Give ’em verbal ticks or special ways of fidgeting, that’s how you flesh ’em out!
Give ’em verbal ticks or special ways of fidgeting, that’s how you flesh ’em out!
Put your characters through hell, sure, but also give them a break from time to time!
Give them morals and desires worth testing their limits for!
I am very glad that everyone has enjoyed the recent series I’ve written on The Four Pillars of Fiction, so much so that I’ve broken records in terms of daily viewership and followers gained per post.
So thank you very much for the views and follows!
If you’ve found these posts helpful and think others can benefit, feel more than free to share it around, I would be greatly honoured!
Building It Starts: at Home With the Four Pillar Structure
In the following graph, I have outlined the story’s Plot, Location, Objective, and to prevent spoilers, I’ll allow the chracter graph to illustrate the Tenacity.
I’ll keep everything after the rising action the same just so you get an idea of how those questions become important in relation to what I have introduced in my PLOT.
It Starts: at Home Spoiler Free PLOT Graph
Characters With Similar Differences
The main characters of my story seem like complete opposites at first glance, but they share the same kind of vulnerabilities…that take on different forms from each other.
Sorry if that sounds confusing, but basically the plot revolves around how parenting effects young adults, how they end up treating each other at school due to their upbringing, and ultimately in the form of issues surrounding self esteem and popularity.
The way these characters compliment each other and clash against each other looks a little something like this:
The Settings Surrounding the Homes
As I’ve said earlier in this series, my favourite setting is comtemporary so that I can focus much more on the character development and interpersonal relationships. All of which is possible in a much more advanced setting than mine, but here’s a rough sketch of what this basic world looks like.
Thus Truly Concludes The Four Pillars of Fiction Series
Thank you very much again for your time, and as always I hope you’ve enjoyed, and gained value, from The Four Pillars of Fiction series.
Let me know if the points I’ve made in the series were much better having been substantiated by my own story’s examples, if you preferred the abstract one from the characters post, or the direct Inception example for settings.
I wanted to mix it up each post as I believe each method served the purpose it needed to for each pillar.
For those of you who are wondering how I made all of these graphs, I have been using Scapple, a top notch mind mapping program you can download at http://www.literatureandlatte.com
For dialogue examples from It Starts: at Home, click here for a full scene.
Til next time, keep on writing!
So you got your plot, your characters, and the setting?
All that’s left to do is make these people talk, and following in the principle provided in this blog series, what they think and say needs to serve a purpose.
Why Don’t You Say it to My Face?
When characters speak in fiction, it is meant to resemble a more concise version of human interaction. It subtracts the filler pleasantries and zooms in on the most important aspects of a conversation, and so any small talk topics like the weather and sports should be exempt from dialogue.
Unless, of course, weather and sports are important aspects of the story…
Otherwise we love experiencing fiction because we get to eavesdrop on people’s most vulnerable conversations.
Sound creepy? It kinda does, but these characters aren’t real!
Or are they?
Well, they are only as real as you can portray them in terms of their emotional reactions to their interactions with each other and the world you created for them.
Dialogue should reveal four things:
To reveal plot, characters need to talk about the central theme and objective in a way that lets you in on the most crucial concern in their world. Perhaps it’s poverty in a post-apocalyptic world, and so the characters will talk a lot about how there’s a shortage of food and shelter after some devastating event that destroyed their world.
Everything they talk about should be about survival and rebuilding their society. In doing so, they also get to reveal the setting since it serves as a backdrop for the plot.
Along with exposition and narrative, talking about the place they live in is another way to help describe the setting. As a viewer, we will see their world in a certain way, but it’s interesting to see when a character’s views contradicts ours.
Perhaps the post-apocalytpic world might seem bleak and hopeless to us, but the inhabitants and the way they speak can reveal how much hope they have in their own survival. Furthermore, it can reveal what kinds of bonds are created in such hardship.
As Long as We’ve Got Each Other
So on top revealing plot and setting, dialogue must also reveal character. When people talk, they are always revealing what they think and how they feel, whether they intend to or not. It’s inescapable. Each person is equipped with their own unique way of expressing themselves in terms of what they value and what they want.
Now it’s tricky because you don’t want your characters blatantly saying “we live in an apocalytpic world and starve every day.” You have to find a way that makes it sound natural, much like every day conversation, but of course remembering to always keep it concise and in relevance to the plot.
Life would be much easier if people were more direct and honest about how they feel and why they have those feelings, but we usually end up expressing all that in different ways that can be interpreted in different ways since we all have our own subjective experiences and opinions.
Because we all have such differing preferences and opinions, we often end up in arguments revealing what we all expect of each other and the world, thus revealing how we relate to each other. Where we differ and where we have commonalities is the bridge between two people, and there’s a push and pull dynamic that occurs in fiction and in real life.
We often want people to like the same stuff as us, but without the difference of opinion we would not have the privilege of being challenged to re-evaluate our values, feelings, and beliefs.
And that is the very point of fiction; to allow us to safely and passively experience a manifestation of our inner clash of values played out to us in another real with its own metaphysical and epistemological laws. With characters who represent different sides of ourselves and we get the chance to pick and choose, based on the consequences of their actions and interactions, what values and beliefs we must keep or discard–all done in a way that entertains us while informing us.
Thus concludes The Four Pillars of Fiction series, thank you for your time. Let me know if these posts have been helpful and if you have any feedback or criticisms on how to possibly improve future and current writing tips, let me know! I’m always more than happy to hear your thoughts whether they’re simple kudos, questions, or criticisms.
Stay tuned for The Four Pillars of Fiction BONUS Post, where I will be using my own novels as examples for each aspect of fiction covered in this series…
The Four Pillars of Fiction need to be structurally sound in order to maintain your story’s integrity. Each pillar needs to be of equal height and width of the other pillars, or you may end up with a lopsided surface.
But with every rule comes an exception, and there are times where uneven pillars can either work for or against the story. We shall explore the convention of an even structure, and the possibility of leaving one intentionally short within good reason.
Welcome to a four part series where I will be detailing the fundamentals of writing fiction!
Together we will go into great on crafting solid blueprints that will help you develop a firm foundation for your story. Each pillar should seamlessly compliment each other and ultimately deliver a rivetting and captivating experience for your readers.
The plot is the pillar built from the events in your story. Every scene has a purpose, and every significant plot point must simutaneously ask new questions and reveal vital information about the world and its inhabitants.
Without any characters, there is no story. We need some form of a sentient being in which to experience the world through, as well as relate to in terms of emotionality and intellectual stimulation. I’ve already made several posts about characters, and that very fact alone is reason enough to prove just how important it is to have solid characters in your story.
Likewise with characters, a physical setting is required for a story or your characters will just be interacting in an empty vacuum. The world in which they inhabit needs to exist within the metaphysical laws of your story in terms of its relation to reality.
Magic? Technology? Or just plain contemporary? Whatever your setting is, it must serve as a logical physical playground for your characters to act out their particular drama.
We relate and reveal through conversation. What do your characters have to say about the world, themselves, and their situations? To each other? Every character is equipped with their own unique way of speaking that expresses their desires and inner turmoil.
And of course, conversation is not just limited to verbal communication. We will also take a look at how non-verbal communication can serve as a solid substitute for conventional dialogue.
Pack Your Bags For an Adventure
And that is all for a quick overview of what I will be covering in the next couple of weeks.
I hope you are as excited as I am right now to delve into The Four Pillars of Fiction!
Bring your existing tools and be ready to sharpen them, as well as craft several new ones along the way. Together we will build the most structurally sound stories.