that stories are emotionally based, and that by reading a story our brain experiences it as if we are there ourselves, as a participant.

Stories let us vicariously try out difficult situations we haven’t yet experienced to see what it would really feel like, and what we’d need to learn in order to survive.

Following the exercises in the book you can develope strong opening scenes, and plot your story in a way that makes sense with the character's lived experience and environment.

Story is about what happens internally, not externally. Not fully grasping the importance of this is what tanks countless novels. We don’t come to story simply to watch the events unfold; we come to experience them through the protagonist’s eyes, as she struggles with what to do next.

 

Make A Scene: Revised and Expanded Edition: Writing a Powerful Story One Scene At a Time by Jordan Rosenfeld ✦

Working from the overarching to the smaller components that makes good storytelling, I decided to embrace a aspect that has confused me like no other: how to write a scene. The beginning, middle and end of a scene; different types of scenes and its components; where different scenes takes place and what they could include. Make A Scene is my favorite read so far because it helped explain so many things that I have never had explained to me before. It changed how I looked at writing a chapter, to always have a scene goal to go with the story\plot goal, and how each scene must include movement and develope either character or plot. The book also goes into other tools that enrichens your story: subtext, pacing, tension, and so on.

 

Steering the Craft: The 21st Century Guide to Sailing the Sea of Story by Ursula Le Guin

Steering the Craft is largely a workbook on the different topics Le Guin discusses about the writing craft. It may not be as useful in first drafts as it would be in revising and tightening a story. It focuses on the musicallity of language and the effects it brings to a scene and a book as a whole. Looking at grammar, sentence lenght, repetition and the use of adjective\adverbs, past or present tense. Point of View and narrative.

 

Many Genres, One Craft: Lessons in Writing Popular Fiction by Michael A. Arnzen, Heidi Ruby Miller, et al. ✦

Many Genres, One Craft it filled with short essays about writing tools from authors, editors, agents and others in literary careers across the genre spectrum. It provides advice ranging from point of view to querying from writers who've accomplished what they're talking about. I discovered this book on Maria V. Snyder's webpage (which is brimming with good writing advice), and also found her chapter to be one of my favorites. Additionally, this book surprised me with themes and lessons I didn't know I wanted, or even needed to hear. Many Genres, One Craft focuses its advices around these main categories: craft, genre, and the writer's life. This is one of my favorite reads and it showed that a writer can benefit from learning from other genres.