by Sarah Gribble |
You’ve probably heard this one before: Your character must change throughout the course of your story. Characters need to transform.
I see a lot of confusion over this concept. Writers can normally nail the change (weak to strong; bad to good; cynical to optimistic) but it often comes from a weird place that doesn’t sit quite right with what we know about the protagonist. Or it’s too big of a change (or too much of a “fairy tale ending”) to be believable.
Writers think that great characters need drastic changes, but this isn’t always the case.
Let’s take a look at how writers should deal with character change, and how creating a character arc might make for a more interesting cast and plot.
by Liz Bureman |
Here at the beginning of a new year, we’re surrounded by calls to set new goals, make resolutions, change something specific in our lives, so it seems a perfect time to revisit the rebirth plot which promises change.
by Joe Bunting |
One of the first decisions you have to make when you’re writing a novel or short story is which tense to use. There are only two viable options: past tense or present tense.*
Which tense should you choose for your novel?
by Liz Bureman |
As we continue to look at Christopher Booker’s 7 basic plots, today we turn to the voyage and return. If you’re trying to tell a story with a journey into strange lands on a fantastic voyage, where normal rules might not apply, you may be working with a voyage and return plot.
by Liz Bureman |
Yeah, like you’re going to see a list of plot types that doesn’t include the Quest. The Quest is a search for a place, item, or person that requires the hero to leave home in order to find it. Sometimes the item is just a MacGuffin to drive the plot along; other times the thing driving the quest is specific to the story’s circumstances. Either way, the hero is leaving home to find whatever the heck the story demands, and we get to come along for the ride.
by Joslyn Chase |
One reason some stories feel flat is because they are missing the cause and effect story elements that push life (and narratives!) forward. How can you maximize cause and effect in your stories?
