7 (More) Things I Wish I'd Known as a Beginning Writer
1. The Central Relationship Needs an Arc and an Actual Plot
Many of us have been told we need a relationship plotline in our stories, but few of us have received any guidance on how to actually do that (unless, of course, you are writing romance).
And in my first novel attempt, back in the day, the central relationship was not romantic. I had an idea for what the relationship was like, but partway through the story, it wasn't working. And it was becoming super annoying.
What I didn't realize was that it was annoying because it was mostly static. Nothing was changing. The characters weren't growing closer together or further apart. Instead of the relationship plotline having "peaks" and "valleys," it was mostly just a straight line.
Of course, I knew it was going to change at the end.
But what I didn't understand was that it still needed a plot through the middle. 🤦♀️ Which means it still needed the basics of plot: goal, antagonist, conflict, consequences.
Not just interesting interactions and conversations. Not just banter and pastimes.
In my last post, I mentioned the three basic types of goals: obtain, avoid, maintain.
Well, in relationship plots, this translates into these three basic goals: grow closer to the person (obtain), push further away from the person (avoid), maintain the relationship as is (maintain).
The antagonistic force is whatever gets in the way of that. If your protagonist wants to draw closer to this person, then an antagonistic force should be pushing him away. If he wants to be apart from this person, then the antagonistic force should be pushing him closer. If he wants to maintain the relationship as is, then the antagonistic force is what disrupts that. This creates conflicts and should lead to consequences.
If you have a relationship plotline, it needs an actual plot.
2. Choose a Tentative Theme Early, to Better Shape and Evaluate Your Story
If you've been following me for a while, you probably know I consider these three things to be the triarchy (formerly known as "trinity") of storytelling: character, plot, and theme.
Each of these elements comes out of and influences the others.
This also means you can use each of these to help shape and evaluate the quality of the others.
It's much easier to write a solid story when you understand all three.
If you have only one or two pieces, it's harder to discern which ideas are just okay and which ideas are great. It's harder to discern what does or does not belong in your story.
The best ideas for your story are going to come from and touch each of those three things.
Most beginners are familiar with concepts of characters and plot.
Few know anything about theme.
And fewer still have the desire to learn anything about theme. It's often seen as unimportant or something that "just happens." Okay, sure, it could just happen. Maybe.
But writing your story will (in the long run) be much easier if you at least understand some basics about theme.
I have so much to say on theme, it could probably fill up a book (and maybe someday it will), but for now, if you want more information on it . . . I'd recommend starting with this article: The Secret Ingredients for Writing Theme. It breaks down the key elements of theme, which can give you a good foundation.
Even if your theme ends up changing a bit, starting with an idea in mind will help keep your story on track.
3. Your Story Needs a Counterargument
Remember when I was talking about theme, and implied I wasn't going to go into it that much more? Well . . . I guess I'm going to go into it a little more.
The thematic statement is the argument the story is making about life.
But it's not really an argument if no one is disagreeing.
This means your story needs a counterargument (I call this the "anti-theme").
This counterargument will often manifest within the protagonist (as a "flaw" or misbelief or something the character needs to cast off or overcome) and/or within the main antagonistic force.
It can technically show up in other places and in other ways, but let's keep this basic.
So if your story ultimately shows the audience that it's best to be merciful, then a counterargument for that could be that it's best to enforce justice (Les Mis).
If your story ultimately shows the audience that it's best to ask for, give, and receive help, then a counterargument for that could be that it's best to avoid, withhold, and refuse help and do everything yourself (A Man Called Otto).
If your story ultimately shows the audience that it's best to rely on faith, then a counterargument for that could be that it's best to rely on technology (Star Wars IV: A New Hope).
The two arguments are locked in a "battle" of sorts, similar to how the protagonist and antagonist are, because they are in opposition to one another (see #5 in previous article).
The arguments need to be "shown" more than "told." And the counterargument should be given fair weight, because doing so will actually make the whole theme (and plot and characters) stronger.
Here are some examples to think about:
4. Writing More isn't Enough to Take Your Work to a Professional Level
We are often told that if we want to be great writers, we need to write more. And this is true. To an extent.
I've worked with writers who had been writing for decades, but were still at a beginner level.
I have known writers who bent over backward to meet word count goals, only to end up with a pile of slush they couldn't see their way out of.
I myself have spent enormous amounts of time and words trying to write something brilliant.
But for the vast majority of people, putting in the time and word count isn't enough.
