Since character is fundamental to storytelling, it is helpful to understand the intricate relationship between character, action and story on a scene-by-scene basis—and that involves understanding the role of desire and fear in initiating action.

I propose a schema in which the writer inputs both the character’s (1) desire for the goal, and (2) his fear in trying to achieve it, (informed by present challenges as well as past wounds), into a kind of story-mixing device which then (3) motivates the character, resulting in (4) action. Action, in turn, blends with that of other characters, resulting in (5) narrative events that comprise the story.

Too often, we get lost in the story we want to tell. This can turn our characters into mere puppets serving the plot. What is useful about this schema is that it forces us to think about a character’s motivation for the actions he initiates. It draws our attention to the character’s inner life—his wounds, hopes and fears. 

“Desire and fear plug into motivation, which initiates character action.”

Further, if we apply the schema at the major turning points of the story—the first turning point, the mid point, the second turning point and the climax—we can more effectively combine the physical journey of the tale with the inner journey of the protagonist and other characters. 

Additionally, the schema is expandable. It forces us to think about the character’s  past—to ask, what are the roots of his hopes and fears? In short, it encourages us to think about backstory elements that help explain his motivation.

Consider the scene in which Breaking Bad’s Walter White steps inside the den of the psychopathic drug dealer, Tuco, to retrieve the meth Tuco stole from his partner, Jesse Pinkman after beating him up. What Walter really wants, however, is for Tuco to distribute his meth. Walter is patted down by Tuco’s goons and seems destined for the same treatment Jessie received.

What is Walter’s motivation for such a seemingly foolish, suicidal mission? 

Let’s analyse this powerful scene in terms of our schema: Walter’s (1) desire is to get Tuco to pay for the meth he stole, compensate Jesse for the beating he gave him, and agree to distribute the meth Walter and Jesse produce. His (2) fear is that Tuco will kill him there and then! His (3) motivation for the (4) action that follows stems from his growing confidence, based on the quality of his product and the opportunity to build up his meth business through Tuco.

He threatens Tuco that if he does not let him leave unharmed he will blow every one up with the chemicals he has brought with him disguised as meth. To prove his point he throws a shard of ‘product’ on the floor causing an explosion. (5) The result is that not only does Tuco pay Walter for the meth he stole from Jesse, he pays for having beaten him up too. What’s more, Tuco orders a large shipment of meth from Walter and agrees to pay up front for it! Walter has more than succeeded in gaining his goal.

This is a brilliant scene, from a brilliant series, and one that can be understood by applying the input-output schema I have offered above. 

Exercise: Pluck out the protagonist from one of your stories. Ensure that your protagonist exhibits a mixture of desire and fear which motivates his actions, especially at the turning points.

Summary

Input a character’s desire and fear into the mix to determine that character’s motivation for action.