Book Writing 101 - How To Achieve Good Story Pacing
In literature, pace, or pacing is the speed at which a story is told—not necessarily the speed at which the story takes place. The pace is determined by the length of the scenes, how fast the action moves, and how quickly the reader is provided with information.
Pacing is an element of storytelling that seems to trip up many new writers. It can be hard to pin down. What is a good pacing for a story? Well, to get a better idea of good story pacing, we have to look at bad story pacing first.
Freytag’s Pyramid from Serious Daring by Lisa Roney. Photo by Payton Hayes.
Hi readers and writerly friends!
This week in Freelancing, we’re continuing the Book Writing 101 series with the 3rd part of the series, How to Achieve A Good Story Pacing. If you’re looking for the rest of the series, it will be linked at the end of the blog post!
What is story pacing?
In literature, pace, or pacing is the speed at which a story is told —not necessarily the speed at which the story takes place. The pace is determined by the length of the scenes, how fast the action moves, and how quickly the reader is provided with information.
Story pacing is the momentum of the story and it’s what keeps readers turning pages
Pacing is an element of storytelling that seems to trip up many new writers. It can be hard to pin down. What is a good pacing for a story? Well, to get a better idea of good story pacing, we have to look at bad story pacing first.
Pacing is also tension. It’s how you build out the rising and falling action of your scenes. When I reference “action” in this blog post, rising and falling action is what I am talking about. This may be literal action scenes, conflict, events, plot points and pinch points, and other peaks and valleys of plot.
If you read my blog post about where to start your novel, then you might remember this next bit. That post (linked at the end of this blog post) is specifically for starting a book, but it serves as a great reminder for starting/ending you scenes and chapters as well.
Pacing is also how you enter and leave scenes and chapters. It’s how you open a scene and keep the momentum all the way through to the “turning point” of that scene or chapter. It’s how you close that scene/chapter and lead into the next one. Think about the “enter late, leave early” rule when trying to achieve goo pacing within your story, and how events in your story drive the plot forward.
Bad story pacing
This usually occurs when a story is told at a pace or speed that is either just too fast or too slow for the plot and the events that happen within the story. Story pacing that is just too fast almost gives the reader narrative whiplash in that, everything is being presented so quickly that the reader just can’t seem to keep up and is lost in confusion. Story pacing that is just to slow usually ends up boring the reader and making it hard for him or her to stay motivated to finish the book.
Story pacing really has more to do with the amount of information being presented and the intervals at which it is being presented. Books that have too-fast story pacing often just bombard the reader with information faster than they can process it. For example, a thriller writer may leave things out of the story in an attempt to build intrigue but as the plot progresses, the reader will be come increasingly more confused. In fantasy, too-fast pacing usually arises when the writer drops in a ton of names in rapid succession without really giving the readers time to orient themselves.
However, on the flip side, too-slow pacing can arise in fantasy in much the same way as well. Taking entirely way too long to establish backstory or info-dumping is a great way to slow the story down and bore the reader. And truthfully, this isn’t unique to fantasy; this issue can manifest itself this way in all genres.
Pacing that is too fast: Too much information is presented too often.
Pacing that is too slow: Not enough action is presented often enough.
I know, it looks like I said the same thing twice. But the truth is, story pacing is all about balance. There is a very delicate balance between action and information that even seasoned writers struggle to master.
Identifying pacing issues with word count
This might only be useful if for writers who have critique groups, agents, or editors but essentially, you can identify bad pacing by looking at the word count of a novel. If your editor says “the word count is too low for your genre” then they’re essentially saying, your pacing is too fast, and you’ve not spent enough time building out the story and included too much action. If your editor says “the word count is too high for your genre” then they’re saying your pacing is too slow, and you’ve spent too much time building out the story and not including enough action.
Sentence structure can make or break pacing
Long, drawn-out, convoluted sentences, word paragraphs, big, pretentions words, and overly descriptive purple pose will absolutely kill your pacing. Think about these things and keep in mind that if it doesn’t add to the writing style, voice, tone or drive the plot, then you don’t need it. Characterization should be dropped in here and there, and not done in page-long descriptions with wordy backstory. Big words and extensive vocabulary should only be used if it makes sense for the voice and tone of the story, and not just for the sake of making your writing “sound smart” or upping your letter count.
This doesn’t mean that shorter and more direct sentences are key either. Like I said, it’s all about balance. The secret to achieve this balance and good story pacing is varied sentence structure. Look at the sentences below.
Sarah wanted to read a book. She got up out of her chair and grabbed a book off of her shelf and sat back down. She opened the book and began reading.
Sarah yawned, sleepily remembering it was reading time and stretched as she rose out of her chair. She slowly ambled over to her expansive bookshelf, not sure what to read next, now that she’d finished her last novel the day before. She lifted a heavy blue book with an ornate cover and carried it back to her chair where she cuddled up and began reading.
The first series of sentences is very stale and boring, and it presents the action too quickly by simply telling the reader what is happening. However, the second series of sentences is entirely too colorful and takes too long to get the info across to the reader. Look at the series of sentences below.
Sarah yawned and looked out the window, realizing the sun was setting and it was reading time. She rose out of her chair and moved to the large, oak bookshelf, filled to the brim with hardcovers and paperback in every color. Thumbing through the first few pages of several books, she found one that had intricate illustrations for ever chapter and decided that would be her next read. Sarah settled back into her cozy reading chair and opened the hefty fantasy tome, eager to begin her next adventure.
In the third paragraph, you can clearly see how varied sentence structure makes the scene more interesting. This is the key to achieving balance between action and narrative and achieving good story pacing. Mastering this writing technique will help you keep this delicate balance no matter what genre you write in because sentence structure is part of every kind of writing. I even use it in my blog post writing.
In addition to this, consider what the purpose is of your chapter or scene and if it isn’t providing the reader with key information, moving the plot forward, or making space for characterization, then perhaps you don’t need it. Scenes that serve no real purpose for the story should be cut from the manuscript because they only drag out the story and slow the pacing. Typically, all scenes should be meeting these three criteria and it’s certainly all about balancing out the time each one takes to achieve their individual purpose.
Story structure can help you with pacing
Much like sentence structure, story structure can be a great way to determine the pacing of your story and where you might be doing really well in terms of tension and pacing and where your story might be sagging a little. The 3-Act Story Structure is just one (popular) example.
I think a lot of writers have a hard time with pacing because many of us grew up learning about the 5 elements of plot with a very set-in-stone triangular structure, but I like to think of plot as more of a bell curve. In the graphics below, you’ll see the 5 Elements of Plot versus the Plot Bell Curve (based on the 3 Act-Story Structure) and how pacing looks with each of these story structuring methods.
The issue with the Elements of Plot is that this structure allows entirely too much time to pass between major plot points. This is where many writers’ issues with the “sagging middle” originate from. Look at the bell curve, where tension is kept evenly from plot point to plot point. Instead of a terribly slow and steady incline, the rising action builds tension right from the inciting incident and falling action slows tension from the midpoint to the confrontation.
So, to recap:
Story pacing is the momentum of the story and it’s what keeps readers turning pages.
It’s how you build out the rising and falling action of your scenes.
Story pacing is all about balance. There is a very delicate balance between action and information
Varied sentence structure makes the story more interesting
Scenes that serve no real purpose for the story should be removed
Try using the plot bell curve instead of the elements of plot to see how it affects your story’s pacing
And that’s it for my blog post on how to achieve good story pacing. I hope this post helped you and if it did, make sure to comment below and check out the related topics for more Book Writing 101 posts!
Related topics:
Book Writing 101: Coming Up With Book Ideas And What To Do With Them
Book Writing 101 - How To Chose The Right POV For Your Novel
Book Writing 101: Everything You Need To Know About Dialogue
Book Writing 101: How to Develop and Write Compelling, Consistent Characters
Story Binder Printables (Includes Character Sheets, Timelines, World-Building Worksheets and More!)
Payton’s Picks —40+ of my favorite helpful books on writing and editing.
25 Strangely Useful Websites To Use For Research and Novel Ideas
See all posts in Freelancing. See all posts in Book Writing 101.
—Payton
Book Writing 101: How To Write A Book (Basics)
Hi readers and writerly friends!
This week in Freelancing, we’re going to start a new series: Writing How To’s and today, we’re starting off strong with what is essentially Book Writing 101 —how to write a book. We talk an awful lot about editing, writing, publishing, marketing, and everything in between but we’re going to be bringing it right on back to the basics. How do you actually write a book? It’s a badge of honor for some and a checkbox for others, but one thing is certain: writing a book is not easy. It’s a feat of strength, really. It requires a lot of planning, months and even years of writing, and dedication from start to finish.
There’s really no set way to write a from the first word to the last. The truth is, the writing process varies from writer to writer. In this guide, I will explain the basics of writing a book and a general order to follow, but of course, experiment, try different methods and figure out what works for you!
So, how do you actually write a book? What goes into it?
Research, brainstorm, and come up with an idea
Think about what you might like to read and or write about and even look up what is selling in that genre. For instance, if I want to write a murder mystery for young adults, I might check out some of the popular books that are out at the time and see what the hype is about for myself. Reading is a great way to improve your own writing and familiarizing yourself with your desired genre will only help you.
I will have a more in-depth post for this next week when we cover book brainstorming, but essentially, you want to try and come up with a compelling premise that you can write roughly 50,000-75,000 words around, depending on your genre. Don’t get too bogged down by the word count, right out of the gate; this is just a simple guideline to shoot for. So, do some brainstorming and see if you can come up with an idea that will yield roughly 50,000 words. If you don’t think you can stretch your story idea to book length, consider writing it as a short story or a novella instead. If you believe you do have a solid story idea and you think you can write an entire book from it, consider if your idea is somewhat original. Of course, none of us are out here doing new things under the sun per se, but you can put a new spin on old ideas and resurrect dead story tropes by breathing new life into them with your unique voice, writing style, and twist on clichés.
Establish your prevailing theme and subthemes
I wish someone would have given me this advice when I started out writing. It’s one thing to come up with a premise and a plot, but themes are the driving force in a story and every good story has at least one important theme at its core. Consider your story idea and what the main theme of it is so you can write that into your outline in the next step.
Writer taking notes. Photo by lilartsy.
Outline/Develop your plot
Some people prefer to plan out their novel with an outline while others enjoy writing as they go. I used to be the kind of person who would just write as I went and often my story would become jumbled and confused as the consistency slowly melted away. Now, I sit down with a firm outline and I know exactly where the story is going start to finish, even if I jump around and write out of order. Even if you prefer not to get to crazy with the outlining, I would at least suggest outlining the key plot points according to the 3-Act Story Structure. This is a tried and true plot outline that is present in almost all successful works of writing and if you only used this to outline your novel, it will make all the difference in your consistency. That being said, if you’d like to try the pantser route as opposed to the planner route, you can try writing freely and taking some notes as you go, to try out the alternative process and see how it works for you. A pantser is someone who, “flies by the seat of their pants,” meaning they don't plan out anything, or plan very little. For some writers, the thrill of telling themselves the story as they write it is part of their creative process and what making writing fun for them. If you do decide to go the pantser route, I would suggest that you come up with at least a vague idea for how you want the novel to start and end and then plant yourself somewhere in the middle and write from there. Instead of going from point A to point B to point C, you’re considering point A and point C while you write point B and then connecting them all as you go. At the end of the day, find out what works for you and stick with it.
Develop your characters
As mentioned previously, there’s really no set order to follow when writing a book. For some, the characters are what sparks the inspiration for a novel idea, whilst for others, the premise or the theme inspires characters along the way. Either way, you must have a clear idea of who your characters are and what they are like when writing a book. Characters are the lens through which the story is told and writers must create compelling characters for their readers to connect to while reading. Consider your main character(s), supporting characters, antagonists, and background characters as well. Think about how they will come into play with one another to drive the plot, how their unique personalities both move them forward and backward in their goals, and how it makes sense within the realm of your premise, theme, and genre. Put simply, who is your main character, who is getting in that character’s way, and does it make sense with your story idea?
I have an in-depth blog post for How To Write Compelling Consistent Characters here, so make sure to check that out if you want to know more!
Establish the setting
Book with a view. Photo by Kourosh Qaffari.
Piggybacking on the idea that the story idea can come from anywhere, sometimes, establishing the setting is the first step in the process. Try to imagine all kinds of different terrains and zones and see what stories emerge from these places. I got the idea for my short story, The Sieka of Sahn’Jatar when imagining a vast desert in the greater setting of my ongoing fantasy series. I was just imagining the windswept sand dunes one day and the idea struck me. Suddenly, it wasn’t just a desert I was seeing —no, it was a girl dashing through the dunes, being chased by a warband mounted atop camels against the backdrop of the setting sun. Its crazy how stories can just come to us like that.
So, if you’ve already got your story idea in mind and don’t really need the setting for inspiration, consider where you want to set the story. Consider whether or not worldbuilding is something you’d like to do, or how realistic you want your story’s setting to be. Sometimes, the setting can even be a character all on it’s own, depending on how much of a role it plays within your novel. If you’re writing realistically, do you research, look at maps, and if you can visit the place you’re writing about, so you can write it accurately.
Break out the writing tools
Now, I know what you’re thinking —Payton, what writing tools do I need? I have a laptop.
And you’re totally right. While some people do enjoy writing their first draft longhand with pen and paper, most of us write digitally. However, I’m not just talking about the physical writing implement; I’m talking about you’re writing environment, your word processor (the program you physically write with), your writerly resources, and more.
For starters, where do you write? Do you write at home, locked in your bedroom with a tea and mood music? Or do you prefer to write at your favorite coffee shop with your trust headphones and a croissant nearby? Think about where you can get your best writing done and make it happen.
On that note, I have a helpful blog post on 8 Ways to Level Up Your Workspace And Elevate Your Productivity. It’s really more geared for freelancers and those working from home during the pandemic, but I think it has some great information on how to tailor a space that is both comfortable to work in and also is conducive to productivity.
Next, what kind of word processor will you use to write your novel? Do you use Mac or Windows? If you’re a Mac user, you might want to use Pages, but if you’re a Windows user, you might want to use Microsoft Word. (I think you can use MS Word for both, but that’s besides the point!) If you’d rather keep all of your writing in the cloud, maybe Google Docs is better for you. Perhaps none of these options sound quite right so here are a few more to check out: Scrivener, Apache OpenOffice, LibreOffice Writer, or Word Perfect. There are many others out there, so make sure to try them out and see what works best for you and your writing needs.
Following the word processor, the next tool you will need in your writerly toolkit is a note keeping system of some sort. I hear many people use Scrivener, Notion, or Evernote for keeping their novel notes organized and in one central location. If you’d rather keep the notes tactile and not in the digital realm, consider using a Story Binder to keep all of your hand-written story notes safe and organized.
Next, figure out what other real-world items you’re going to need when you sit down to write your novel. Of course, this might be a figure-it-out-as-you-go-along kind of thing. I personally always need some kind of soft music in the background while I write to help keep me in the headspace of my story. I have a blog post on Get Immersed With The Five Senses, but I think it’s also applicable to writing because it can help you stay de-stressed and inspired throughout the process. Likewise, I highly recommend you make a playlist for your novel so you (and your future readers) can get into the right headspace for your story as easily as clicking play. Additionally, consider what snacks, drinks, and other items you might need to write effectively. I’ve also linked my Yoga For Writers post here, just in case you need a little writing break.
Lastly, prepare your accountability tools. This could be a writing partner, a critique group, your editor, a friend, or even a writing schedule. If you know you will need some external accountability source to keep you writing on the days when it gets tough, then get that ready well before you sit down to write. Consider joining a writing group online if you are having trouble finding a writing community in your area. Maybe NaNoWriMo is just the thing you need to keep the forward momentum going in your writing. Whatever you decide to use, have that accountability crutch ready beforehand so you can lean on it when you need to.
Create a writing schedule
This might be the single most important step in your entire writing career because if you don’t establish a habit of writing regularly, it might not bode well for you as a writer. However, it is likely also the hardest step in writing a novel, because many writers struggle to find the time to write. The truth is that if you want to write, you have to make the time to write. This is a special, designated time where you sit down and write, for however much time or however many words you decide and you do this consistently to progress your project and better your writing skill.
Writer planning her schedule. Photo by Marissa Grootes.
If you can, write every day. Some writers will tell you that you absolutely must write every day, while others will advise writing once a week. If you can, try to write a little every day, and if that’s just not possible for you and your schedule, try to write as often as you can. Don’t use being busy as an excuse for not writing. Ultimately your writing, your writing career, and your novel’s success is on you, and if its truly important to you, then make it a priority in your life. Writing is just like anything else in life that requires exercising a skill and practice. You must work your writing muscles to improve your writing in the same way you have to work your upper arms to get better at push-ups.
Like with the writing space, you can use the 5 senses to trigger yourself into what I like to call “writing mode.” This is the headspace you get in when you write, and it becomes easier and easier to trigger this mindset shift with time and practice. It’s a lot like Pavlov’s dog, in that, with time, effort, and practice, you will subconsciously train your brain to expect that when it’s writing time, you will sit down and write and nothing will get in the way of that. For example, as mentioned, I like to have tea and music when I write. For some, that might be a certain candle or aromatherapy or dimming the lights in your writing space. I personally like to set an alarm for my designated writing time and the alarm itself is actually the music that I listen to while writing. This immediately gets me in the mood for writing and like the dog mentioned earlier, drooling for some black tea.
There are many ways to make writing a habit for yourself and while it will take some self-discipline and patience at first, it certainly is doable. You could even use a incentives or a rewards system top keep you motivated to write. Whatever you decide works for you, just make sure that you are writing regularly and making consistent strides to better your craft and make progress on your projects. Th reason a writing schedule is so crucial to the writing process is because writers will have to learn to push through when the writing process becomes difficult. We can’t always write just when we want to or wait, twiddling our thumbs for the creative spirit to strike us. It is great when we have those moments for sure, but the reality is that most days, writing is hard. There’s going to be so many moments when writing is difficult and you won’t feel like writing, but if you’ve created the schedule and the habit, you’ll write anyway. Writing when it’s hard, or when you don’t feel like it, or when the words just won’t flow is what enables you to push through, finish the book, and accomplish your goals.
On a similar note, don’t try to force yourself into a box or create unrealistic expectations for your writing habits. If you work two jobs and are a mother of three, it might not be realistic to expect yourself to sit down and write for four hours out of the day. Many people recommend writing first thing in the morning, but if you’re not a morning person, this simply will not work for you.
I’m raising my hand over here. I’m actually a night-writer and I prefer to write during the ungodly hours of the night, but I can see how that is an unrealistic schedule for many writers who have day jobs. The point is, just go with what feels right with you and what fits feasibly and realistically into your schedule.
Set realistic goals and a deadline
Of course, this ties in with your writing schedule, finding what works for you, and building the writing habit, but having something to work towards can really help you when you’re first starting out with writing. Having loose, but clear goals can help you plan your writing schedule and celebrate milestones as you encounter them. This will also help you in breaking down the daunting process of writing an entire novel to smaller, more manageable parts. For example, if you want to write a 50,000 word novel, and you want to try and write 500-1000 words a day, then if you wrote every day, you can expect to finish your novel in 100-50 days. Write as much as you can as often as you can but if you find that you really just cannot bring yourself to write 1000+ words a day, that’s okay, do what you can. It’s not a sprint, it’s a marathon and you don’t want to burn yourself out trying to reach these impossibly unrealistic goals. Likewise, you can reverse-engineer this method by setting a deadline first. Maybe you want to participate in NaNoWriMo? If you’re writing a 50,000-word novel for the National Novel Writing Month Challenge, then you know you’ll have to write an average of 1,667 words a day to meet that goal. Some people like to write one chapter a week while others will write one a day. Some books take a month to write while others take years to write. No matter what this looks like for you, setting deadlines and loose, yet realistic goals can help you stay on track throughout the novel writing process.
Writer feeling stressed. Photo by Energepic.com.
Be kind to yourself throughout the writing process
This is probably one of the most overlooked parts of writing and I believe many writers could stand to practice some self-care throughout the writing process. Remember, writing a book is insanely hard to do and most people never accomplish this feat of strength. It’s not meant to be easy. As mentioned, writing can get really tough sometimes and its important that you exercise patience and kindness with yourself when writing. You will feel like the words just aren’t working or everything you write is an absolute dumpster fire, or you can’t pull yourself to the desk to write because you know these next scene is going to be really hard to bring to life. It’s okay. Breathe. Forgive yourself for writing garbage writing. Forgive yourself for not meeting your daily word count goal for that day. Forgive yourself for struggling because writing is a process.
I have a blog post for When Writing Becomes Difficult that goes more in-depth into this topic, but for the most part, just be kind to yourself and take the process one day at a time. Eventually, if you keep at it, you’ll have yourself a book! Following through and finishing the book is the hardest part of actually writing a book, but trust me, there is no better feeling that finishing a book.
When writing gets tough, check out these articles I wrote for some grace and self care.
And that’s it for my guide on How To Write A Book! Remember, this is going to be a 20-part in-depth series, so stay tuned for the next one. These blog posts will be coming out every Friday from now on, so make sure to subscribe to my newsletter if you want updates when the next part of this series is out! Good luck to all of you aspiring writers out there! I believe in you! Thanks for reading and don’t forget to write!
Related topics:
Book Writing 101: Coming Up With Book Ideas And What To Do With Them
Book Writing 101 - How To Chose The Right POV For Your Novel
Book Writing 101: How to Develop and Write Compelling, Consistent Characters
Book Writing 101: Everything You Need To Know About Dialogue
Story Binder Printables (Includes Character Sheets, Timelines, World-Building Worksheets and More!)
Payton’s Picks —40+ of my favorite helpful books on writing and editing.
25 Strangely Useful Websites To Use For Research and Novel Ideas
See all posts in Freelancing. See all posts in Book Writing 101.
Thumbnail photo by Kelly Sikkema.
—Payton
Book Writing 101: How to Develop and Write Compelling, Consistent Characters
Characters are the beating heart and soul of any story. Books with lackluster writing or major plot holes can get away unscathed (mostly) if they at least have believable, loveable characters—not that writers should cut corners, though. Readers will follow these types of characters anywhere which is why Fanfiction is such a big interest to many readers.
Friends holding each other at sunset. Photo by Helena Lopes.
Hi readers and writerly friends,
Today, I want to talk about how to write and develop compelling, consistent characters. Characters are the beating heart and soul of any story. Books with lackluster writing or major plot holes can get away unscathed (mostly) if they at least have believable, loveable characters—not that writers should cut corners, though. Readers will follow these types of characters anywhere which is why Fanfiction is such a big interest to many readers. Writers can really bring a story to life with vibrant, relatable characters. The first half of this blog post that covers creating compelling characters is geared towards writers who are still in the drafting phase while the second half that covers writing consistent characters is more geared towards writers entering the revising and editing phase, so just keep that in mind as you go.
So, first, let’s discuss how to develop characters.
Character development
This is always the fun part, right, dreaming up your ideal characters, giving them names and backstories and building a fictional life for them? But this is also where a lot of key, fundamental, foundational work goes into your story and the characters within it. This part of story-building is crucial. There are so many more factors that come into play that will make your characters seem realistic and yet enchanting or cause them to be one-dimensional, forgettable, and poorly thought out. There are many things you’ll want to consider when developing characters that make sense.
Character backgrounds and worldview
What racial background do your characters come from? What gender background, religious background or economic background do they come from? What kind of upbringing did they experience? What kinds of views were they raised with? What kind of experiences did they face during their most critical stages of development as children and teenagers? What familial background do they have? What kind of education levels do they have?
Consider yourself for a moment. You are the culmination of all of your experiences, memories, backgrounds, and external and internal influences, up to this very moment. This is called your worldview. Everything you’ve ever experienced has come together to bring you to this moment in space and time. And that even started before you were born. Think about how your parents factor into this or even your grandparents. Everything that happened to your grandparents brought them together so they could bring your parents into this world, and thus, you. So not only does your upbringing influence your story much like the characters’ upbringing influences their stories, but you literally might not be here now if things hadn’t worked out just the way they did. This worldview is a critical element of each of your characters whether or not they ever make it onto the page. Consider your characters parent’s worldviews and goals and how they might influence your characters.
For example, if your character’s mother wanted to be a ballet dancer as a young girl, but her mother never let her, maybe she might push your character into ballet other extracurricular activities to make up for the lack of experience with such things in her life. Another example, if your characters grandparents were insanely rich and the character’s parents realized how all the money could corrupt people, they might chose to cut themselves off from the rest of the family and struggle through life instead of allowing themselves to succumb to wealth and the vapid nature of the parent’s family.
Consider character goals
Piggybacking on that last point, you want to consider your characters goals both internally and externally. Consider what goals they might have and how the interact with plot points. Consider what kind of self-imposed and external expectations might come attached to these goals. Consider what is at stake for failing to complete these goals and how that failure might make your character feel. Consider how one character’s goals conflict with the goals of another character in your story. Basically, determine what are your characters greatest desires and deepest fears and what lengths will they go to, to achieve the former and avoid the latter?
Perfect characters are boring
There is no such thing as perfect—not in real life and not in fiction. One of the biggest selling points of vibrant characters is the level of relatability the reader has with those characters. Characters should have both good and bad qualities as well as character-specific, unique quirks that set them apart from each other. Think about the things that make us human and figure out how you can weave that into your characters. Perfect characters are unrelatable and boring so leave those unrealistic expectations out of your writing. A fun way to figure out character personality traits is to write as many of them down as you can. Then close your eyes and point to a random one. Do this a couple of times to see what kind of character trait combinations you get. Then see how you can write these traits into your characters.
Icarus and The Sun artwork by Gabriel Picolo.
Strengths and weaknesses
Branching off from writing perfect characters, we need to talk about character strengths and weaknesses because it’s quite closely related. Since we know there is no such thing as a perfect character, then surely your characters must have some flaws you can work with. See how their strengths interact as well as how their weaknesses interact. Is one character really insecure but another has enough self-confidence to cover for the both of them? Are two characters toxic people towards one another but madly in love with each other and unstoppable when they’re together?
I like to think of Gabriel Picolo’s (@_picolo on instagram) Icarus and The Sun comics, where the sun is a radiant woman with so much passion and love to give, but her flaw is that she’s selfish and she will treat Icarus poorly until he leaves her and she starts the cycle again. And Icarus is so painfully lonely that he welcomes the toxic relationship back into his life again and again even though it is literally and figuratively killing him every time.
Consider the characters’ strengths and weaknesses and how these traits can either be steppingstones or roadblocks for completing their individual goals. Additionally, many times, a character’s greatest weakness can also double as their greatest strength. Much like in Rick Riordan’s Percy Jackson series, where Percy has struggled all his life to read and focus and chalked it up to dyslexia, but that weakness proved invaluable when it turned out he could read fluent Greek without and previous practice and it eventually saved his life. So, as you’re writing your characters, consider how their strengths and weaknesses can interact and either help them with or keep them from reaching their goals.
Character interaction
Now that you’re thinking about character strengths and weaknesses, you can start to figure out how characters interact with one another and how all of these character traits interact as well. If you start with your main character, how can you cast characters that play off the strengths and weaknesses of him/her? What kind of traits do they need to have to make a believable, relatable, and irresistible relationship between one another? Consider writing Foil characters, or characters that exists solely to frustrate and derail the protagonist’s goals. What kind of strengths would a foil character have if he/she existed purely to stop your main protagonist from completing his or her mission? In addition to character strengths and weaknesses interacting with one another, writers should consider what quirks, hobbies, interests, activities, and preferences their characters might have.
For instance, it might make sense that the bully in a YA boarding school fiction is a bit stronger than the main protagonist because she has played lacrosse for as long as she can remember and the main protagonist is more of a reader. But that might also make sense as to why the main protagonist is smarter or more cunning in a tight situation because she’s spent all her time reading and quickly formulate a plan for escape. This example is from Gillian Shield’s Immortal series and its just one of millions of examples of how to write character trait interaction and it really does boil down to just what worldview, interests, background, and strengths/weaknesses your characters might have.
Of course, you want to limit these traits to only a few per character and make sure they truly do make sense. Characters with too many dislikes, talents, hobbies, quirks, or what have you, are just not dynamic or believable—instead they are just too much. Pick a handful of traits that make sense for your characters and the plot and go with those. Additionally, it would be better to sprinkle these things in throughout the story instead of info-dumping on your readers all at once. Keep in mind that some hobbies are passive and might not make sense for your character or story as a whole—such as with reading. It made sense for Evelyn Johnson in Immortal, but it might not make sense for your story, so really consider how each character’s hobby fits in against the backdrop of your story, specifically.
Character hobbies and setting
Consider what your characters enjoy doing in their spare time and how that hobby reflects the world around them. Some settings/stories are easier to develop hobbies in such as Contemporary because anyone in that genre could just as easily (and believably) be doing the same activities any of us do, such as reading or playing video games or anything else we do in 2020. However, designing character hobbies for a futuristic story set in 3059 might be harder to do because you have to think about what people might actually be doing in that setting. The same thing goes for historical fictions, where you absolutely wouldn’t be reading about characters playing World of Warcraft or making videos for Tik Tok (rip Vine) because it just wouldn’t make sense for the setting and story. Likewise for Fantasy where many things that exist in our world might not make sense for a fantasy story, especially not high fantasy. The list goes on and on. Just think about how your character’s hobbies reflect the world about them and how they fit in with your setting.
Character relationships
Another element of compelling character design that ties into everything we’ve already discussed is how characters interact with others and what kind of relationships are present in the story. Something has to drive the plot forward and that is usually likes, dislikes, talents, hobbies, or relationships. Relationships are often the driving motivation for a character and can really move the plot along in an inconspicuous way to the reader. Such as, in Becca Fitzpatrick’s Hush, Hush where on the first day of school, Nora’s coach and Sex Ed professor assigns a seating chart and forces Nora to be partners with the new transfer student, thus putting her in an awkward position and potentially jeopardizing her grades if she can’t get her partner to cooperate on assignments. There’s all kinds of tension here from Nora missing sitting next to her best friend Vee, to her reluctance to engage with the intimidating transfer student, Patch, and to the stubborn teacher who refuses to change the seating chart at Nora’s request. This immediately creates some kind of relationship between Nora and Patch whether they want it or not and that’s exactly what drives the plot along until the real plot points are revealed.
There are many tropes in which something happens to a characters relationship with another character that drives a plot forward. For one, the trope of the character who must save their sibling (or a lover) from a terrible fate so they go on their quest. For two, there’s the trope of a character’s family member dying and the angst, rage, and confusion propelling them into their quest. Character relationships directly impact character motivations. For example, why does the villain always capture the superheroes’ love interest? Answer: because they know the hero will come running to the rescue of said love interest. That’s one of the most blatant uses of character relationships as plot devices.
When you’re crafting characters think about all of the characters in your story as an entire cast and plan them out as a whole. When you’re developing a cast, consider each relationship and how everyone relates to one another, what function they serve, and whether or not its dynamic. However, much like the issue of having too many hobbies or talents, steer clear of having too many characters. You really only need enough characters to drive the plot and then have a few extras here and there to make your world seem bigger/believable as needed. Try to avoid veering into Martin territory where there are just so many characters that all of them are disposable and even the readers know not to get their hopes up since they will all die anyways. Some stories warrant a large cast of characters such as with Tolkien, Martin, or Riordan where there are complex subplots and worldbuilding at play. As you can probably gather from these examples, massive casts of characters are best left to fantasy and mythological fiction. Of course, there are always exceptions to the rule, but air on the side of caution and avoid creating a character soup, where there’s just so many characters that their details get muddied and confusing.
Character names
This very well might be the single most fun items on the list, yet but I implore you dear writer, to take time and care with choosing your character’s names. There is so much readers can learn from a character’s name. Names truly do inform a large part of a person’s identity—they serve as markers of racial or cultural backgrounds, family names carry centuries of history, certain names carry with them certain connotations and ultimately names can impact how people are treated, so select your characters names with care. Consider why the character’s parents might have picked that name for them, what it says about them, how other characters might treat them because of it, and so on.
Pro tip: One of the easiest ways to get started with believable names is to look up a culture your character might be based on and try to find names that might have been popular during the time you’re writing your story. Obviously, this might be difficult with fantasy or futuristic stories, but for those, you can get extra creative by adding in vowels or consonants, changing spellings, and weaving elements of different languages into the name. Such as with some of the names/words in my fictional language in the world of Avyiien which pulls inspiration from Xhosa, a Nguni Bantu language that uses tongue clicking, and French which uses a lot of excess letters.
Ultimately characters are like icebergs—this is an analogy we see used a lot for plot and it works well there, but it works well for characters too. The visible tip of the iceberg is the written information about your character that is present in the book and the other 80% below the surface is what you use to inform the way you write your characters, but doesn’t necessarily always make it on the page. This is exactly how you write vibrant, rich, compelling characters that readers just can’t get enough of. These are the kinds of characters that find themselves in fanfiction and beyond.
And now, lets talk about how to maintain a consistency among your character’s their unique voices, worldviews, quirks, hobbies, strengths, weaknesses, goals, and relationships. If you’ve spent all this time designing rich, deep, believable characters, you want to ensure their actions throughout the story align with them as people and make sense to the reader. This is typically a revisions/editing issue so if you’re still working on that first draft, don’t get too bogged down by inconsistencies early on—simply write and go back to iron out the details later.
However, these are all important points you should take into consideration if you’re looking to write consistent characters across chapters and/or multiple books. In order to avoid giving readers emotional whiplash, it’s the writers job to ensure a character’s actions align with their personality. Failing to do this can result in confusion and distraction for the reader, which we of course, want to steer clear of. Its perfectly okay for characters to do things that are our-of-character for them as long as it makes sense for the story and has the proper set up beforehand, thus it no longer becomes out of character for them. Potential Spoiler: Such as with my short story, the Sieka of Sahn’Jatar, where one character has plans to kill another for profit, but after a series of events, changes their mind and decides to work with the person they’d initially planned to kill. This shift in character makes sense because of the shift in events leading up to this conflict. As a writer, you can choose to keep the plot points that conflict with the personality of your character so long as you’re willing to tie them together and make it make sense. Otherwise, it might just be a better move to cut it out and change directions altogether.
Inconsistent main characters are the worst
Of course, all that has previously been mentioned concerning inconsistent characters thus far, has pretty much only had to do with supporting characters or antagonists but if you’re finding inconsistencies with your main protagonist, you have some fundamental discrepancies with your book that will absolutely need to be worked out for you to achieve believable, relatable characters. Inconsistent main characters can potentially create a lot of distance between the characters and the reader. This can end up causing some serious issues for your story because it deprives the reader of that emotional reading experience, and since the characters are the vehicles by which the story is told, having that disconnect can really break a story. That being the greatest of your worries, having inconsistent main characters or POV or what have you, can cause frustration, confusion, and anger in your reader. All of these issues are just distractions for your readers and ultimately something you as the writer, should be trying to avoid.
So, how do you solve an inconsistent character? Well, you have to bring it back to the basics. Consider what that character’s fundamental motives are. Think back to everything we’ve covered in the first half of this blog post. What goals does he or she have and how do their (inconsistent) actions fit in to those goals? If they don’t fit, how can you write them so that they do? What other background information and characterization can you supply that will make these actions not so far fetched for your character? If these actions aren’t necessary for that character, can you write them for another character? Can you cut them out entirely? If they are necessary to the plot, how can you change your characters to fit around these inconsistencies? Consider how your characters would organically respond and react to the actions of the other characters and how they all fit together.
This is where you have to do some serious soul searching and determine whether or not these character actions are integral to your plot and story as a whole. Like I said, if it’s a deal breaker, you might have to recast that character or sprinkle breadcrumbs throughout your story, so their inconsistent actions don’t seem so out of character for them. If it’s not a deal breaker, how can you change those actions to fit your carefully crafted characters and make their actions and reactions believable? As you can probably tell, this is why its critical to make sure you have your first draft completed before digging into inconsistencies and rewriting because you just get stuck in a vicious rewriting cycle and it’s just not pretty. If there’s discrepancies throughout your writing, a finished draft will allow you to make decisions on how you can solve those issues, but if you’re just rewriting, it can quickly get confusing and hard to know where your story will even end up.
Characters are incredibly important and should serve the plot just as much as the plot serves them. Characters must be well-rounded and balanced and everything they do should make sense within the framework of your story. Compelling, consistent, and loveable characters are the backbone of any great story and can often carry a sub-par plot if they are believable and relatable enough and if their actions match their personalities. However, writing enchanting characters is easier said than done and it’s why a lot of writers struggle with character development.
And that’s it for my extensive blog post on writing and developing compelling and consistent characters. What are your favorite and least favorite parts of character development? What do you think about character backstories and names? Let me know what you think in the comments below!
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