Character Motivation: The “Why” That Keeps Readers Turning Pages

What motivates you to do things? Sometimes it is as mundane as necessity, other times it might be a higher ideal like justice. Every single thing we do in our daily lives has a motivation behind it.

Which leads to our characters—everything they do must have motivation pushing them. Some motivations go without saying: someone who is eating is probably hungry, for instance. But an unusual action needs explanation. Why does someone run into a burning building to save someone? Why does someone pay for a stranger’s meal in a restaurant? Those are the motivations readers want to understand.

The same situation will prompt different reactions from different characters. If they find $100 on the street, one might try to find the owner, one might immediately pocket it, and a third might donate it to charity. Their reactions will show the reader what these characters are like at a deeper level—and give a clue to what motivates them.

The overarching motivation for a character should be consistent. Most people are driven by a deep belief that rarely changes. A person is not going to give money to a homeless person one day and kick him the next—and if he does, then that’s a story in itself. A consistent motivation will help ground your character, and therefore your readers.

Of course, many stories are about character change, and as a character changes, what motivates him or her might change, too. A self-absorbed career man motivated by ambition might put ambition aside after having a child, becoming motivated by his love for his child. As their guiding belief changes, their motivation can change, too.

If your characters’ motivations are going to shift from the consistency they had in the beginning of the story, then be sure to let the reader in on the change as it happens. Take them on the journey, let them live the experiences that change your character. That is, after all, the story—and that’s why the readers came.

For many readers, the question that keeps them turning the page is not only “what happens next”—but “why”. Why your character does what they do can fascinate the readers as much as what they are doing. So when you think about your character, think about the “why”—the motivation.

Do you consciously consider character motivation, or does it just flow naturally for you?

Philadelphia Writers’ Conference 2018: My Biggest Takeaway

Complexity and Connection at the PWCThis year’s Philadelphia Writers’ Conference filled my head with new and exciting information, leaving me both exhausted and exhilarated. Now that I have had a few days to let all the swirling ideas settle, one of the main things that stuck with me is the complexity of our craft.

I’m not talking about plot complexity. Even the simplest story is complex in the way I mean. What I mean is how every element of your story impacts the others. In our character workshops, we also crossed into plot. In our plot workshop we also delved into character. Every word choice and point of view feeds into the elusive element of voice. Everything interconnects, playing off each other and driving the story in different ways.

That same complex interconnection often makes revision a mind-bending project. Change one thing about a character, that can change the plot. Change POV, and your voice skews. Change the language and that might suggest a change in structure. Every change, no matter how minor, flows downstream all the way to the end of the novel. Riding those rapids can exhaust you.

This complexity of story comes from the fact that stories reflect the complexity of life. This helps stories translate across different media. The same story can be told orally, in print, in graphic novels, or on a screen large or small. Although the formats differ, the story fabric can be cut and tailored to each one to convey the same meaning and soul as the original story. The interwoven complexity of story gives it both strength and malleability.

Given the complex nature of writing and all its elements, is it any wonder that the craft of writing is so hard? The work of weaving a tale can take an emotional, psychological, and even physical toll on writers. To combat this, we need connectivity of our own—a network of friends and supporters who understand and can help lift us over the obstacles we encounter. This is one of the values of conferences like the Philadelphia Writers’ Conference. There we meet and connect with other writers and form bonds that last.

Thank you, PWC, for 70 years of helping writers connect so we can weave our stories together.

Anxiety or Burnout? The mystery of my missing motivation

I am normally a self-motivated person. I know what I want to accomplish and I get it done. All my life I have been a workhorse, churning out whatever work I needed to do—homework, work work, video production, writing. But for some reason, I have been highly unmotivated lately.

All I’ve really wanted to do is retreat into my genealogy hobby and shut out the rest of the world. Forgetting all my other responsibilities sounds good, as does sleeping for a week. I have projects I want to write, but apparently not enough to actually sit down and do them. I’ve been reading very little as well. I just feel exhausted inside and out.

Sounds a lot like burnout. Unfortunately, all of those symptoms are also signs of my anxiety. So which is it?

It could be anxiety. I have plenty of social and political stressors in my life right now—stressors I haven’t had before. My overall anxiety level has been higher than usual—I lay awake at night with crazy scenarios of catastrophe running through my head. Professionally, I am in that place where the last writing project is complete and I need to start a new one. That spot can be thrilling—but it can also be scary. Which project to pick? What if it doesn’t go well? A novel is a long-term commitment, I want to be sure I’m putting my time into the right project. I’m also querying, which in itself is not too stressful, but…what if someone actually wants to represent me? Wonderful, of course, but it would be a new chapter, a big change—and sometimes the fear of success is as paralyzing as the fear of failure.

It could be burnout. I haven’t had a real vacation in almost two years. What do you mean? I hear people saying. You’ve posted beach photos. You’ve been on vacation! I hear you. But that’s not the type of vacation I had in mind. A “real” vacation, for me, is when there’s nobody around. No husband, no child, no deadlines, no nothing. Just me. Now, I love my family, and I enjoy my work, but I am a classic textbook introvert. I need absolute solitude to truly recharge myself. My husband is wonderful and tries to get me some alone time on the weekends so I can relax, but it’s never quite enough (especially because I often spend it working, LOL). I am fast approaching the point where I have no social reserves left—and that saps energy from my creative well.

So which is it? I don’t know. The truest answer is, perhaps, both. I need to dig out of it, but am not quite sure how. I have joined a book club just to get myself reading (and reading outside my usual genres). The answer may be as simple as just making myself write. Just sit down and write something. Anything. Or maybe I need some outside accountability. After all, I submit my blogs on time.

I will slog through this morass as I have every other one, because I am nothing if not persistent. And I know all things come to an end, this slump included.

How do you re-motivate yourself when you hit a motivation desert?

Secrets: The Spice of Story

I’ve been thinking about secrets this week. We all have secrets. We’ve all kept secrets in our lives both for ourselves or for others. We are aware that everyone has secrets they keep.

Most of our secrets are light. A surprise party. An embarrassing thing we did when young. Our real age.

But some people carry heavy secrets. Ones that can eat at you, especially if you carry them a long time. Abuse. Infidelity. A crime.

While they can create difficulties in real life, secrets are what make our stories compelling—and I see three distinct kinds of secrets in a work of fiction.

One secret is the author secret. These are things the author knows that the reader doesn’t. All those questions we are taught to raise, especially at the beginning of the story,  are hints at secrets the author is keeping. In a well-written book, all those secrets will be revealed in due time.

A second is the reader secret. These are things the reader knows that the characters don’t. We all know the tense feeling of knowing the killer is hiding in the closet while the characters are blissfully unaware. These reader secrets build suspense in the story and make the reader a part of the experience.

The third kind are character secrets. These are secrets characters keep from each other. These make the story rife with  misunderstandings and conflict. Juicy stuff! One character may think another is betraying her, when really he is protecting her from something she doesn’t know about. Readers keep reading to see how the secrets get revealed and what the consequences will be.

Secrets in stories create the tension and conflict that draw people into your story.

And in real life, enjoy the light secrets that can be delightful to keep, but if you are carrying a heavy secret…consider that it may be time to finally put it down. Let someone help you carry the weight.

Juxtaposition: Create unease and highlight themes

Sometimes, life gives us contradiction and juxtaposition: when two things that shouldn’t go together are placed next to each other, heightening the contrast. For example, I distinctly remember that 9/11 happened on an absolutely gorgeous fall day. Bright sun, blue skies—the type of day that makes you want to stay home from work. And yet at the same time, the world seemed dark and clouded with smoke and debris. That such evil could happen on a day of such beauty struck me then and strikes me now.

On a different note, in my area the first day of spring brought 6 inches of snow and a snow day for my child. Very atypical, therefore bringing a sense of disorientation and unease to many of us in the area. Sure, we all laughed about it and dealt with it, but many were screaming “No more!” and meaning it. We couldn’t take one more snowflake—and still had a couple more snowfalls to weather beyond that date.

I experienced another jarring juxtaposition this past Easter Sunday. On the day Christians celebrate Christ rising from the dead, I attended a funeral. And, yes, Christians believe God raises the dead to everlasting life in Heaven, but the fact remained that the family grieved for the loss of their loved one here on Earth. One could look at the resurrection of family ties between people who had not seen each other in decades as thematically appropriate, but a funeral on Easter is discordant nonetheless.

We can use this use of contradiction and juxtaposition to great effect in writing. The Harry Potter character Dolores Umbrage comes to mind. A sweet exterior hid the evil inside making her far more appalling than if she had been overtly evil. Contradictions and juxtapositions can foster a subtle sense of unease or highlight something you want your reader to understand.

So when you are trying to raise a certain emotion in your reader, see if you can use opposites to enhance the feeling. Instead of a storm while your character’s inner turmoil is reaching its peak, how about a calm sunny day?

The Middle-Aged Muse

My 8-year-old daughter simply erupts with creativity. Every day she is dashing off new songs, drawing another segment of one of her comic strips, or writing a story. Her Muse works overtime.

My Muse, lately, doesn’t like to get out of bed. It’s hard for me to remember a time when the ideas came in such a flood. Nowadays it feels like everything comes in fits and starts. Creativity used to flow effortlessly, more ideas than I could ever write. I had multiple stories going at a time, and I churned out words like breaths. Now I’m lucky if I can write a coherent chapter in a day.

That’s what happens as you get older. Life gets busier, with more time-consuming responsibilities. I have less time to write, and less energy when I have time. Since I had my daughter, exhaustion has become a constant companion, and words jumble into gibberish in my fuzzy brain.

It’s not so much that my Muse has deserted me—it’s that she’s never sure when I’m coming to work, so she’s not always ready when I arrive. It’s like trying to guess what time to have dinner when everyone’s schedule keeps changing. And then when I do show up and we finally get rolling, my alarm goes off and I have to run, leaving her behind just when things are getting exciting. No wonder my Muse is pouty and petulant. She’s also cranky from sleep deprivation. It’s hard being a middle-aged Muse.

But when I get a few quiet hours, perhaps while driving to a book event, I start hearing her whisper. Ideas bubble up from the spring that’s been all but paved over with mom-duty tasks. And after a conference or a writer’s group meeting, my Muse burns through my soul like she used to and my fingers itch to grab a pen or find a keyboard.

My old Muse is still there, waiting for me. I just need to arrange my life so I can meet her. We’re both a little slower, a little creakier, with a little extra we-love-chocolate weight, but we’re still ready to tackle the next project together.

I watch my daughter’s bright flame, and it fans the spark in me. Life tries hard to extinguish the creative spark in us, and I am grateful for this little real-life Muse that fills my days with drawings and music. She connects me and my Muse with our younger selves, and reminds us of the passion with which we used to grasp each day.

After the Spring Break, I intend to make a standing date with my Muse.

How about you? Have you found your creativity changing as you get older?

Genealogy, Character, and Worldbuilding

It’s no secret that I love genealogy. I often say if I wasn’t a writer, I would have been a professional genealogist. The excitement of the chase and the thrill of finally finding that piece of evidence that proves a relationship would enthrall any mystery lover.

And it’s not just my family I enjoy researching. I will jump in and help anyone trying to solve a brick wall. Most genealogy buffs seem to share this insatiable urge to research, as evidenced by how willing people are to help others in many online groups.

Tonight I get to share some of the passion I have for genealogy with the South Jersey Writers Group. I’ll be talking about how my family history habit has crept into my writing, in the areas of character development and worldbuilding.

I’m a bit nervous about presenting,  but I am eager to share with this group. I’ve met some of these writers in other venues, and they are always warm and fun. I’m looking forward to a good discussion with them.

Do you have a hobby that invades your writing?

Veritas Synopsis

I have finished sending out my 50 queries for The Curse of the Pharaoh’s Stone. Now, I am starting on the list for Veritas. First, however, I need to assemble the materials usually required for submission. I have a query letter and a polished manuscript, but I need the final piece–the synopsis.

The synopsis can be a chore. Squeezing 80,000 words down to one page is never easy. Doing it without losing the voice, emotion, and energy of the novel often seems impossible. For many authors, writing the synopsis is a hair-pulling endeavor.

The book I am writing a synopsis forI liked the synopsis I did for Pharaoh’s Stone, so I decided to use the same process to create the Veritas synopsis. Since this novel has three POV characters, there is pretty much no chance of fitting the entire story on one page unless I pick a single character’s story to tell. Luckily, even though all the characters arc, Jinx’s story is the central line. So hers is the story the synopsis will tell.

First, I write a sentence or two about each chapter. Then I work on making each of those as emotional and active as possible. Doing this helps avoid the “and then”, “and then”, “and then” feel of many synopses. After that, I weave those summaries together into a seamless description of the story.

If I am lucky, this polished version will be about 3 double-spaced pages, the length of a typical “long” synopsis. If not, I tweak it until it fits. Next, I single-space what I have, because a 1-page synopsis needs to be single-spaced. This version will be about 1.5 pages long, but pulling out only half a page is not terribly daunting.

A final read-through, plus another set of eyes to find mistakes, and the synopsis will be ready. Then the querying can begin!

What is your synopsis-writing process like?

The Goose’s Quill Top Posts of 2017

At the end of every year, I look back and see what posts resonated most with my readers. This year’s top posts were a nice mix of writing posts and mom/life posts.

  1. Rejection: A Mother’s Perspective
  1. Public Speaking: 4 Circles of Fear
  1. Marketing Desert
  1. In the Query Trenches
  1. Someday
  1. A Safe Place to Recharge
  1. Time Travel: Philly to Phoenix and back in 52 hours
  1. 5 Ways Writing is like Physical Therapy
  1. When You Realize What You Were Missing

And the #1 post on 2017:

  1. Thoughts Inspired by Writers Resist Philadelphia

I hope you enjoyed some of these posts, and I hope to keep serving up posts my readers love in 2018! Have a happy and safe New Year, everyone!

Revision: 3 problems, 3 fixes

cover of manuscript revisionI’m deep in the revision of my YA SciFi manuscript VERITAS. Much of it involved minor mechanical fixes and flew along. Then I got to the ending.

My denouement  section was too long. My developmental editor suggested trying to get it to around 25 pages. After reviewing everything, I decided 30 pages was more realistic. I set my goal: trim from 64 pages to 30.

Once I dove into the revision, I found 3 recurring problems that inflated my ending.

Segmentation

I had several storyline arcs which I spread over multiple chapters. The love story had 3 chapters. The “consequences” storyline had 4. In addition, these events stretched over several days. Did I need to spend all that time and all those words?

Repetition

This revision problem piggy-backed on the segmentation issue. Having so many similar scenes meant I covered the same ground over and over. Even outside those chapters,  I tended to repeat myself, so repetition was an issue throughout the book, as well as the ending.

Addition

The denouement of a story should wrap up all the major loose ends. Taking place after the climactic scene, the denouement serves to allow the protagonist to process what has happened, and to settle into the new world she has helped create. Any major subplots also need to be resolved. What should NOT happen in a denouement is the introduction of new story questions. Leaving some minor things open is fine, but bringing up new “in your face” storylines is frowned upon.

So how do you fix those three problems with the ending?

Marked-up manuscript in revisionCombining

Segmentation can be solved by combining scenes. Creatively find ways where one scene fulfills the goals of what is now two related scenes. Sometimes it is as simple as shuffling two scenes together like a deck of cards, weaving bits of each to make a new whole. Other times it means throwing out the old scenes and writing a new scene from scratch.

Excising

Repetition is often most easily solved by cutting. Pick the moment that most poignantly embodies the idea or information you want to convey, and cut the rest. Alternately, you may be able to combine several of your favorite repetitive moments into a single scene that gets the point across.

Seeding

I added new storylines in the denouement of my story because I wanted to set things up for future books. The problem was not in wanting to leave clues for future books, the problem was visiting these potential storylines in deep detail. Instead, seed your denouement with hints that readers will remember when reading the next book. For example, I took a chapter and a half that examined new storylines and turned them into 4 lines of dialogue.

When your revision starts, look for these issues in your manuscript. Use these tips to fix them and make your manuscript tight and compelling.

Did I reach my goal? Not quite. I cut it from 64 pages to 34 pages. And unless my critique group sees a way to tighten it further, it will likely stay that way. I’m happy with it. The length feels right, and everything I needed in there is there.

What recurrent issues do you find in your manuscripts when you edit?

My manuscript before revision

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