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- Sat, 13:58: Rest of today is pretty much planned out. http://t.co/GM5BCZ5Ypp
- Sat, 18:13: Rather than writing for an hour, I napped for two. *headdesk* But I woke to a note in my inbox that'll teach me: NEVER second-guess myself.
Aug. 10th, 2014
Writerly thoughts...
Aug. 10th, 2014 01:51 pmI sat down and read my friend's story today. And in thinking about what feedback I'm going to give him, I have put my finger on what's wrong with the Hitman in Hell story and why I can't seem to get it off the ground:
It is rambly and unfocused, and I'm not sure what my protagonist actually wants.
Story, as has been oft said, is a Person in a Place with a Problem. Ideally, it has a Point, although that Point may not make itself known until after the thing is actually written, and writing to the point can often get in the way of your storytelling.
So the first question that needs to be asked is: What does this person want? The next question should immediately follow: What is preventing them from getting it? And the third question: What steps will they take to overcome those obstacles?
"Protag" is a verb. The character cannot be simply swept along by events; they have to make choices and do things, even if those choices and things are wrong and make things worse. Perhaps especially if they're made worse. There's a reason that we, as readers, like try/fail cycles and scene/sequel structure--they work to ramp up tension.
So, in much the same way that my friend's story cannot simply be a travelogue from Norway to Jerusalem, my story cannot simply be a travelogue through Hell. I have three characters here, all of whom need to want something.
I think part of my problem is that my hitman does not want to be in Hell, but here he is and there is no way he's getting out. Like, none. And he knows this. Therefore, I have to give him some other motivation to carry the story.
What that will be, I don't know yet. But I'd better figure it out soon, or that deadline is going to bite me on the ass.
It is rambly and unfocused, and I'm not sure what my protagonist actually wants.
Story, as has been oft said, is a Person in a Place with a Problem. Ideally, it has a Point, although that Point may not make itself known until after the thing is actually written, and writing to the point can often get in the way of your storytelling.
So the first question that needs to be asked is: What does this person want? The next question should immediately follow: What is preventing them from getting it? And the third question: What steps will they take to overcome those obstacles?
"Protag" is a verb. The character cannot be simply swept along by events; they have to make choices and do things, even if those choices and things are wrong and make things worse. Perhaps especially if they're made worse. There's a reason that we, as readers, like try/fail cycles and scene/sequel structure--they work to ramp up tension.
So, in much the same way that my friend's story cannot simply be a travelogue from Norway to Jerusalem, my story cannot simply be a travelogue through Hell. I have three characters here, all of whom need to want something.
I think part of my problem is that my hitman does not want to be in Hell, but here he is and there is no way he's getting out. Like, none. And he knows this. Therefore, I have to give him some other motivation to carry the story.
What that will be, I don't know yet. But I'd better figure it out soon, or that deadline is going to bite me on the ass.
