The main character
in a story will tend to have something about them that marks them out. They
need to be distinct from everyone else just as a matter of
practicality. It might be a special skill or ability—they’re the best at what they
do—but it could also be a behavioural or psychological thing. A character who’s
good-hearted or brave or willing to sacrifice or whatever.
While their job or
social standing will give the reader a rough idea of the kind of person the
story will be about, it’s this unique quality, this thing that marks them out,
that gives them their true status. It is also what makes them
appealing to read about.
However, while you
as the writer may have a very clear idea of what’s so great about the
character, the reader doesn’t. And letting them in on it halfway through the
book is not going to do you any favours. You have to win them
over in the first few pages. So how do you do that?
If the main character
is a cop who always gets his man, then you already have a pretty good idea of
the kind of character I’m talking about, and yet it’s also a pretty broad and
non-specific introduction.
If I think about
what makes him so good at his job—maybe his speciality is in the interrogation
room—then I might decide it’s his ability to tell when someone's lying that
gives him his edge. This is his true status. He’s the guy within policing who
holds this place in the hierarchy: the lie detector.
Now, I could demonstrate that in the opening of the story by having him interrogate a suspect. That will
show the reader his ability. But there is a danger of it all becoming a bit too
repetitive as he interviews one criminal after another. You really want to save
your big set pieces for later in the story.
So instead I could put
him in a non-police situation (say, buying a new car) and show him using his
ability there. You still get to see what he can do but you don’t spoil the
specifics of the plot.
That’s an example where you have a very clear way of identifying a character’s status; he’s good at something, I
show the reader what it is. Here’s an example that’s a little less straightforward.
Let’s say this story
is about a shy, ungainly schoolgirl who has a talent for art which will eventually
get discovered and how she deals with sudden fame, popularity and a new level
of hatred from her fellow students. How do I introduce that in the first
chapter? It’s her art that gives her status, but I certainly don’t want her
showing off her painting skills right off the bat when the story is about how she’s discovered
and at the start her status is very low.
Just showing her
having a bad time at school would establish what her life is like but it won’t make
the character particularly appealing to read about (which is the primary goal
of an opening).
What you can do
though is split the information that the reader knows and what the other
characters in the story know. So, if our nerdy heroine is helping out with
stage dressing for the school play but pretty much being ignored and left to do
the menial stuff while the cool kids paint the backdrops and so on, we can
quickly establish the crappiness of her school life.
But if after
everyone leaves (forgetting our heroine is even there) she picks up a brush and
makes the scenery look good, then we also establish what she can do. The next
day the drama teacher is full of praise for the kids in charge of set design.
Everything looks great and the kids are only too happy to take credit.
Our girl considers
telling them it was her, but she knows it would only make them hate her more for
stealing their thunder so she keeps her mouth shut.
So we’ve established
her status, her special ability and why it does her no good.
But what if the
character doesn’t learn their ability until well into the story? How do you
show their ability if they don’t have it yet?
Let’s take the same
nerdy girl as above, still an outsider at school, but this time she has no
special ability (by the way, if you’re writing a screenplay all this is
irrelevant since the girl will be played by a beautiful actress in thick
glasses and a kooky hat and the real mystery will be how someone so gorgeous is
so unpopular. Aaaanyway...) In this story she will find a magic stone and it
will enable her to sing like an angel and find fame and fortune and so on and
so forth. Obviously in the opening pages she has no stone and no singing
skills.
Here you have to
look a little deeper to find the character’s status. In fact you may not be
fully aware of it until after the first draft, but I’ll just make something up
for the sake of an example. Let’s say her fame and fortune will put her in a
position to be as nasty to people as they are to her now and her struggle is to
be the same person she was when she was a nobody.
Since this is about
morality and being true to yourself, my opening scene would demonstrate this.
Let’s say our heroine is bullied by the cool kids, but later when she comes
across one of the bullies in the school restroom being horribly ill she helps
her out and cleans her up. The bully is confused, “I thought you hated me.” And
she does hate her, but she doesn’t want to become what she hates.
Here the status
comes from her beliefs. As the writer I know where the story is headed. The
character’s strengths, even though they will be sorely tested, will endure. And
knowing that means I can show those strengths, in a limited way, early on
before circumstances change (or magic stones turn up) and turn her world upside
down. But in the end her status, her true status, will be defined by those
beliefs she always had.
This ability to know
a character’s status and what gives them that status is a huge advantage the
writer has over the reader. Mostly it comes from knowing where the character
ends up when you’re writing the opening. Their true status, the quality that enables them to be the hero of a story, is also their most appealing attribute. Working these qualities into the opening of the story and giving an idea of what the character is capable of, sometimes
directly, sometimes less so, is a great way to introduce the character to the
reader in a way that will keep them reading.
If you found this post useful please give it a retweet. Cheers.
32 comments:
Defined by beliefs held in the beginning - that's an excellent way to do it, especially if you're trying to be subtle.
Very interesting. I think this is missing in some of my short stories. You've given me direction to improve them. :)
I think it is good to know the end when you start at the beginning it gives the writer something to work towards, like with marathon runners they know the ribbon, or finish line, marks the end though they may not quite know how to get there (turns, barriers etc.) though runners have much more direction than writers haha. For some writers the process is different, they sit down with the vaguest idea of a character and where they can put that character (setting) and trust they will figure it out on the page and they do, however, i see numerous writers who seem to forget how important it is to revisit that beginning, forgetting their character has evolved, sometimes too far from the character they originally created, the story, consequently, can have major inconsistency(ies). A positive to writing this way, just to even things out, is that the writer isn't following some preconceived storyline that usually has been used a trillion times, therefore, they have room for uniqueness and a new voice or style. Thanks for a thought provoking post. Cheers!
@Alex - it's a small thing that can make a big impact.
@Missy - cool!
@drb4f - both approaches can work, but it is important to revisit the start after the end.
Love this post. Your examples really bring it home. Tweeted.
@Donna - thanks.
You have a gift of explaining a potentially difficult topic in a way that makes it easy to understand and employ.
@Lynda - thanks for the kind words.
This is clear, Moody. Thank you for being helpful as always. I like how you say we as writers know our protagonist, but it's another thing to communicate qualities to readers.
I like the examples you give Moody, they clarify things so beautifully. I always feel you will make a wonderful creative writing teacher. Your explanations are so clear cut.
I'll be rewriting the opening of my WIP for the nth time and will keep this in mind.
Thankyou so much.
@Denise - I find that to be a common issue for a lot of the writers I critique. They know exactly what's cool about their character but they forget to tell the reader.
@Rachna - now I just have to find a way to make my own writing as clear (never as easy).
@D - you're very welcome.
I love reading these posts, totally helps to sink into the writing frame of mind :)
Characters in action makes a story so much more interesting than when a writer spends too much time describing characters. It's easier to get to know them and connect with them, which tends to draw the reader into the story more. Lots of good advice here. Thanks for sharing.
MJ, A to Z Challenge Co-Host
Writing Tips
Effectively Human
Lots of Crochet Stitches
I like it - having that initial spark carry the character through to story; something they never lose even when their world changes :)
Sounds great. I try to show my character in the way you describe we should during introductions, or at least I do in my wip, but like everything else in my life, execution falls a bit short of my lofty goals.
Wow. There is a lot to consider when writing a main character.
Excellent advice and examples Moody--as always. Interestingly, I've managed to do some of this in my recent wip without even knowing. Cheers to that, I say. :)
"What you can do though is split the information that the reader knows and what the other characters in the story know. "
That is an excellent plotting device! It's always such a battle trying to discern what the reader should be privy to, and when. Laying it all out ahead of time could really allow you to control the tension.
Great tips as always, Mood! Off to tweet... :)
I love the way you explain these concepts, Moody! Tweeted!
shahwharton.com
@sjp - I'm well known for creating a sinking feeling.
@MJ - It' s usually a lot easier once you get going than it is at the start.
@Jamie - the true you is always there somewhere.
@Rusty - you and me both.
@lilith - some might say too much.
@Elise - most people do it without thinking most of the time, but it's good to be aware of it.
@EJ - thanks for the tweet, much appreciated.
@Shah - cheers for the tweet.
I really like that drama student example. I might use that at some point, actually.
Sarah Allen
(From Sarah, with Joy)
@Sarah - all yours.
On the spot with this article. Thanks for the reminders.
One of the hardest things to do in a book is to introduce the mc in an appealing but non-info-dump way - and your examples make it easy to understand. Thanks!
@Mike - welcome.
@Lexa - I agree, it's hard and you're never sure if you've got it right even when you have.
My MC finds her "gift" about a third of the way into the story. I think I'll go back and make sure I've laid the groundwork early enough. Thanks.
@LD - Good to double check!
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