“Looking at the Big Picture – Are Your Character Motivations Working?”

Sometimes when you’re editing, you can find yourself spending so much time focusing on the line by line detail that you lose track of the big picture. It’s something I’ve had a lot of trouble with writing my second novel, Cradlesnatch, partly because it’s taking so long to get the first draft down on paper. I find I lose track of the story’s inner connections.

I wasn’t sure what to do about the problem. When I’m sitting at the computer all I see is the section of manuscript I’m working on. It felt like I needed to make room in my head to get a grasp of the story as a whole. So I started taking afternoon walks.

It’s working.

Walking helps me test whether my story elements are woven together strongly enough. It allows my story breathing space to evolve.

And I’ve discovered a few golden rules about the ‘bigger picture’ which I thought I’d share:

The Problem of Passivity

Sometimes you write an action scene, and it just doesn’t seem as exciting as you know it should be. In Cradlesnatch there’s a scene where one of the main characters is kidnapped. Should be an exciting event. Only the way I’d written things she was kidnapped while she slept.

Golden Rule No. 1: Your main character needs to be proactive in getting themselves into trouble.

I’ve changed the scene so now my character is suspicious of someone, follows them during the night, and is subsequently kidnapped.

Square Peg in a Round Hole

I had a scene I knew needed to be in the story. I sort of knew where in the timeline it needed to be. So I wrote it and hoped for the best. Only it didn’t read right. Chronology wasn’t enough.

Golden Rule No. 2: Don’t try to crowbar a scene in to a story.

I had to think about how the scene fitted with the flow of the story. What stimulus occurred which led the characters to engage in the scene. What motivated them.

Getting from A to B without Contrivance

Another important reason to look at motivations is if you want your characters to travel to a particular place, perhaps to accidentally meet someone. It’s so easy to use some feeble excuse to get them there.

Golden Rule No. 3: Beware of the coincidental and the convenient

There are scenes where I’ve had to think seriously about the why and the how that gets my characters in the right place at the right time.

Give Me One Good Reason

Cradlesnatch is a journey story, so in the opening section my character needed to begin her journey. Only her life was already so difficult she’d wanted to leave home for ages. It didn’t make sense that she would simply pack up and go without any additional stimulus.

Golden Rule No. 4: If you want to make your character jump, fire some bullets at their feet.

So I had to add something pretty big to make her decide to leave when I wanted her to.

Adding Action with No Emotion isn’t a Good Thing

While editing a story, events can change. A scene which initially had the main character bribing her way out of trouble, suddenly has her being kissed for the first time. But actions lead to reactions and it’s all too easy to forget to edit your character’s emotional reaction to events.

Golden Rule No. 5: The scene has changed, so change the sequel.

Now I make a point to check that my characters’ reactions and their subsequent decisions grow and develop to fit my changing story events.

Visit Lorrie @ her blog.

Related Posts
Filter by
Post Page
Developing a Writing Life Essays/Articles (all) Featured Fiction New Fiction Most Popular Why I Write
Sort by

A Writer’s Writer: Colum McCann’s Thirteen Ways of Looking

Irish writer Colum McCann is best known for his National Book Award winning novel, Let the Great World
2016-04-03 22:05:30


“When Gravity Lets Go”

For the better part of two hours, as you’ve sat at his bedside, your father has made perfect sense, each
2019-04-04 09:38:13


“The Hunted”

The small doe came into the clearing that Randy’s father had made with a chain saw and stopped, picking her head up f
2019-03-25 07:27:39


“On Writing”

Writing, for me, is unlike any other form of art in
2019-03-07 11:59:20


“Impossible Love”

The first time he sees her she is plummeting to the ground, a stream of chiffon and chantilly lace. His
2019-03-07 11:38:24


“But Why?”

One forthcoming novel. Two in-print poetry collections. A slew of online and print publications. A full-time
2019-03-04 10:49:19


“On The Ferry”

“Sorry,” the young woman whispers to the man on her left. “Yeah?” he replies. Both shielded behind their sunglas
2019-02-10 00:35:54


“No Access Beyond This Point”

I was fine heading into work, but then the excruciating, as I once thought of it, happened when I stopped in at my
2019-02-06 17:46:53


The Daily Comics: an Essay in Frames

 Monday i. When I see my son drawing,
2019-02-06 12:52:33


“Why I Write; How Can I Not?”

Why do I write? I’ve been hoping you would ask! I believe the first complete book I wrote was called Mirror o
2019-01-25 19:35:32


Lorrie Porter

About Lorrie Porter

In a fit of youthful enthusiasm Lorrie Porter graduated from University College London with a degree in Ancient World Studies then went on to qualify as a teacher in Classics. She loitered for many years in a solicitors’ office where she spent a lot of time staring out of the window. However, her fascination for dead languages and civilizations continues to thrive. She graduated from MMU with an MA in Creative Writing. Lorrie writes fiction which embraces a dark and emotional aesthetic and is currently working on Dead Boy, an adventure set in bygone London. Her other novels are Cradlesnatch, a story about a monster who steals children and Fury, which has wolves, bandits and other miscreants among its pages. Lorrie lives on a narrow boat with her talented husband and impervious cat.