Motivation

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I’m working on a lot of freelance editing client manuscripts these days and loving it. (Maybe working a little too hard, hence the blog neglect!) Every time I make a note that I think will be a good post, or that can apply to more than just the moment in question, I flag it for potential follow-up on the blog. I’ve now stockpiled so many that I have material for weeks. All I need to do is figure out the most engaging way to illuminate all of these craft issues that I’m feeling so passionate about for a wider audience. (Easier said than done, ha!)

Today, I want to talk about “blah” words as they pertain to your objectives and motivations. This is a topic I’m super intense about. I’m writing my annual article for the Children’s Writers’ and Illustrators’ Market about it, in fact. (Which reminds me, I should really get on that…) My theory is that it’s more difficult to engage with character if we, as readers, don’t know what they’re doing (in the small and large sense over the course of your story), or, very importantly, why. And if you’ve followed me for a while, you probably know what I mean by “blah” words. If you have no idea, check out this post. To summarize, they’re generic words that have shallow emotions attached to them because they can mean many different things to many different people.

I encountered a character recently who made plenty of statements about motivation. This is great. I was excited. Hearts popped out of my eyeballs, anime-style. But something was wrong. Instead of being specific about motivation/objective, the character resorted to “blah” words. What does this look like? Example time:

I’m seeking the truth, the whole truth, and nothing but the truth.
He won’t stop until justice is served.
Her highest goal is peace.
If I could only get proof.

These are not from client work, or any work. They’re merely samples. Do you see a connecting thread, though? They all rely on “blah” words (truth, justice, peace, proof) that are connected with positive, wholesome emotions, but don’t really tell me much of anything about the character or the plot at hand.

A character will ideally have many small pieces of objective (what they want) and motivation (why) throughout a story. These elements exist from scene to scene and overall, for the entire arc. These “blah” words tend to work themselves into the larger objective/motivation that drives the character throughout the story.

You’ve long heard me say that generalization or the generic are the enemies in fiction. Specificity is where it’s at. Instead of having a character walk around talking about achieving justice or getting proof, break it down further so that it applies to the character where they are in the story and the plot as it’s progressing. For example:

If I could only get proof that Sadie stole the parade float, I’d feel so much more at peace. The Girl Scouts have been framed, I just know it. Nobody will listen to them, and that’s an injustice. And, worse, nobody seems to want to know the truth. Hmm, I wonder if the gas station across from the high school has any video footage from last night…

Here, we have tons of “blah” words (proof, peace, justice, truth), but they have taken on a concrete meaning in context. Not only do we get a sense that morality and “the right thing” are important to the character (this is likely applicable story-wide), but we get a sense of what’s going on now, what’s driving the character now, and what they plan to do in order to achieve their specific objective in this section of the story. The vague has become the specific, and now it applies directly to the events at hand. Establish and reinforce objectives/motivations through, on a scene-by-scene level, and for the larger arc of your manuscript. Don’t rely on some “blah” words and principles to stand in for specificity.

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Before a reader will believe your plot and story, they need a good reason to buy in. Plots that have a guess or a misconception at the heart of them are very difficult to pull off because there is not a lot for your reader to hook into and believe in. Let’s say that you’re writing a book where a girl goes after a boy because she thinks he is the serial killer terrorizing the town. Thrillers are more popular on shelves today and this is a premise that’s bound to have some romantic tension. Great.

But the author in this example must do a lot of work at the beginning to make sure that her guess seems reasonable and logical to the reader. “I just knew it in my bones that he was the Shady Pines Strangler” isn’t going to convince your reader to go along for the ride. Telling isn’t going to do it. Something needs to happen in the action of the plot that makes your character–and, by extension, your reader–sure. A tangible event or something seen with one’s own eyes is as close as you can get to concrete facts in fiction. So your audience will need nothing short of that to be convinced that your protagonist is on the right track…and to want to follow her on the plot.

The same goes for misunderstandings and misconceptions. It is very difficult to suspend disbelief and follow a plot that hangs on a misunderstanding (that’s why characters in denial don’t work well). Especially if the reader knows that the character has made a mistake. Let’s just give a quick example here. A girl is in the cafeteria and a boy yells out that she looks like a fat dude in a monkey suit. She spends the rest of the story building a complex revenge scheme to humiliate him…and it turns out that, the entire time, he had been hollering over her head at a fellow basketball player. They laugh about it and, surprise surprise, fall madly in love and wear gorilla suits to their wedding, etc. etc. etc.

Despite the sarcastic ending to this pretend tale, I hope you can see why it wouldn’t be satisfying. The misunderstanding bit is way too weak to pin an entire plot on. This is extremely prevalent in romantic comedy style novels, so if you’re writing one, make sure you’re not relying on this trick too heavily. Weak plot also comes from character guesses that aren’t backed up by concrete evidence via action or something that happens in the physical realm of the story. In a fantasy novel about faeries, you can’t just talk about faeries for the duration of the book, telling over and over again about the magical atmosphere in the woods. If there are faeries, we better see some faeries. If the hot new guy in school is a serial killer, we better see brown traces of dried blood under his fingernails and smell a suspicious odor coming from the trunk of his car.

Otherwise, in both cases, your readers might see your character as jumping to conclusions…and you don’t want to make them feel like they’re going on a wild goose chase. With everything you write, you should make their investment in the plot more, not less.

 

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