Tip #445: Why character choice matters

There are very few situations where every human being on the planet will respond the same way, so the cascading series of unique choices they make — each time altering how the story goes — is what makes them — and the story — come alive.

When you’ve done it right, you’ll look at your story and realize that it would have been an altogether different story with any other character in the same situation.

http://www.aisteach.com/blog/?p=1205#more-1205

If you have some situations but no protagonist/antagonist, those situations (and how the characters got into and get out of them) help define your characters.

If you know your characters try asking yourself occasionally what they wouldn't do, and then work out why they'd do it.

Tip #322: Character motivations

to sift through an array of possible motivations... The way to do that is not to ask, “What would make one man kill another?” Unless you’re a telepath... Better to ask, “What would make me kill someone?”

http://www.sfwa.org/2005/01/you-and-your-characters/

Tip #300: Problems with endings?

Does the plot build from... inciting incident to an inevitable climax? 

http://annerallen.blogspot.co.uk/2012/11/the-biggest-problem-facing-beginning.html

If you're having trouble answering this question, try separating your various story arcs/problems (external, internal, etc) and thinking as abstractedly as possible.  Different arcs may have different inciting incidents (but as many as possible should share a climax).

e.g. Inciting Incident: Boy learns his parents were murdered -> Climax: Boy comes face-to-face with the murderer is only a tiny part of the Harry Potter story and certainly not the main story arc, but the additional arc (and its dictated requirement) gives the climax additional emotional power.

Tip #298: Before and after

The before is the yardstick that allows the reader to measure the protagonist progress toward after.

http://childrenspublishing.blogspot.co.uk/2012/10/gluing-plot-to-theme-and-character-to.html

Tip #287: The antagonist

The Big Boss Troublemaker is whoever or whatever causes the hero’s world to turn upside down {inciting incident}. The BBT creates the story problem that must be resolved by the end of your tale. The BBT is also who or what must be present at the Big Boss Battle. In Star Wars, the BBT was the Emperor. It is his agenda that causes the inciting incident and it is he who must be faced in the final battle or the movie ain’t over... In the beginning, your protagonist should be weak. If pitted against the BBT, your protag would be toast…or actually more like jelly that you smear across the toast...

http://warriorwriters.wordpress.com/2012/10/01/structure-part-3-introducing-the-opposition-2/

Example:

In Fried Green Tomatoes, Evelyn is her own worst enemy. She is spineless and weak. But, the real enemy resides in those who desire to control and bully Evelyn. In each act of the movie, we see Evelyn learning confidence so that by the end, the BIG battle, she can tell her abusive mother-in-law to stuff it.
 

http://warriorwriters.wordpress.com/2012/10/05/structure-part-4-testing-your-idea-is-it-strong-enough-to-make-an-interesting-novel-2/

Tip #283: Plot is not optional

literary fiction must also have a plot. The only difference between commercial fiction and literary fiction is that the character arc takes precedence and plot is of lesser importance

Given Example:

in The Road by Cormac McCarthy, there is a plot. Man and Boy must make it to the sea. But it is more important HOW they make it than IF they make it. If the Man and Boy resort to cannibalism, that is an epic fail. They must make it to the sea, but without sacrificing their humanity.

http://warriorwriters.wordpress.com/2012/08/27/great-characters-the-beating-heart-of-great-fiction/

Tip #281: Story & plot

Hero, problem, antagonist, respond, change, attack, regroup, grow, DO SOMETHING HEROIC, solve the problem.

A story is about characters DOING things... The sequence and sum of what they DO is the story.

Plot is the stage upon which your characters reveal themselves.

http://storyfix.com/when-your-passion-kills-your-plot

Tip #271: Backstory & plot

your protagonist should have an emotional backstory that enhances or complicates the plot of this book now.

Given example:

If he’s falling in love in the plot: What has his experience with love been like before this?

http://thewholemegillah.wordpress.com/2012/03/13/second-sight-an-interview-with-executive-editor-cheryl-klein/

This backstory tends to be one of the reasons why this story could have only happened to this person in this way.

Tip #248: What is plot?

plot is... a narrative that starts with “guess what I saw today” and ends with “a real-live elephant on a downtown shopping spree.” Plot is a promise made and fulfilled. Plot is a character with a need. Plot is choices and actions.

http://www.jwashburn.com/2012/03/how-to-structure-novels-plot.html

Tip #246: Character as story

if you look at a tale as being about a character moving from one phase of life to another, you can immediately begin to see some of the conflicts you might want to establish, and you’ll get ideas for what needs to happen.

Given example:

Gladiator... our protagonist moves from being “Most trusted general and family man,” to “accused traitor,” “to widower/bereft of family” to “slave” to “gladiator” to “arena champion” to “avenger” to “gaining heavenly reward.”

http://www.davidfarland.com/writing_tips/?a=79

Tip #243: Reviewing plot skeletons

I literally skim through the work... {to} create an outline of all the major plot points by chapter for the novel... It really does force you to ignore character, dialogue, description and boil the story down to its plot skeleton core... pacing and story arc.

http://pubrants.blogspot.co.uk/2012/04/creating-editorial-road-map.html

Tip #234: Plotting via character development

At the beginning of your novel, how does your protagonist understand himself? What defines him? What rules or code guide him? What assumptions are givens? What’s home base? Who’s on his side? In whose love is he secure? ... 

At the end of your novel, how has the answer changed to any of the questions above? What happens to change that opinion? Add it.

http://writerunboxed.com/2011/12/07/a-sense-of-self/

You could generate an entire outline by asking these questions.

Tip #203: Start with the antagonist

Conventional wisdom: The hero drives the story.
This is correct, but it's the end point of the plotting: it's what the audience see.  The antagonist is the part of the story that will cause all of the surprises in the story.  The more of the opponant that's hidden, the more plot you have: the more danger, the more surprises and reveals you can spring upon character and audience.

http://www.youtube.com/watch?v=n_mZ-XokOTg

Again, this tip has been paraphrased.

Tip #202: Twist ending

Ultimately, what makes this plot twist so unexpected was... The possibility just doesn't occur to people. Because the revelation was so unexpected, Stead was able to cram the beginning with all sorts of clues without having readers make that final leap.

http://blog.liviablackburne.com/2009/12/how-to-pull-off-amazing-plot-twist-when.html

Tip #200: Character desire/goal

Given example:  Saving Private Ryan

The desire/goal of the story is not what the character wants in life/generally (to leave war behind and go home).  The desire/goal is the one that's specific to the story (saving Private Ryan).  When the character realises their desire, the story ends.

http://www.youtube.com/watch?v=-XgnOpZBuLE

This tip has been paraphrased.

Tip #183: Mystery

Mystery plots -- where our heroine needed to uncover a piece of information... as forces or people worked to keep that information from her.

http://chavelaque.blogspot.com/2011/12/behind-book-three-things-writers-can.html

Tip #173: Random events

Even if the character does encounter a random event, on a deeper level it should have personal relevance.

http://letsschmooze.blogspot.com/2011/08/lessons-on-pitching-hook-and-character.html

As with life, a random encounter may subtly alter the character's mood and trigger a decision later that might not have happened otherwise.

Tip #168: Set pieces +

don't just go for the standard car chase or love scene. Build your set pieces on what's original to your story. 

http://letsschmooze.blogspot.com/2008/11/set-pieces-sell-scripts.html


Douglas J. Eboch's definition of a “set piece” is:

“the big, audience pleasing scenes that deliver on the genre elements of the movie.” In a successful comedy they’re the scenes that have you clutching your sides with laughter. In a good action movie they’re the scenes that put you on the edge of your seat holding your breath. In a horror movie they’re the scenes that make you cover your eyes in terror. In a romance they’re the scenes that have you reaching for your loved one’s hand.

He recommends 5-10 set pieces per movie.

Tip #167: A question of logic

Ask yourself “logic questions”... they’re one of the first things pitchees and potential buyers ask. Logic questions are about internal consistency and world cohesion, e.g. “Why is the monster attacking this specific town?”, or “Why does she agree to marry him when she’s shown to be terrified of commitment?”, etc.

http://screenwritingtips.blcklst.com/ #731

Tip #163: What is a plot?

The MC has an overarching goal or problem that takes a whole novel to resolve...
the order of events (and the events themselves) are carefully titrated to achieve maximum emotional impact and intellectual satisfaction.

http://internspills.blogspot.com/2011/05/thoughts-on-plots.html