The Paragon of Potential

The Paragon of Potential in fiction is the character that the protagonist looks up to and aspires to be. Sometimes these Paragons of Potential are mere side characters that the protagonist spends a little bit of time worshipping and seeking guidance from, and other times Paragons of Potential can be well woven into the story as integral to the protagonist’s personal journey.

Expanding on the principles from The Importance of Mentorship, I introduce this idea of The Paragon of Potential so these concepts can be incorporated in both your real life and in your fiction writing. It is my belief that humans are always striving to improve themselves, and what better way to gauge your own self worth than by comparing yourself to someone who already “has it all,” and can have a lot to teach us in how to improve ourselves?

Like in real life, mentors in a work of fiction can serve as an important catalyst for a character’s development, whether they are a momentary afterthought, or a character well baked into the overall narrative of a story. Today we are looking at three characters who are more than well baked into the narrative of one of my favourite shows; Cobra Kai.

The three types of Paragons of Potential in fiction are:

  1. The Perfect Mentor
  2. The Imperfect Mentor
  3. The Flawed Mentor

The Perfect Mentor: Mr. Miyagi

Mr. Miyagi From The Karate Kid training Daniel LaRusso.
Photo Credit: Delphi II Productions

Mr. Miyagi from The Karate Kid is the prime example of The Perfect Mentor. And what makes a good mentor is the student who follows in their teachings because the contrast between student and teacher is often what exemplifies the greatness of a mentor.

So enter in Daniel LaRusso, a hotheaded teen who moves to a new city and new school with his single mother. He is fed up with the unfamiliarity of the new environment and is in desperate need of male guidance to redirect all of his pent up aggression and frustration.

This is where Mr. Miyagi comes in to fill in the role of a bit of a father figure to him, teaching him not just the ways of Miyagi-Do Karate, but also very important life lessons metaphorized by the karate and kata. Mr. Miyagi does this all by remaining Zen, most especially when Daniel expresses resentment toward learning new things that are seemingly unrelated to karate.

For the most part, Mr. Miyagi is The Perfect Mentor because he does not seem to exude any flaws, save for his drinking habits and his broken English. But let’s be honest here, he’s only seen drinking once in the entire film series for a very good and heartbreaking reason, and the broken English makes his quotes all the more epic anyway, so he gets a couple passes over very benign “flaws” if you can even call them that.

Mr. Miyagi is The Perfect Mentor because he teaches Daniel the virtues of potential, patience, and perseverance, while also exuding those virtues himself without fail and without question. Potential meaning the malleability of the human spirit to adapt to any situation. Patience in the sense that that is what is required to master anything. And finally perseverance meaning the tenacity of the human spirit to survive.

Daniel lacks all these virtues at the beginning of The Karate Kid, but by doing chores for Mr. Miyagi that are at first seemingly unrelated to karate, he develops patience and perseverance because he is tapping into his potential. Then once he starts learning karate in the more direct way he was expecting, Daniel is shaped by Mr. Miyagi into becoming a more centered and disciplined young man.

We are all familiar with the whole wax on and wax off scene in The Karate Kid. For a lot of the movie you just watch Daniel doing all these chores including waxing Mr. Miyagi’s cars. Then just when he’s about to get fed up with not “actually” learning karate, Miyagi starts throwing punches and kicks at him, and Daniel is able to block the oncoming strikes.

All the hand motions required for painting fences, sanding floors, and waxing cars ingrained into Daniel’s muscle memory the exact kind of hand motions to block a variety of strikes coming from different angles. That’s the moment all his training clicks and he realizes what all those chores were actually for. It wasn’t just child labour on Mr. Miyagi’s part, he was indeed teaching him karate by not teaching him karate!

It’s an epic and monumental scene, probably one of the most iconic scenes in all of cinema.

Everybody needs a Mr. Miyagi in their lives. Yours and that of your characters in your writing. The Perfect Mentor is the one who practices what they preach and provide a ton of value and guidance to even the most broken of protagonists, showing once again the beauty of the human spirit’s ability to grow and adapt to whatever hardship comes its way.

The Imperfect Mentor: Johnny Lawrence

Johnny Lawrence training Miguel Diaz as the only student of Cobra Kai
Photo Credit: Netflix

Up next is The Imperfect Mentor Johnny Lawrence, the original antagonist to Daniel LaRusso in The Karate Kid. Three decades later he becomes the main protagonist of Netflix’s hit series Cobra Kai where Johnny goes on a journey to rekindle his love for karate and redeem himself for his troubled past.

Even from the very first scene we see him in The Karate Kid, we get the sense that he’s just an imperfect person. Johnny’s opening lines are about be an ex-degenerate who is willing to do better for himself for the following years of high school, but his motivation to do and be good is squelched when he sees Daniel chatting up his ex-girlfriend Ali.

In the original movie, Johnny spends most of his time being a snot nosed kid who picks on Daniel and blindly following the advisement of his mentor John Kreese, the original sensei of the Cobra Kai dojo. You really learn how to hate him throughout the movie in the way he terrorizes Daniel, but when Daniel defeats him at The All Valley Under 18 Karate Tournament, there’s a moment of goodness conveyed by Johnny in saying “you’re alright, LaRusso,” and humbly handing Daniel the first place trophy.

Then if you watch the second movie, you start to feel pretty bad for Johnny because Sensei Kreese breaks his second place trophy and starts trying to choke him to death until Mr. Miyagi comes to rescue him. Johnny pleads that he did his best, but Kreese says his best wasn’t good enough, and Mr. Miyagi’s words from the first movie hit ever harder:

“There is no such thing as bad student. Only bad teacher.”

You get the sense that Johnny was only trying his hardest to live up to the pressure Kreese had put on him to be a champion, even going insofar as to agreeing to cheating in the tournament. That was the day Johnny’s love for karate died and Cobra Kai had to shut down since it wasn’t good for business to know that the sensei is willing to assault one of his own students.

Now fast forward 30 years into The Karate Kid’s story timeline into the Netflix series Cobra Kai. Johnny is a broken man in his 40’s with not much going on his life. He’s an odd job repairman with an ex-wife and a son he’s both estranged from, lives in a tiny apartment, and is no longer surrounded by the luxury or loyalty of friends he once had in his golden days of high school.

It was almost as if losing that karate tournament sent him down a dark path throughout his adult years because that’s just how much karate meant to him. Without karate, his life lacked meaning. Not only did Daniel end Johnny’s two tournament winning streak, but his own mentor John Kreese has broken his spirit via nearly killing him for only getting a second place trophy.

One crappy night, Johnny witnesses his teenaged neighbour, Miguel, getting assaulted by a bunch of bullies. At first he tries not to mind them, but then they make a mess on his car, that’s when Johnny steps in. Using all karate he hasn’t used in three decades, he beats up a bunch of snot nosed high school kids to rescue Miguel. Miguel is then impressed by it and gets curious if he could learn some karate from Johnny so he can learn how to defend himself from bullies.

Johnny is reluctant at first, but after some events you just gotta see for yourself by watching the show, he decides to become Miguel’s sensei and open Cobra Kai back up under his ownership.

Miguel is a shy, quiet, and meek kid when he first steps into Cobra Kai, and Johnny being rough around the edges, teaches him how to have a bit of an edge himself instead of always being so straight and narrow. What makes Johnny The Imperfect Mentor is that while he does teach Miguel how to develop some more self confidence and take more proactive action, his methods are often quite aggressive, dangerous, and come from a place of repressed anger.

Johnny knows that life is tough and that to toughen someone up they must face insurmountable challenges that help them grow. While Johnny does teach other meek kids to stand up for themselves and develop self confidence, the first season shows that some of his methods lead to enlarged egos and short tempers because empowering the weakest among us can often mean that they inadvertently end up abusing the power that which they were lacking for so long.

Johnny Lawrence if The Imperfect Mentor because while he does provide value to his students, he can often seem callous in how he does it because some of his motives for teaching them toughness comes from a place of shame and guilt for when he was weak and aimless like they were.

To compensate he constantly insults them, undermines their character, and even creates legally questionable training methods that are meant to teach his students mental and physical toughness like seeing if they can out run rabid dogs and seeing if they can turn a cement spinner from the inside.

Needless to say, Johnny’s approach to teaching karate while not teaching karate is very different from Mr. Miyagi’s calm and peaceful approach of teaching it through safe and honest chores.

The Flawed Mentor: John Kreese

John Kreese and Johnny Lawrence at the All Valley Under 18 Tournament
Photo Credit: Delphi II Productions

Mr. Miyagi said it best, “there is no such thing as bad student, only bad teacher.” And John Kreese exemplifies this to the extreme. This is the kind of horrible mentor you should never want guiding you, but you can become susceptible to falling under the tutelage of if you’re desperate enough.

Case in point with Johnny Lawrence when he was younger.

The Flawed Mentor is the one who does nothing but challenge you. Mentors should challenge you rather than just give undying support because it’s within that challenge that a student can have a safe place to test out their skills. But without a healthy balance between support and challenge, a student might not grow.

If you get nothing but support, you won’t know where you can improve because everything you do is simply seen as good enough and there’s almost no point in being mentored in the first place. The inverse is true as well, if a mentor does nothing but challenge you then your confidence can be crushed and you will always be unsure of your progress as a student.

John Kreese is intense with his methods and teaches: “Strike First. Strike Hard. No Mercy.” A very ruthless approach to karate where the fundamental style is all offense and that the best defense is even more offense. This is discipline in its corrupted form because it leaves no room for compassion, even toward your own comrades, as substantiated in a sparring scene in the original movie:

Two Cobra Kai students are sparring and while one has knocked his classmate off his feet, Kreese advises the standing student to finish him off, and despite the hesitation, he strikes his classmate while he’s down to live up to the “No Mercy” mantra of Cobra Kai.

More of this kind of attitude is shown in Cobra Kai the Netflix series where Kreese instructs his students to be as lethal toward each other as they would to their rival dojo Miyagi-Do. This causes the students to have a very warped and entitled view of karate and the world, that the number one thing in life is winning at all costs. It doesn’t even matter whether you win with honour or not, in fact it’s encouraged to win by playing dirty if you have to.

Life isn’t fair so you should fight all the same, basically.

Johnny Lawrence as a sensei may be rough around the edges and quite aggressive toward his students, but he still fundamentally cares about them as people even though he doesn’t show it much. He reserves most of that for his star pupil Miguel, but otherwise he will throw the odd compliment and inspiring word here and there.

John Kreese on the other hand only pretends to care about their wellbeing so long as they do as he says so it serves him in the end, and that’s the prime example of The Flawed Mentor. One who is teaching others for their own selfish benefit rather than the mutual benefit of human connection and personal development.

Mentors vs Potential

At their core, students are nothing but endless potential to be molded into whatever they so choose and whatever their mentor has to offer them. Mentors can be The Paragon of Potential to them—someone to aspire to—and so in your writing be sure to write your mentors and students in such a way that they compliment each other based on their individual characteristics as seen in The Karate Kid and Cobra Kai series.

If you decide to include a Paragon of Potential/Mentor figure in your story, try and decide which of three main types would be a good fit for your protagonist and their development needs. If you got a hot head protagonist, give them a Zen mentor like Mr. Miyagi. If you got a meek protagonist, give them an imperfect mentor like Johnny Lawrence.

Otherwise, if you want to go deep and dark with a protagonist who wants to be good, but is easily tempted toward the dark side, give them a fundamentally flawed mentor like John Kreese who shows them why they should or shouldn’t succumb to the dark side.

Who are your favourite mentors in fiction?

What kind of mentors have you written in your work?

What are your thoughts about mentors?

Let me know the answers to all these questions and more in the comments below!

The Interpersonal Economy

Building on how Stories Are the Study of Being, and combining it with The Very Heart of Fiction for this Workshop Wednesday, I present to you today the Interpersonal Economy.

It’s the idea that interpersonal relationships are like a marketplace where we trade value for value. And much like a marketplace, each individual holds a hierarchy of values that determine whether or not they do business with another. In a way, we are businesses in and of ourselves, and everyone else we interact with are like customers who we want to sell ourselves to.

And I’m not even talking about mere monetary gain where you buy some Pokemon cards off each other or whatever. I’m talking more about selling our ideas and values to others in order to see if we want to do business together. This can range from shared values like the appreciation of art, literature, or any other hobby you can think of. Going even deeper than that, we also want to trade value through the exchange of ideas. Ideas on how one should conduct their lives, their relationships, and contribute to society.

All of these things are values that we measure within our own lives and seek to find those who may either share our values or help improve them through civil discourse. I’m talking, of course, about conflict, which is another thing that is inevitable in the marketplace and in relationships.

Sometimes customers are not content with the service they get, and so the business has the responsibility to humbly receive criticism on how to improve how they serve their customers. That’s assuming that the business is at fault, though. Because on the flip side customers can sometimes mistreat a business due to a myriad of reasons. Maybe the customer is entitled and expects more than the business can actually provide, or maybe they hold a grudge for having been served poorly before.

Whatever the case may be conflict among humans are inevitable in the Interpersonal Economy.


Business Drama is Just Relationship Drama, but Fancier

If you’re planning to write a story with a memorable ensemble cast–or in the middle of it already–I would suggest creating a character web that shows how each character is connected to each other. You could do this with pen/pencil and paper or with a mind mapping program, but I personally prefer Scapple from Literature and Latte.

And no, I am not sponsored by them *wink wink, nudge nudge.* I just really love the writing programs they’ve made, most notably Scrivener for having met so many of my writing needs for many years now. But back to the post!

Creating a Mind Map of how your characters interconnect with each other and detailing what the cost/benefit analysis of their relationships will help you write more meaningful dialogue and plot points. When you know exactly how your characters benefit from each other and what their conflicts cost each other, it will make for deeper and more exciting drama.

What makes human relationships so interesting is how we can get under each other’s skin, yet somehow muster all the forgiveness in the world to keep certain individuals in our lives. For better or for worse. These are things that are hard to measure because several costs might be made up for in one big benefit. Or vice versa. One big cost can tarnish an otherwise seemingly beneficial relationship.

For example you might have a friend who you can air out your frustrations to and they’ll do the same for you, but other than that, you don’t offer each other much else other than free and half baked therapy for each other. There’s no fun in the relationship and there might not even be growth from the sharing of problems, rather the exacerbation of them.

This kind of cost/benefit analysis would be the cornerstone of conflict because people have very unique and individual goals and motivations that drive them, and more often than that, a conflict of interest arises when we have counter values from each other. If not similar values that are approached with methodologies different from our own.


Designing Your Interpersonal Economy

Taking a deeper look, here is an example of what an Interpersonal Economy mind map could look like, drawing straight from my 5th draft of It Starts at Home (which has evolved into a whole other monster and deserving of a new title since I last mentioned it here at Your Write to Live).

The new premise for “It Starts at Home” is that there are four juniors in high school who want to become professional gamers who want to win 1st in the international Atlantis Assault tournament.

Atlantis Assault is a 4v4, team based, first person shooter that is all the craze in the universe of my story. Each of these teens are equipped with their own anxieties about their futures after high school.

Pressured by their parents to succeed academically, and the one thing that brings hope and sparks joy in the lives of these teens is not only playing Atlantis Assault together, but the kind of friendships that develop between them in and out of the game. Both as individuals and as a group.

Each character is designated a specific color, so whenever that color pops up in another character’s web of influence, it’s detailing a cost or benefit of their relationship with each other. Some costs and benefits are recurring and that points to how that one person has the same effect on different people.

You will notice that some of these are tagged with either a + or – and occasionally a +/-. That is describing whether or not the effect one character has another is positive or negative, or maybe even both as a lot of trades of value in relationships end up being double edged swords like any other good cost/benefit analysis could give insight to.


Your Interpersonal Economy and You

Your Write to Live has always been about providing fiction writing tips that could also apply to your real life if you pursue self knowledge and personal development. It is my belief that fiction writing (and reading for that matter) is our way of understanding ourselves and the world better. It’s through these larger than life characters we draw inspiration from to become better people who act in good faith in the world.

So with that said, I encourage you to create Interpersonal Economy mind maps for both your fictional and real life ensembles. For your work of fiction, it will help you heighten the drama by creating well crafted characters with nuanced relationships. For your real life, it could give you a better understanding of how valuable your relationships are and where they might need some work.

After all, stories are fundamentally the expression of human relationship, and it’s through them we come to understand our place in the world

Did you find this post helpful?

Do you have any thoughts and criticisms about the Interpersonal Economy?

Is this the kind of content you would like to see more of here at Your Write to Live?

Leave a comment below and let me know!

Making the Mundane Memorable

Some of the most common writing advice writers are given is to leave out the minutiae of everyday life in their stories. Now while I do think it makes logical sense, because you want to get to the meaty dramatic parts of a story that much sooner to keep readers engaged, I think adding a little bit of mundane everyday life can actually enrich the experience. After all;

“How you do anything is how you do everything.” – Harve Eker.

Readers can gain insight on who your characters are based on how they tackle everyday chores like washing the dishes or doing their laundry. It sounds boring on its own, but with what I’m about to share with you can either be a fun exercise you keep to yourself to get a sense of your characters, or let it become a full scene in your story that provides that insight for your readers.

The Meaningfully Mundane

So what am I talking about? How can one possibly make the mundane memorable? How do you even start?

You start by understanding your character’s temperament and how well or how poorly they take on the boring chores of everyday life. Do they brush their teeth only enough to get the taste of morning breath out of their mouth, or do they meticulously brush every single tooth from every nook and cranny? Do they hop in the shower for less than a minute or do they make it a meditative practice of feeling the warmth of the water wash them of their worries of the day?

What you want to do is invoke your character’s personality in how they take on these everyday tasks. Depending on what point you’re at in the plot and what has happened so far, how they take on daily tasks can also become part of the symbology of your story. That is of course, if you want that particular task to be repeated more than once in the story to symbolize your character’s state of mind.

Therapeutic Routines

Let’s take for example a therapist named Linus. He is everything you’d expect from a therapist; someone who has his life together who helps others get their lives together as well. He starts the story off with having healthy hearty breakfasts in the morning, listening attentively to his patients at work, and then coming home to relax by keeping the place tidy and habitable.

But then somewhere down the line, he is confronted by hardship. Linus is given a client named Damon that is so down in the dumps and desperate that despite Linus’ years of experience, he can’t seem to help Damon open up about his life or take any positive action to improve it. Linus prides himself on being an effective therapist, but that pride holds no weight now because he begins to feel like a failure due to not being able to help this downtrodden man.

Now Linus is rattled about himself and all his years spent studying psychology in university. His goal was to help people, but he feels insecure about his capacity to do so. He is lost and mere routine is no longer enough to keep himself stable and capable of being the therapist he knows how to be.

Taking a second look at his daily routine further in the story, it would then devolve compared to how mindfully and meaningfully he once approached it. Instead of taking the time to fry up some eggs and bacon, toast some bread, and brew himself a mug of coffee, he starts settling for a granola bar and drinking an entire pot of coffee to force himself to get through the day.

He goes to work barely listening to any of his patients because he’s obsessed with how and why he can’t help Damon, and he barely has the energy and motivation to keep his place tidy when he gets home from work. A once spotless kitchen now sports unwashed dishes, trash bags that have yet to be taken out, and a dining table cluttered with unopened mail.

For Linus, taking care of his home and his patients was his own personal therapy. It’s what gave him a sense of purpose and joy in his life, but it has been disrupted by one challenging patient he can’t seem to help. Maintaining his home routine and doing well at work go hand in hand, one affecting the other. Maybe now what he needs is a break in his routine and actual therapy himself from a trusted mentor.

Whatever the case may be, how he approaches mundane tasks like preparing breakfast and tidying his home have changed because his mental state and life circumstance has changed as well.

Micro and Macro Triumph

In my example story about Linus the Therapist, he starts off with a solid routine that he falls off from when he’s confronted with conflict at work. It is through self reflection and growth that he must return to wholeness by disciplining himself to take care of himself and his home in order to become an effective therapist again.

Being able to help Damon with his personal life and his daily routines would be the macro triumph and that would be symbolized further with the micro triumph of both men cleaning up their homes and their selves in order to act properly in the world, which would be the macro triumph.

Each man doing tiny things in their private lives would greatly impact how they present themselves to the world and operate in it because the way they handle their micro responsibilities greatly affects how they tackle their macro challenges in life.


Give Your Characters Meaningful Mundane Routines

Now obviously you don’t want to bore your readers with excess detail on mundane day to day tasks, but choosing a particular daily routine for your character to symbolize their current state of mind in the story is a sure fire way to making the mundane meaningful, as well as flesh out the plot and characters further.

What I’ve described in this hypothetical story about Linus the Therapist was very bare bones and basic for the sake of simplicity, but for your own work, it could be much more complex than breakfast, work, and keeping a tidy home. The goal would be to emphasize in enough detail how one can approach a daily routine with their heart and soul when things are going well in their lives and then neglecting that kind of discipline later on in the story because of the challenges they face, only to return back to order or something better when they’ve overcome their personal struggles.

Or even have your character start off in a state of absolute chaos and disorder either in how they maintain their homes or selves. Grooming could be a good one too where you have an unkept character not brushing their hair, barely showering on a regular basis, and wearing dirty clothing. Consider a man who wants to find the love of his life, but is constantly rejected because despite his efforts to pick up women because he’s not well groomed and all it would take is basic grooming and self care to begin appearing attractive to not only women, but also friends, family, and potential employers.

Whichever way you slice it, there is more to mundane everyday life than often noted if you take in account how much our daily routines actually affect how we appear and operate in the world.

What are some mundane daily tasks you take pride in excelling at?

Are you a great cook? Do you have a pristine home? How about a well disciplined workout routine?

Whatever you’ve got going for you, let me know if this helps you consider the importance of mundane daily routines in your life and/or the fictional characters you are writing about!

Movie Montage Motivation

Training montages are a staple for underdog movies like Rocky, which features one of the most epic montages of all time. It’s so epic that I presume it’s the film that popularized training montages in the first place. When Eye of the Tiger queues up and we see Rocky training for his title bout against Apollo Creed, we can’t help but feel hyped up for him because of all the hard work he’s putting into preparation.

Today’s post is all about those long grueling hours of preparation that we put into a moment of time that has a much shorter duration than the actual training itself. And that’s the interesting part about training montages in movies. They condense a huge passage of time into just a couple minutes for however long the hype up song will play for, but when it comes to the main event, that scene is what gets drawn out and dramatized.

Unfortunately, real life works the opposite. UFC fighters can train for months on end only to be KO’d under a minute in the first round. Or even if they do go the distance in a championship match, the 25 minutes they spend fighting in the octagon still does not compare to the endless of hours, weeks, and months of training.

In a montage, all that quick cutting between training activities is super exciting, but if you watch all that in real time without the hype up music backing it up, you would probably get bored real fast. After all, no one has time to spend months in the movie theater watching Rocky jog around Philadelphia for an hour and then go punch a speedbag and some frozen meat, and get punched himself, for several more hours.

So while montages may gloss over all that extensive training time for the sake of retaining viewer retention, you as a person working toward a goal, must actually retain your motivation toward training in whatever field you’re attempting to master. It’s not as fun and exciting as having all your training time summed up in 3 minutes to a hype track, but that’s what makes it even more important.

Real life training is long, hard, and messy.

Motivation can only last so long before resistance and discipline begin to rear their ugly heads. When natural motivation begins to wane, the doubts start pouring in, making you think twice about whether or not you’re on the right track. You hit plateaus in your capacity to learn and retain new things, you mess up on things you thought you’ve mastered, and worst of all, you might even experience imposter syndrome where you can’t even believe you can achieve such great things.

In these times of struggle it is important to take stock when you get stuck. My examples so far have been bleak, considering how Rocky actually ends, along with what I said about a UFC fighter getting KO’d in the first round. To turn things around, I want to posit that even if you “lose” despite of all your training, it really does come down to that cliché where life is all about the journey, not the destination.

Even if you try and fail, at least you’ve developed the discipline to strive for what you want. And while a lot of hard work and persistence may not amount to much in the end result, at least in the final analysis you’ve put your best foot forward and built your life brick by boring brick.

Everybody wants to get on stage and sing their song, but not many people out there are willing to take music lessons, lug their gear around, and commit to endless hours of rehearsals and soundchecks. By dedicating yourself to your craft every day, you are already ahead of the curve. Better yet, removing the unproductive concept of comparing ourselves to others, we are already becoming better than our past selves when we make the decision to develop our skills.

On the brighter side, while I can’t guarantee you succeed in achieving your goals if you dedicate yourself everyday, I can at least say that you are increasing your chances of success tenfold by simply putting the work in. In fact, I’d even argue that the end goal should not be the goal. Rather, the goal should be whatever you have ahead of you for that day in particular.

So say you’re a writer like me and you want to write and publish a novel. It’s a daunting task to say the least, but the thing about goals is that they comprise of a subset of mini goals that lead toward it. While the end goal is to have a novel published, the daily goal could and should be something along the lines of 500-2000 words a day, or whatever amount you’re most comfortable with.

Make the montage, the training, the goal itself. Approach it with all the enthusiasm you can at the beginning, but don’t let the initial loss of motivation stop you because then that’s when you’re being tested as to how well you can adapt these activities into routine habits that you just do as part of your daily life.

Simply put; success is a lifestyle, not an end goal.

How to Create Instantly Likeable Characters

One of the best writing guides I’ve read and studied from lately is The Emotional Craft of Fiction by Donald Mass. It has some incredible insights on not just how to craft the emotional landscape of your work of fiction, but also a handful of other insights on how to get in touch with your own emotional world to better inform the characters you create. After all, the characters we create in one shape or form are extensions of ourselves all of which who yearn to be understood and expressed with the respect they deserve.

Crafting characters, as you know, is one of my favourite aspects of writing because without people there are no stories. It is through the characters that we get to relate to in navigating the human experience, and that’s why it’s important to make them as true to life as possible, no matter what the setting is or whatever other lifeform they take that isn’t exactly human.

For many years I’ve had pre-conceptions of what makes relatable and likeable characters, and unfortunately a lot of those pre-conceptions were at a very shallow, if not obvious, layer of the human spirit. Make your characters flawed like real people. Take traits from people you know and blend them together. Oh and let’s not forget; give them goals, motivation, and conflict like every other human being has.

And while these are all important aspects of what create multi-dimensional characters, I am here to introduce something that I’ve missed over the years!


Virtue as the Cornerstone of Love

We live in a world where gritty anti-heroes are starting to take centre stage, villains are becoming more sympathizable, and we have overall entered into an era in which there’s a strange embracing of the darkness. And yes of course this all important to our evolution in not only our tastes in fiction, but also our human progression, but one thing that hasn’t had much spotlight on lately is virtue.

An act of kindness goes a long way.

They seem insignificant in the moment, but a bunch of tiny acts of kindness add up.

And in the end, it all makes for a better world to live in if we could all just give each other a helping in whatever way we can.

Whenever we see someone or hear about someone doing a good thing for someone else, it makes us feel good by extension. That’s because we’re social empathetic creatures. We end up feeling the good nature of the giver who gave a helping hand to someone who needed it and we feel the gratitude of the person in need. Throughout our lives we fluxuate between being people who are capable of giving to the less fortunate, and being in unfortunate situations ourselves in need of the generousity of others.

Whether it’s from a stranger or a close loved one, we can’t help but feel a sense of euphoria from an act of kindness we either give to or receive from others. This can range from simple things like dropping a few coins in the shaking can of a homeless person on the street to something more personal and expansive like lending an empathic ear to a friend who has a problem to deal with. Nothing feels better than a win-win situation where we don’t have to lose something of value, whether it was a long awaited desire or a piece of our conscience.

Whatever way you choose to create your characters, it’s imperative that you give them an act of virtue that makes your reader develop a natural admiration for them. Even if you choose to create an anti-hero character who is resistant to their responsibility of greatness, we want to see at least a glimpse of goodness in them because it’s the potential that we want to root for so it can come into fruition later on in the story.

Saving a Cat Moment

In Emotional Craft of Fiction, Donald writes about how a simple saving a cat moment can make a protagonist instantly likeable, especially if you include it early on in the story. This gets us to admire the goodness in thecharacter and in turn remind us of the goodness in ourselves–and to take it even further it allows us to see the potential in ourselves to become even better human beings.

So what does a Saving a Cat Moment look like?

It can literally be saving a cat that’s stuck in a tall tree.

Or it can be something more subtle or even more grand than that!

Here are some rapid fire examples from my own stories and other stories I’ve enjoyed over the years. None of them will be ultra specific as to boil down the core principles of the acts themselves.

How to Save a Cat in Several Ways

  • Stepping in when someone is being bullied
  • Mentoring an eager apprentice in a specific skill or vocational path
  • Comforting someone in grief
  • Equipping someone with an important life lesson
  • Providing someone with a sense of purpose
  • Volunteering at an old folks’ home or a homeless shelter
  • Helping the disabled get around town
  • Saving a suicide victim moments before they execute their plan
  • Saving a child from an abusive home situation
  • A parent bonding deeply with their child
  • A spouse bonding deeply with their partner
  • Admitting to fault and asking for forgiveness

The list can go on forever. There’re definitely an infinite amount of other examples I could have put and some that you are starting to think of right now, in which case feel free to share in the comments below!

The point is that whatever good deed your characters perform, they need to come from an earnest and authentic place, even if they have resistance toward it at the beginning. It might be a hard sell if the character performs the deed for admiration and ego gratification as opposed from the goodness of their heart. But you can even make it so that it can start off as an ego boost that eventually touches the character in a deep and moving way where it inspires them to seek even more virtue.

So there you have it, one of the best ways to make instantly likeable characters. It may be obvious to others, but this fell under my radar for a very long time having been so obsessed with the more technical aspect of writing over the years. Sometimes we all need to get back to the basics and remember what we all (hopefully) learned in kindergarten: be kind and share your toys with other kids.

Now I’d like to hear from you, the reader!

What are some other good deeds can we add to the list? What good deeds have you writte your characters to perform in your stories? What acts of kindness from fiction and reality have inspired you?

And as always, if you have any feedback on my writing tips feel free to comment down below. Did I miss something? Should I elaborate more or less? Even feel free to tell me if it was completely useless information, in which you are welcome to give me your two cents on how I can improve Your Write to Live!