At various points in the writing process, it behooves all of us to sit down and ask some pointed questions about what we’re doing, where the story’s been, and where it’s going. Indeed, these questions are vital not just to
About a decade ago, I found a book in a used bookstore about ‘literary foils’. As I didn’t know what a literary foil was, all I got from skimming the textbook (I didn’t buy it) was that some short stories
People are incredibly, ridiculously complex. Our characters? Not so much, not in comparison. The most complex character has perhaps a few years of cumulative thought-history in his author’s mind; he’s made out of generalizations and half-rejected ideas and a unique
(Part One) – (Part Two) Character description doesn’t stop with the character. We’ve looked at tone and how important details are and how expectations work, but that’s all been focused on the character and the character’s role. Character description has
(Part One) Think of the last really good novel you read. For me, I’m nearing the end of my third or fourth read-through of That Hideous Strength. Think about how different characters are introduced and described. It varies, does it
Describing characters seems really easy until you actually try to do it well. On the one hand, we can put the entire description (three paragraphs, each slightly under a page long) at the front, which would get everything on the
Tom, Dick, and Harry are all very fine names, but we generally need more than those three. For one thing, the romance between Prince Tom and Princess Dick is going to look a bit odd on the page. For another,
If you’ve read much G.K. Chesterton, you’ve probably realized that some of his stories are better starting places than others. Father Brown, generally speaking, is a much gentler introduction to his style and philosophy than Manalive or The Man Who
As we discussed last week, while law provides a problem, justification alone provides an answer, at least for the real world. As our stories are reflections of the real world (seen in the failure of the antinomian answer in both
Redemption arcs have a difficult problem: how do we deal with the (often horrific) history of the character being redeemed? It’s a real-life problem too. How do we deal with the man who is repenting of a long history of