Despite what Isabel Briggs Myers has taught us, real people’s personalities can usually be difficult to fit comfortably into neat little categories. People can be both introverted and extroverted, and go from being supremely self-confident to shrinking violets depending on their situation. The task of imbuing something as complex and unique as a personality onto
In part 1 of this guide to writing a thrilling argument, I touched on character motivation, reader interest, and the central truth that an argument follows almost all the same rules as a fight scene. We paused on the idea that your characters should want to win, and they may rush past lesser arguments to
Including an argument in your story can sound like a sure path to an easy win – two or more characters airing their dirty laundry, getting mad, and saying exactly how they feel. It’s drama in action, a moment around which you can build a whole story, and it’s also incredibly easy to get wrong.
We’ve talked before about the benefits multiple antagonists can bring to a story – and how to give each a unique purpose in the narrative – but what are authors supposed to do when those antagonists are on different sides and, like any interesting characters, have specific, often contradictory, goals? Antagonistic forces have natural potential to not
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