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?

The Premise in Fiction

I recently got my manuscript The Egyptian Enigma back from developmental editor Kathryn Craft. Her 20-page evaluation highlighted the strengths and weaknesses of the manuscript. Luckily, much of it was good!

The main problem with the manuscript was that it lacked enough focus to really pull everything together. The plot wandered into odd places, and the characters didn’t always seem to have purpose behind their actions. As soon as I read this, I agreed—it was something that had bothered me but I couldn’t explain it.

Kathryn’s solution was 2-part:

1) clarify my protagonist’s goal so I could trim away the scenes that did not directly forward or obstruct his reaching that goal

I can do that!

2) stay true to the underlying premise of the book.

Excuse me, the what?

The Premise.

Now I’m in trouble, because I have no clue what that is.

Luckily, Kathryn is awesome, and she explains in great detail in her evaluation what a premise is and why it’s important: “A premise is kind of like a moral but not as didactic—it is your story’s raison d’etre. The structure of your premise will suggest story movement. That structure is typically:____________ leads to ___________.”

I have two co-authors whom I will have to talk to before crafting a final premise, but for the purposes of this post I will state the premise as: “Digging up information from the past leads to solutions for a better future.”

Having an underlying premise will help guide what plot points are needed to move the story forward. All plot points will show the protagonist “digging” into things, all of which will lead him into deeper trouble. But since we have a premise in place, we will be able to identify any scenes or plot points that are irrelevant and therefore can be cut.

Having an underlying premise also allows you to use your characters to deepen or to refute that premise, thus giving the characters more purpose and stronger arcs. My protag believes the past holds the key to a better future, and so digs at things perhaps best left buried. His brother believes that digging into the past is fruitless and painful and therefore should be avoided. You can also have characters with related premises, such as a woman digging into the past to try to understand and come to terms with her husband’s murder, or a girl digging in the past to gain the attention and favor of her mother in the present.

So having a strong underlying premise helps bring your plot into focus and helps you find new and deeper emotional roles for your supporting characters. A premise is, as Kathryn stated, a moral, but it is also a worldview held by the main character. This will shape the main character’s actions (and thus the plot) and bring him into conflict with people who do not hold the same worldview.

Now that we know what a premise is, and what the function is, my co-authors and I can hammer out a premise to act as the underpinning of our novel. Once we have that and our character’s goal, knowing what to cut or rearrange or rewrite should become much clearer.

Kathryn said that the character’s goal should be like a strung arrow pointing the way to the climactic ending.

If that is the case, then the premise is the bow holding the arrow up.

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