How to Measure Motivation by Randy Ingermanson | Advanced Fiction Writing

How to Measure Motivation

 

by Randy Ingermanson 

 

Advanced Fiction Writing

 

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Practically everything in fiction eventually comes down to your characters’ motivations. The lead character in your story wants something, One Thing. 

It’s tempting to say that the strength of your story is directly proportional to how much your lead character wants that One Thing. 

But that’s false. It’s so far from being true, it’s not even wrong.

Let me explain how you measure motivation. I’ll do that by telling you a little story…

Back in August, most of America took a day off to watch the total eclipse of the sun. By good luck, the path of totality came very close to where I live. We were scheduled to see 99% coverage at my house. Which is not bad, but I wanted more.

On the day of the eclipse, my daughter and I got up early, packed our gear, and left the house at 4 AM to beat the traffic. We drove for a couple of hours until we reached a friend’s house in Salem, Oregon, dead center in the path of totality.

Then we waited for a few hours to watch the show. 

When it was over, we waited several hours for the traffic to die down, then headed north. The freeway was slogging along at parking lot speeds. After an hour of that, we took an exit and zigzagged across the countryside on back roads, using our phones to navigate. It took us four hours to get home.

The trip burned an entire day, and it was quite an adventure, just to see two minutes of eclipse.

Why’d we do all that, when we could have watched the eclipse from our own back yard?

Because 99% isn’t 100%. It’s not even close. I watched the coverage go from 0% to 99% and it was qualitatively the same thing. Sure it was less and less sunlight, but sunlight is sunlight. Then I watched the last little bit of the sun wink out, and a hole appeared in the sky where before there had been blinding light. A hole is not sunlight.

The difference between 99% and 100% is huge. They are different kinds of things, not different amounts of the same thing. The reason is because 99% totality is 1% sunlight, whereas 100% totality is a hole in the sky—no light at all. 

Something is qualitatively different from nothing. 

When you have the chance to see a total eclipse of the sun, you should take it. The opportunity doesn’t come along very often.

But I’m not entirely sure what I’ll do when the next total eclipse comes along. I’ve seen one and it was pretty cool. But I’ve seen one and I don’t feel a strong need to see another. If it’s convenient next time, I’ll probably go watch. Otherwise, I might just give it a pass.

Now contrast my attitude with those people who get addicted to seeing total eclipses. They’ll spend thousands of dollars. They’ll take days to reach the zone of totality. They’ll camp out in insanely terrible places. They’ll charter boats or airplanes to get themselves to exactly the right spot at exactly the right time. They’ll risk the possibility of a rain-out or cloudy weather.

All for an experience that never lasts longer than seven minutes.

That is some serious motivation.

These eclipse addicts are all-in. Whereas I’m not all-in.

My level of motivation to see a second eclipse is 99%. Theirs is 100%. 

Those are qualitatively different motivations. When you’re all-in, when you’re 100% motivated, you’ll do anything, no matter how crazy, to feed your need. 

When you’re not all-in, when you’re only at 99% motivation, you’ll do whatever’s convenient.

Write stories about characters who are all-in on their story. 

Characters like Luke Skywalker, who’ll do anything to defeat the Evil Empire.

Like Lizzie Bennet, who would never think of marrying a man unless she loved him 100%.

Like Katniss Everdeen, who’ll do whatever it takes to survive the Hunger Games.

If your lead character is all-in on your story, then your readers will be all-in too.

If your lead character isn’t all-in, then you won't be either, and neither will your readers.

That’s how you measure motivation. All-in. Or not all-in. As Yoda once said, “Do, or do not. There is no try.”

Homework

• What is the One Thing your lead character wants?
• How bad does she want it? Does she want it 100%? Or only 99%?
• If she’s not all-in on that One Thing, then fix your story or kill it.
  

 

About The Author

Randy Ingermanson is a theoretical physicist and the award-winning author of six novels. He has taught at numerous writing conferences over the years and publishes the free monthly Advanced Fiction Writing E-zine.

 

 Randy Ingermanson Books at Amazon

 

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A Quick Note on Personality Types for Writers: Developing Compelling Characters for the Novice Writer by Ryker J. Phoenix

A Quick Note on Personality Types for Writers: Developing Compelling Characters for the Novice Writer

by Ryker J. Phoenix

 

Character development plays a crucial role in storytelling, and as a writer, understanding the intricacies of personality types can greatly enhance your ability to create compelling characters. By exploring different personality traits, you can craft multidimensional and relatable characters that captivate your readers. In this article, we will delve into a few key personality types that can serve as a valuable framework for character development.

1. The Introvert vs. the Extrovert:

Understanding the fundamental differences between introverts and extroverts is essential for creating authentic and multidimensional characters. Introverts are typically introspective and reserved and draw energy from solitude. They often prefer calm surroundings and thrive in their own company. On the other hand, extroverts are outgoing social creatures and gain energy from being around others. They are more likely to seek stimulation and enjoy being the center of attention.

By exploring the traits associated with introversion and extroversion, you can shape your characters' behaviors, preferences, and interactions. How they respond to social situations, the types of relationships they form, and their emotional reactions will all be influenced by their position on the introversion-extroversion spectrum.

2. The Thinker vs. the Feeler:

The thinkers and feelers represent another important dimension of personality. Thinkers tend to make decisions based on logic, rationality, and objective analysis. They prioritize facts and efficiency and often approach relationships from a more detached perspective. Conversely, feelers are driven by emotions, empathy, and subjective values. They place importance on personal values, harmony, and the emotional impact of their decisions.

This distinction can help you shape your characters' decision-making processes, their moral compass, and how they form connections with others. Thinkers may make decisions that prioritize logic and practicality, while feelers might make choices based on emotional considerations or empathy for others.

3. The Optimist vs. the Pessimist:

The outlook a character has on life can drastically shape their personality and actions. Optimists tend to have a positive perspective, seeing opportunities in challenges and having a hopeful view of their future. They are resilient, persistent, and often inspire others. Pessimists, on the other hand, have a more negative lens through which they view the world. They tend to anticipate failure, focus on obstacles, and struggle with self-doubt.

By exploring the traits associated with optimism and pessimism, you can add depth to your characters' personal journeys. How they navigate adversity, their motivations, and the overall tone of your story can be influenced by their perspective on life.

4. The Leader vs. the Follower:

Leadership qualities, or the lack thereof, can greatly impact your characters' roles and interactions within your story. Leaders are confident, assertive, and possess the ability to influence others. They take charge, set goals, and make tough decisions. Followers, on the other hand, may lack confidence or prefer to take a subordinate role. They are more comfortable following others' lead and may struggle with decision-making.

Understanding the dynamics between leaders and followers can create tension and conflict within your story. The interplay between characters with strong leadership qualities and those who prefer to follow can generate interesting plot developments and character arcs.

It is important to note that these personality types are not mutually exclusive, and most characters will exhibit a combination of traits from various categories. Furthermore, each individual is unique, and your characters should reflect that complexity. However, by using these personality types as a starting point, you can create characters that feel authentic, relatable, and engaging to your readers.

In conclusion, understanding personality types is a valuable tool for writers to develop compelling characters. By exploring traits such as introversion vs. extroversion thinking, optimism vs. pessimism, and leadership vs. follower tendencies, you can bring depth and authenticity to your characters' personalities. These traits shape their behaviors, motivations, and interactions, allowing your readers to connect with them on a more profound level. So next time you embark on character development, consider the influence of different personality types to create vibrant and captivating individuals within your story.

Also see:

• 16 Personalities 
• 16 Personality Types
•  The Myers & Briggs Foundation

 

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A Quick Note on Writer's Block for the Novice Writer by Ryker J. Phoenix

A Quick Note on Writer's Block for the Novice Writer

by Ryker J. Phoenix

 

Writing is not always an easy task. There are times when your mind gets stuck and you can't seem to find the right direction to take your story. You may feel alone in the middle of the woods, unsure of which path to take. In moments like these, it's important to remember the advice, "Don't sit down in the middle of the woods. If you're lost in the plot or blocked, retrace your steps to where you went wrong. Then take the other road. and/or change the person. Change the tense. Change the opening page."

Retracing your steps is a crucial step in writing. It allows you to go back to a point where you felt more confident and had a clear direction. This can be compared to having a map that you can refer to when you get lost. By retracing your steps, you can see where you went wrong and determine what caused you to feel stuck. You can then take a different path and move in a new direction.

Changing the person or tense is another way to find inspiration and get back on track. Sometimes the issue may not be with your plot or characters but with the way you are telling the story. Changing the person or tense can give you a fresh perspective and help you see the story from a different angle. This might be exactly what you need to jumpstart your creativity and make progress in your writing.

Changing your opening page can also be a helpful strategy. The opening page is the first impression your reader will have of your story, so it's important to make it engaging and captivating. If you're struggling with the rest of your story, going back to the beginning and changing the opening can help you find the spark you need to continue. You might find that a different opening sets a different tone for the whole story and that new inspiration comes flooding in.

When faced with writer's block, it's important to stay calm and not give up. Everyone, even the most successful writers, goes through periods of creative drought. I have to reiterate the advice to "Don't sit down in the middle of the woods. If you're lost in the plot or blocked, retrace your steps to where you went wrong. Then take the other road. and/or change the person. Change the tense. If you change the opening page, you can get back on track and continue making progress on your story.

It's important to note that every writer's creative process is unique, and what works for one person may not work for another. However, these strategies are time-tested and have helped countless writers overcome writer's block. It's up to you to experiment and find what works best for you.

For some writers, taking a break is the best way to overcome writer's block. This may mean stepping away from your writing for a few hours, days, or even weeks. During this time, you can focus on other aspects of your life and allow your mind to reset. This can be particularly helpful if you've been working on the same project for an extended period of time. When you come back to it, you might find that you have a new perspective and fresh ideas.

Another helpful strategy is to do writing exercises. This can be a great way to challenge yourself and flex your creative muscles. Writing exercises can range from simple prompts that give you a starting point to more elaborate exercises that require you to think outside the box. Some writers also find it helpful to keep a journal to jot down ideas or freewrite when they're feeling stuck.

In conclusion, writer's block can be a frustrating and discouraging experience, but it doesn't have to stop you in your tracks. By retracing your steps, changing the person or tense, changing the opening page, taking a break, or doing writing exercises, you can overcome writer's block and continue making progress on your story. Remember that everyone experiences writer's block from time to time and that it's a natural part of the creative process. With patience, persistence, and a willingness to try new things, you can push through and produce work that you're proud of.

Also see:

• How to Force the Muse and Eliminate Writer's Block

 

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A Quick Note on Creating Characters Your Readers Will Love and Follow from Beginning to End, for the Novice Writer

A Quick Note on Creating Characters Your Readers Will Love and Follow from Beginning to End, for the Novice Writer

by Ryker J. Phoenix

 
 

Who are the characters that make up your story, and how have they developed and grown throughout the narrative? Without their depth, emotions, and motivations, a story can feel lifeless and unfulfilling.

First, strong and well-developed characters allow readers to connect with the story on a deeper level. A reader invests time and energy in caring about characters and their journeys. They want to see them grow, succeed, and overcome their obstacles. For instance, Harry Potter would not have become one of the most beloved book series of all time without distinctly unique and well-developed characters such as Harry, Ron, Hermione, Dumbledore, Voldemort, and Severus Snape. Readers were fully invested in their lives, and because of the individual complexity and depth of each character, the story became more relatable and engaging.

Furthermore, audience engagement is what sets apart good stories from great ones. Characters are what drive the plot and enable the action to occur. Without the unique perspectives and motivations of each character, every event and interaction would take on a generic and uninteresting tone. For example, in the epic Game of Thrones, the nuanced and flawed characters give depth and meaning to the conflicts and political schemes of the fictional world of Westeros. The characters' complex moral and ethical codes reveal the human nature of each one, giving readers a deep understanding of the challenges the characters face.

In addition, the character arc, which leads to their evolution and growth throughout the story, is a significant factor in the audience's engagement. Characters who experience growth and change are more memorable and relatable as they overcome the trials they face. A character who always remains static may become dull and predictable, and the audience may quickly lose interest. For example, the character of Walter White in Breaking Bad goes from a mundane chemistry teacher to a ruthless drug kingpin, showcasing his gradual transformation throughout the series. Walter White's evolution increases viewer engagement and keeps readers hooked until the end of the story.

In conclusion, strong, compelling, and well-developed characters are essential to a captivating plot. Without this element, a story can fall flat and leave readers unsatisfied. The depth and complexity of characters their motivations and their growth contribute to their relatability and evoke the audience's emotions. Ultimately, the characters leave lasting impressions in the minds of the readers, making them the heart of any great story.

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A Quick Note on Characters: Round and Flat, Major and Minor Writing for the Novice Writer

 

 

A Quick Note on Characters: Round and Flat, Major and Minor Writing for the Novice Writer

 

by Ryker J. Phoenix

 

 Characters are the heart of any good story, and they come in many different forms. In literature, characters can be divided into several categories, including round and flat characters, and major and minor characters. Understanding these distinctions can help readers better understand the role that characters play in the story and the different ways in which they are developed.

Flat characters are those that are relatively one-dimensional and do not undergo significant changes throughout the course of the story. These characters are often used to provide exposition or to move the plot forward, but they do not typically have complex motivations or relationships. Examples of flat characters might include the sidekick in a superhero movie or the stock characters that populate a romance novel.

On the other hand, round characters are those that are multi-dimensional and have more complex motivations and relationships. These characters undergo significant development throughout the course of the story, and readers are able to see them grow and change over time. Round characters often have internal conflicts, motivations that are not immediately apparent, and unexpected actions or decisions that challenge readers' expectations.

Major characters are those that play a significant role in the story and are often central to the plot. They are typically the characters that the story revolves around, and they may have dynamic relationships with other characters or experience significant shifts in their own personalities or values. Examples of major characters include the protagonist in a novel or the main character in a film.

Minor characters, on the other hand, are those that play a smaller role in the story. They may provide secondary plotlines or support for the major characters, but they do not typically have as much development or screen time as major characters. Examples of minor characters might include the friends or coworkers of the main character or the supporting players in a sports movie.

Understanding the distinctions between round and flat characters and major and minor characters can help readers better appreciate the complexity of the characters in a story and the ways in which they contribute to the narrative. By examining the traits, motivations, and relationships of each character, readers can gain a deeper understanding of the story's themes and messages. Whether in literature, film, or television, well-developed characters are key to creating engaging and memorable storytelling experiences.

 

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Writing a Novel is Like Cutting a Path Through the Jungle by James Salter | Writing Quote

Writing a Novel is Like Cutting a Path Through the Jungle

 

by James Salter

 

 If you’re writing a novel, I would say it’s like cutting a path through the jungle. You’ve got a machete and you don’t know exactly where you’re going except you’re heading east and the rest of it is luck each day and you get tired. You’re exhausted on this long march, which is the book, so if you don’t have some discipline, it’s going to take you a very long time. You may not finish; as a matter of fact, you may abandon it, turn back. 

 

About the Author 

James Arnold Horowitz (June 10, 1925 – June 19, 2015), better known as James Salter, his pen name and later-adopted legal name, was an American novelist and short-story writer. Originally a career officer and pilot in the United States Air Force, he resigned from the military in 1957 following the successful publication of his first novel, The Hunters. Wikipedia

James Salter books at Amazon

A Quick Note on Tropes in Genre Writing in Fiction Writing for the Novice Writer by Ryker J. Phoenix

 

A Quick Note on Tropes in Genre Writing in Fiction Writing for the Novice Writer

 

by Ryker J. Phoenix

 

 Tropes are often used in literature as a way to create familiarity and provide a sense of structure to the story. They are commonly used because theyhave been successful in the past and resonate with readers. However, overuse of tropes can lead to predictable and mundane storytelling.

A trope can be a plot device, such as the hero's journey or love triangle, or a character attribute, suchas the brooding anti-hero or the wise mentor. These tropes have become so ingrained in the genre that they are now seen as commonplace and expected by readers.

One of the most common tropes in literature is the love triangle. This occurs when a protagonist is torn between two love interests, often with very different personalities or backgrounds. The love triangle trope can be found in many genres, including romance, young adult, and even science fiction.

While the love triangle can add drama and tension to a story, the overuse of this trope can become formulaic and predictable. The same can be said for other popular tropes such as the chosen one, the underdog, and the revenge plot. These are all tropes that have been used so often that they have lost their originality and impact.

One of the dangers of relying too heavily on tropes is that they can lead to flat and stereotypical characters. For example, the "damsel in distress" trope portrays women as weak and helpless, while the "macho hero" trope depicts men as emotionless and invincible. Using these tropes perpetuates harmful gender stereotypes and limits the range of character development.

However, when used effectively, tropes can add depth and nuance to a story. They can be subverted or twisted to create unexpected twists and turns. For example, in the movie "Frozen," the true love between sisters subverted the traditional romantic love triangle trope.

In conclusion, tropes are a common and expected part of literature. While they can be effective in creating familiarity and structure, they should be used carefully and judiciously. Overusing tropes can lead to predictable and formulaic storytelling, while subverting tropes can add depth and nuance. Ultimately, it is up to the writer to use tropes in a way that enriches the story and breaks new ground.

 

Also see:

• Romantic Tropes: Guide to Help Romance Novel Writers
•  4 YA Fantasy Tropes That Aren't Overdone and How to Write Them
•  80 Sci-Fi Tropes for Writers
•  Why You Should Create Your Own Genre
   

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