Making the unlikeable acceptable

I remember a tutor, a long time ago, used the example of Jack Nicholson in As Good as it Gets to prove his point that a protagonist does not have to be likeable. It’s a good example because if I ran into Melvin Udall in my daily life, I would change course immediately. Despite his excellent points, to date all of my protagonists are likeable, or at the very least, sympathetic.

Read more

Dead ends and beliefs

Ever written yourself into a dead end? I do it on a regular basis. It usually goes like this: my plan is in place; the plot looks vaguely comprehensible; the script or book is on its way. Then things take an unexpected turn. I follow the turn, then the next. But then it happens: I reach a place where there is no realistic way things can work out well. Worse: I have no idea where I am or how much I have to rewrite!

Read more

Writing painful truths

We all have a friend, relative or co-worker whose life is an endless stream of misfortune and drama. Being there to unpack the mounting job losses, horrible ex-boyfriends or credit card debt is often an exercise in futility. This is because people who float down this metaphorical stream are often unwilling to look inwards and accept the painful truths that might change their course. This is not so for your protagonist.

Read more

Reacting to darkness

If I had to summarise how to reveal the character of your protagonist in simple terms, it would be show how your character reacts to things that happen. Notice, it’s not just a reaction to things that happen to them, but generally. One of the darkest things that can happen around your protagonist is the death of someone close to them. This is why it is so revealing.

Read more

Creating memorable characters

They elicit potent emotional responses from the reader. They stick in readers minds and sometimes become cult icons. And despite what you may think, they do not have to be likeable.

Read more

Following your characters

Getting to know a new character could be like hiking: you follow a map, you get to the destination. The writer leads the charge, using a well drawn “map” to take the characters on a journey. In my experience, character development is more often like hiking with a map drafted five hundred years ago.

Read more