Monthly Archives: February 2014

How to Write your Pivotal Characters

Embroidery

Pivotal Character:

The respected teacher, Lagos Egri writes about the importance of the pivotal character in your story.

Although Egri may have seen this character apart from the protagonist or antagonist, I believe this type is one which encapsulates the traits described below.

This character may appear in one of several guises, and may appear as the antagonist, protagonist, love interest, sidekick, mentor, and so on. In determining who is to be the pivotal character in your story, decide who will force your characters into action.

The pivotal character forces the conflict from beginning to end. He is the motivating power, the cause of conflict in your story—the driving engine of all stories. He experiences no doubt within himself about his course of action and knows immediately what he wants. Othello’s Iago is such a character. His function is to force the conflict to the bitter end, never backing down. He is relentless because circumstances beyond his control force him to be so. If an honest man steals, it’s not for excitement or gain, but because his family is starving, or he needs money for an operation for his child.

Whatever the reason, it must be an overpowering one. If the pivotal character stops forcing the conflict, the story skids to a halt. The pivotal character usually seeks change because he’s dissatisfied. She aggressively and relentlessly tries either to change or to maintain her status quo. A well-crafted pivotal character holds nothing sacred and feels that nothing can prevent her from reaching her goal.

The pivotal character knows where he’s going, and tries to bend everyone to go his will. If the antagonist refuses to go along with him, therefore, it’s not because the pivotal character didn’t push him hard enough. The pivotal character is an obsessively focused individual who sees only his own goal. He is reactionary, militant and passionate. This applies to good men or women as well as it does to criminals.

Here are some characteristics that make for fine pivotal characters:

Someone who wants revenge on the man who ran away with his wife.

Someone who loves a woman madly but must make money first to marry her.

Someone who is willing to give his life for his country, which he loves more than anything.

Someone who is greedy. His greed sprang from poverty and he exploits others because he fears hunger.

Someone who will stop at nothing and will destroy others to achieve his goal.

Someone who desperately and obsessively wants to achieve success in a specific job or profession and will stop at nothing to achieve that goal.

Summary

The pivotal character in your story (who can be drawn from one of several types—protagonist, antagonist, love interest, mentor), is the character who forces others into action and drives the story forward.

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If you enjoyed this post, or have a suggestion for a future one, kindly leave a comment and let’s get chatting. You may subscribe to this blog by clicking on the “subscribe” or “profile” link on the right-hand side of this article. I post new material every Monday.

Image: Hey Paul Studios
License: http://creativecommons.org/licenses/by/4.0/legalcode

How Good is Your Story?

Thumbs upAs an author, and a lecturer in the craft of storytelling, I am often asked, in the first instance, and required, in the second, to evaluate work that is presented to me. I am, and always have been, uncomfortable with assigning numerical values (marks) to stories. Stories are not algebra. The final product is not right or wrong. Stories are works of art, and as such, are as slippery as eels. They are, to some extent, subject to taste, to audience/readership preferences, and to the current popularity of specific genres.

Here, I am not referring to grammatical errors, faulty sentence construction, spelling mistakes—to editing. Those are all perfectly quantifiable. I am talking about the perceived worth of more nebulous concepts such as “up” versus “down” endings, relevance of theme, effectiveness of writing style, and even to such technical aspects as judging whether the right balance between characterisation and the relentless forward thrust of the story, has been achieved.

In the past few days I have had to provide guidance regarding the appropriateness of selecting one director over another for study, asked to evaluate a story-in-progress by an indie colleague, and implored to give a rating, as a number out of ten, of a completed first draft of a novel by another.

My answer to the first request was that any director whose body of work has solicited varied opinions, and is of interest to the student, is worthy of study; to the second, that the writer finish the story before seeking the opinion of others; to the third, that I would not give a mark out of ten, but I would offer my opinion as to whether I thought the story to be poor, show promise, or be ready-to-go.

This reluctance to provide a hard judgment on stories is less an indication of temerity or ignorance on my part than it is a response to the changing environment of story reception. Certainly, with regard to indie films and novels, the public is the ultimate judge of whether a story will sink or swim. I know of many instances where work has been turned down by publishers and producers and then has gone on to achieve extraordinary success on amazon, or through Internet channels such as YouTube, resulting in burgeoning writing and film making careers on the part of the writers and filmmakers.

Does this challenge the belief that some works are genuinely better than others? Certainly, not in terms of quantifiable technical aspects that are subject to proper editing; but it does acknowledge the proliferation of relativism with regards to theme and subject matter. In a fast-changing, technologically-driven world where the boundaries of nationality and personal identity (and, by implication, genre), are bleeding into each other, these aspects of a story are a lot harder to pin down, let alone, evaluate. My advise to story tellers is simply this: Write your stories to the best of your ability and let your readership or audience decide on whether they succeed or fail.

Summary

The success or failure of your stories, especially for indie writers and filmmakers, ultimately lies in the hands of your readership or audience. Solicit the opinion of experts on technical aspects of your work, but leave the judgment about your subject matter and its stylistic treatment to the latter.

Invitation

If you enjoyed this post, or have a suggestion for a future one, kindly leave a comment and let’s get chatting. You may subscribe to this blog by clicking on the “subscribe” or “profile” link on the right-hand side of this article. I post new material every Monday.

Image by Barry Solow