A dramatic work has only one central character. There may be secondary characters of equal importance to the overall narrative, but in the vast majority of literary accomplishments from Dracula to Candide, Tootsie to RichardIII,Madame Bovary to Priscilla, Queen of the Desert, there is only one central character. This character’s motive—what he/she wants in terms of a goal or objective–drives the story. This is the engine, the seminal force of the action. Action is the operant word in story, fluid and unrelenting, not to be confused with activity, which is often casual and directionless. The central character’s determination to follow what is often an obsessive course propels the action. This energy connects us to the central character. This dominant skein in a story commands our attention.
This imperative may also be subtle. Take Shakespeare’s Romeo and Juliet;
It is the evening of my departure for my month long adventure to France. Some anticipatory butterflies are fluttering through my stomach. My bags and travel apps are packed. (And yes, I do need to recharge the battery). The kids have heard the Riot Act in a couple of different versions. Everything seems like a go, but I'm… Continue reading Tips for an Incredible Writing Weekend
How many ways are there to confuse a reader? I don't know because the reader will throw the book down when the writing bores or frustrates them to death.A couple of days ago I posted how writers confuse their readers. Here are five more, three from Dennis Mathis-Editor and two from my writing instructor Shelly Lowenkopf.6. Negative… Continue reading Ten Ways Writers Confuse Their Readers-Part II
mmmmound.blogspot.comTo avoid a twelve car pile up, I am approaching my NNWM project with a semblance of organization. Before I organize I need to review the fundamentals, stored away in a big purse somewhere, and see if I have most of the things I need to get my NNWM party started.Okay, so in the giant… Continue reading NaNoWriMo: Story Structure
Mona Alvarado Frazier 