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In-Depth Novel Planning
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Not that many people will see this at all, but if someone does, I hope it helps you write the amazing story I know you can.
I created an in-depth character sheet on google sheets that I’m also going to add more to; it already has conflict planning there, and I’m planning on adding “Outlining Your Plot” next. After that, there’ll be subplots, setting, and NanoWrimo Young Writer Program’s “Survival Tips” as reminders at the bottom.
You can comment on the sheet and I’ll get back to you as soon as possible. Just make a copy and you can start filling as much out as you deem necessary. Plenty of what’s in there doesn’t apply to many novels, but it should be everything you need to know about your character.
https://drive.google.com/file/d/1nSFnAeiwKfHq_jqXBrSYklHqG56Mr17C/view?usp=sharing
Let me know if this helped. I’d be happy to offer feedback on any writing as well, whether you use the sheet or not!
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i want to know about Michael 😢
omg adam,.. get ready.
michael adlington is my little boy king ... he’s a prince! he’s a pretty low down royal in actuality but a prince none the same... and he Does hate it and also the monarchy in general because fuck the monarchy. he lives at court!! his best friend is rosa branwen who is the daughter of the court magician. she’s kind of a legend... theyre a bit of a himbo and lesbian dynamic i have to say. he spends most of his time in like??? the greenhouse area. because that’s where rosa and her mum hang out (doing her magician shit). i think rosa lives like?? in quarters somehow attached to the greehouse.. so yeah. michael loves hanging out in the greenhouse he’s a little plant dad :)
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or maybe keaton earl??
if i rename merls to be called earl keaton then all my ocs names will end in n but also that is so cool….
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if i rename merls to be called earl keaton then all my ocs names will end in n but also that is so cool....
#i took these two names from the notes app on my phone where i keep a list of names.. for myself but that would be kind of sick as a oc name#idk... bros
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how can you tell if you are just Not Meant to be a writer? bc honestly ive been worrying about that for a while now, i love to write but didn't do it much at all as a kid... just interested in your thoughts if you want to share!!
hmmm—Some questions to ask yourself!
Does writing feel like a chore to you?
What sort of stories are you telling? Are they bland rehashings of other stories? Is there any originality to your story at all?
Can you go to a library and find five other stories exactly like the one you’re writing, no changes, nothing new and exciting whatsoever?
Would Stephen King like it?
Do you have a real genuine passion for writing, or do you just think it’s something easy that anyone could do?
Have you read many books? Did you stop at Harry Potter and The Hunger Games? Have you read anything that didn’t come from white American authors?
Are the stories you tell important? Are the stories you tell mean something to you? In a year, five years, could you stand by your work with pride, without expecting praise from anyone?
Can you take criticism? Can you handle being critiqued?
Are you a white person who likes “literature” but really never goes outside of the handful of “classics” written by other white people? Do you honestly think you could be the next Donna Tart?
Do you value cleverness over clarity? Are you open? Are you curious? Are you willing to grow without becoming defensive?
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i love all the words we have that mean traveler. i love the shades of difference between wanderer and rambler and rover. i love the boldness of adventurer and the purposefulness of explorer, the lawlessness of vagabond and the capability of wayfarer, the quiet reverence of pilgrim and the wild rootlessness of nomad.
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oh I want to hear about ocs.......who are they what are their relationship dynamics like !!
yay!!!
ok so to start we have my two ogs. michael adlington and rosa branwen. they are best friends!!! michael is a prince (boyking and knight dichotomy rise) and rosa is the daughter of the court magician so they grew up together and they just!!! love each other so much. bro. they. i have tags on here for them and their pinterest boards so u can look through to get the vibes.
i have other ocs as well but i…. havent fleshed all of them out properly (maybe.. i should use my quarantine to start my project for realsies) BUT the other main one is merls *surname pending* who is a stable boy but is also maybe …. a magician…. *gasp* and maybe is a cheeky litol love interest for mr adlington. he also thinks that rosa is really cool and is always trying to impress her
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me: okay time to jump into the action scene
me: don’t say it
me: don’t say it
me: don’t say it
me: don’t say it
me: don’t say it
me: don’t say it
me: don’t say it
me: don’t say it
me: … “SUDDENLY”
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Marco Bozzato by Sofia Goncharenko – Haze Magazine (Winter 2020)
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time-displaced 1910’s boy in a little sailor suit found at a noise show frowning and shaking his head
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5 Moral Dilemmas That Make Characters and Stories Even Better
Readers can’t resist turning pages when characters are facing tough choices. Use these 5 keys to weave moral dilemmas into your stories–and watch your fiction climb to new heights.
#1: Give Your Character Dueling Desires
Before our characters can face difficult moral decisions, we need to give them beliefs that matter: The assassin has his own moral code not to harm women or children, the missionary would rather die than renounce his faith, the father would sacrifice everything to pay the ransom to save his daughter.
A character without an attitude, without a spine, without convictions, is one who will be hard for readers to cheer for and easy for them to forget.
So, to create an intriguing character facing meaningful and difficult choices, give her two equally strong convictions that can be placed in opposition to each other.
For example: A woman wants (1) peace in her home and (2) openness between her and her husband. So, when she begins to suspect that he’s cheating on her, she’ll struggle with trying to decide whether or not to confront him about it. If she only wanted peace she could ignore the problem; if she only wanted openness she would bring it up regardless of the results. But her dueling desires won’t allow her such a simple solution.
That creates tension.
And tension drives a story forward.
So, find two things that your character is dedicated to and then make him choose between them. Look for ways to use his two desires to force him into doing something he doesn’t want to do.
For instance, a Mennonite pastor’s daughter is killed by a drunk driver. When the man is released on a technicality, does the minister forgive him (and what would that even look like?) or does he take justice into his own hands? In this case, his (1) pacifist beliefs are in conflict with his (2) desire for justice. What does he do?
Good question.
Good tension.
Good drama.
Another example: Your protagonist believes (1) that cultures should be allowed to define their own subjective moralities, but also (2) that women should be treated with the same dignity and respect as men. She can’t stand the thought of women being oppressed by the cultures of certain countries, but she also feels it’s wrong to impose her values on someone else. When she is transplanted to one of those countries, then, what does she do?
Construct situations in which your character’s equally strong convictions are in opposition to each other, and you will create occasions for thorny moral choices.
#2: Put Your Character’s Convictions to the Test
We don’t usually think of it this way, but in a very real sense, to bribe someone is to pay him to go against his beliefs; to extort someone is to threaten him unless he goes against them.
For example:
How much would you have to pay the vegan animal rights activist to eat a steak (bribery)? Or, how would you need to threaten her in order to coerce her into doing it (extortion)?
What would it cost to get the loving, dedicated couple to agree never to see each other again (bribery)? Or, how would you need to threaten them to get them to do so (extortion)?
What would you need to pay the pregnant teenage Catholic girl to convince her to have an abortion (bribery)? What threat could you use to get her to do it (extortion)?
Look for ways to bribe and extort your characters. Don’t be easy on them. As writers we sometimes care about our characters so much that we don’t want them to suffer. As a result we might shy away from putting them into difficult situations.
Guess what?
That’s the exact opposite of what needs to happen in order for our fiction to be compelling.
What’s the worst thing you can think of happening to your character, contextually, within this story? Now, challenge yourself—try to think of something else just
as bad, and force your character to decide between
the two.
Plumb the depths of your character’s convictions by asking, “How far will s/he go to … ?” and “What would it take for … ?”
(1) How far will Frank go to protect the one he loves?
(2) What would it take for him to stand by and watch the one he loves die when he has the power to save her?
(1) How far will Angie go to find freedom?
(2) What would it take for her to choose to be buried alive?
(1) How far will Detective Rodriguez go to pursue justice?
(2) What would it take for him to commit perjury and send an innocent person to death row?
Ask yourself: What does my character believe in? What priorities does she have? What prejudices does she need to overcome? Then, put her convictions to the ultimate test to make her truest desires and priorities come to the surface.
#3: Force Your Character into a Corner
Don’t give him an easy out. Don’t give him any wiggle room. Force him to make a choice, to act. He cannot abstain. Take him through the process of dilemma, choice, action and consequence:
(1) Something that matters must be at stake.
(2) There’s no easy solution, no easy way out.
(3) Your character must make a choice. He must act.
(4) That choice deepens the tension and propels the story forward.
(5) The character must live with the consequences of his decisions and actions.
If there’s an easy solution there’s no true moral dilemma. Don’t make one of the choices “the lesser of two evils”; after all, if one is lesser, it makes the decision easier.
For example, say you’ve taken the suggestion in the first key above and forced your character to choose between honoring equal obligations. He could be caught between loyalty to two parties, or perhaps be torn between his family obligations and his job responsibilities. Now, raise the stakes—his marriage is at risk and so is his job, but he can’t save them both. What does he do?
The more imminent you make the choice and the higher the stakes that decision carries, the sharper the dramatic tension and the greater your readers’ emotional engagement. To achieve this, ask “What if?” and the questions that naturally follow:
What if she knows that being with the man she loves will cause him to lose his career? How much of her lover’s happiness would she be willing to sacrifice to be with him?
What if an attorney finds herself defending someone she knows is guilty? What does she do? What if that person is her best friend?
What if your character has to choose between killing himself or being forced to watch a friend die?
Again, make your character reevaluate his beliefs, question his assumptions and justify his choices. Ask yourself: How is he going to get out of this? What will he have to give up (something precious) or take upon himself (something painful) in the process?
Explore those slippery slopes. Delve into those gray areas. Avoid questions that elicit a yes or no answer, such as: “Is killing the innocent ever justified?” Instead, frame the question in a way that forces you to take things deeper: “When is killing the innocent justified?” Rather than, “Does the end justify the means?” ask, “When does the end justify the means?”
#4: Let the Dilemmas Grow From the Genre
Examine your genre and allow it to influence the choices your character must face. For instance, crime stories naturally lend themselves to exploring issues of justice and injustice: At what point do revenge and justice converge? What does that require of this character? When is preemptive justice really injustice?
Love, romance and relationship stories often deal with themes of faithfulness and betrayal: When is it better to hide the truth than to share it? How far can you shade the truth before it becomes a lie? When do you tell someone a secret that would hurt him? For example, your protagonist, a young bride-to-be, has a one-night stand. She feels terrible because she loves her fiancé, but should she tell him what happened and shatter him—and perhaps lose him—or keep the truth hidden?
Fantasy, myth and science fiction are good venues for exploring issues of consciousness, humanity and morality: How self-aware does something need to be (an animal, a computer, an unborn baby) before it should be afforded the same rights as fully developed humans? At what point does destroying an AI computer become murder? Do we really have free will or are our choices determined by our genetic makeup and environmental cues?
#5: Look the Third Way
You want your readers to be thinking, I have no idea how this is going to play out. And then, when they see where things go, you want them to be satisfied.
There’s a story in the Bible about a time religious leaders caught a woman committing adultery and brought her to Jesus. In those days, in that culture, adultery was an offense that was punishable by death. The men asked Jesus what they should do with this woman. Now, if Jesus had told them to simply let her go free he would have been contravening the law; if, however, he told them to put her to death, he would have undermined his message of “forgiveness and mercy.”
It seemed like a pretty good trap, until he said, “Whoever is without sin among you, let him cast the first stone.”
Nicely done.
I call this finding the Third Way. It’s a solution that’s consistent with the character’s attitude, beliefs and priorities, while also being logical and surprising.
We want the solutions that our heroes come up with to be unexpected and inevitable.
Present yours with a seemingly impossible conundrum.
And then help him find the Third Way out.
I hope this helped! I’ve been really busy today, seeing how my mom had surgery and I’ve been trying to continue writing my novel today as well. I thought I’d squeeze in some more stuff for you guys!
If you have any questions or just want to talk, feel free to visit my ask box!
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I am a(n):
⚪ Male
⚪ Female
🔘 Writer
Looking for
⚪ Boyfriend
⚪ Girlfriend
🔘 An incredibly specific word that I can't remember
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literally there is nothing on earth more fun than characters with powers that respond to their emotions like that is truly the best shit in the world
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i decided i wanted to actually try nanowrimo this year and brethren.. im plotting now and am excited because i may have finally figured out a feasible plot uwu
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sir that’s my emotional support story that I’ve been working on for five years that still has no conceivable plot
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heya i'm here to ASK so um what harry potter houses would u put ur ocs in?? and why!! feel free to ramble asjhkf
ooooh ok so i havent delved too deep into this because it feels like a commitment but i am going to do it for what i have decided about them already!!
these are my three like. core characters fdsgfsdf
Rosa – Slytherin
yeah rosa’s definitely a slytherin!!! of all my characters i think she is the most solitary, and through Circumstances has had to force herself to be ruthless and focus on herself which i think is a pretty slytherin trait!! however she is loyal as FUCK to michael so perhaps that is a more gryffindor trope. though in my opinion slytherin and gryffindor are two sides of the same coin so who! knows!
Michael – Hufflepuff
i think michael is a hufflepuff!! though maybe a ravenclaw? he’s a people pleaser but part of his development is having to go against what people want him to do. but!! i think it’s his reluctance to let people down and the fact that he struggles with his loyalties that make him a hufflepuff rather than a ravenclaw who might figure out a way to get around the issues? idk.
Merls – Slytherin/Ravenclaw
out of all my characters i think i know merls the least fdjsjsd but! he is a very snarky and dry humoured boy. and i think he knows what to do in many situations. Calm Cool and Collected is what he thinks he is. Michael Agrees. rosa does not. but yeah id say he’s a mix of ravenclaw and slytherin uwu
#m&r#rosa branwen#michael adlington#merls#this is hard to do when i dont have even half of my plot sorted but it was very fun!!!#bumblena#answered#ask me questions about my ocs!!!
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