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Posts Tagged ‘villain’

9 Essentials for Writing Your Climactic Scene

In How-to's, The Craft of Writing on April 2, 2010 at 8:03 am

by C. Patrick Schulze

To listen to a podcast of this article, click HERE.

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Every novel requires that final, explosive scene where the protagonist and his villain struggle with each other to the certain demise of one or the other. It matters not if you hero is a working mother trying to make ends meet, or the commander of the forces ready to invade Omaha Beach on D-Day. Every novel should have this climactic scene and you should consider certain criteria to make it as powerful as you can.

Here are nine tips to help you when writing that all-important scene.

This scene should be an epic confrontation with a clear winner and a clear loser. Someone gets the girl and someone goes home from the party by himself.

Your hero must confront his most worthy of adversaries. Secondary evil doers simply won’t do. Make this clash between the biggest and baddest.

Your reader expects your hero to win and so he should. However, his victory need not be what they expect. Regardless the sour taste of your hero’s success, a victory he should have.

Your hero should win something of value for his trials. It could be the realization that “The Girl” just ain’t worth the work, or it may be real estate garnered by an incredible battle. Whatever he learns or wins, it must make him a better person, or creature, as the case may be.

In this scene it is not the time for surprise arrivals of any sort. The cavalry, in any of its many forms, should not jump into the story at this point. All that should be set up earlier in your novel.

Have your hero save himself. Imagine if your hero is fighting the villain in hand-to-hand combat and just as the bad guy puts the sword to his throat, an unmentioned meteor streaks from the sky to obliterate the bad guy in a magnificent blaze of fire. Don’t you think your readers will be disappointed in that? Now, that’s not to say the beautiful model can’t Kung Fu in and save him earlier in the story, but at this time, he’s on his own.

There should be no flashbacks at this point in your novel. Flashbacks are tough anyway, but they break the tension and can kill the entire scene. Once the scene opens, focus on the conflict in that scene. Your readers’ interest should be at its peak and they deserve a healthy portion of suspense, action and conflict.

Speaking of action and conflict, this scene should be resolved with action and conflict. Let them duke it out, metaphorically, emotionally or physically, but get the tussle going. Make this thing as exciting as you can. (For more information on the difference between action and conflict, read this ARTICLE.)

Clarification of anything is death to this scene. This is the time for action and your readers should have already received any explanations they need, although mysteries might get away with this to a point.

And finally, this scene should end in a rational fashion. Make it suspenseful, but logical. You never want your readers to say, “Don’t buy it,” at the end of your story. If they do, they’ll tell their friends the same thing; “Don’t buy it.”

Now, are there any aspects to the climactic scene I’ve forgotten?

Until my next post, you knows I wish you only best-sellers.

C. Patrick Schulze
Author of the emerging novel, “Born to be Brothers”


The Secrets to Conflict in Novels

In The Craft of Writing on March 15, 2010 at 5:57 pm

By C. Patrick Schulze

 

As humans we tend to avoid conflict whenever possible, but as creators of characters, the use of conflict is one skill we must master.If your dreams of success include penning of The Great American Novel, then conflict is your friend.

Conflict is what makes your story worth reading and, in fact, is the key component that weaves all the elements of your novel together. Without it, you’ve simply written a series of facts and occurrences. Conflict is what gets your readers’ hearts to beat faster, sets their blood to boil and encourages them to turn the pages. It also is what generates buzz and book sales.

With few exceptions, every successful novel is grounded in its story and the story is grounded in conflict. Think of it as forces in opposition. That is, you create one character who exhibits some undeniable desire and you pit them against another character who wishes to deny that ambition. It matters not the form of your conflict, only that one person wants it and another wishes to keep them from it.

I feel there exists a major misunderstanding among writers, especially new writers, as it relates to conflict. Conflict is not the crisis or what happens to your characters. It is not the battle, the argument or the deception. Instead, conflict rests upon your characters’ thoughts and feelings toward the events they experience. Conflict is found within the moral choices your characters make, in their emotional reaction to the events that swirl about them.

Consider this example. A daughter tells her father a lie, but the father could not care less. Where is the excitement? Where is the energy? Where is the drama? Now, imagine if the father loses his temper over the lie and strikes out at his daughter. Now you’ve got conflict. It is not the action, it is your character’s response to an action.

Let’s look at some general tips about conflict.

There exists a delicate balance between too much or too little conflict. Have you ever read a boring novel or have one overwhelm and exhaust you? Only use that conflict that is necessary to your story.

In most cases, two opposing conflict points, one internal and one external, are enough to carry your novel. Can you put in more? Sure, but each new conflict point increases the potential loss of control over your story. Cut any conflict that is not necessary to your fundamental storyline. Though you may toss in a couple of other conflict points of lesser strength to keep raising the stakes, stick to a major conflict point or two for best results. Should you wish to add more conflict, think subplots. (For more on subplot, read THIS article.)

Your conflict should build in an upward trending line, with a couple of lesser peaks and their resulting valleys, towards the climax of your story. Think of the way your conflict builds as a line graph. It should rise and fall, rise and fall again and again until you’ve created a line that looks like an ever growing mountain range. Each of these peaks and valleys builds then releases the tension until you reach that highest crest where your hero and his villain clash in your most powerful scene. This series of growth and collapse sets an interesting pace to your writing, and further draws your reader into the story.

Every chapter in your novel should have someone wanting something. This want need not be anything of utmost importance, but each chapter should contain some level of conflict. It may be as simple as a young girl wishing her mother would allow her to walk to school, to the reactions of your hero as he is thrust into battle. Regardless, your novel requires some level of conflict in every chapter.

The true secret of conflict is that it begins and ends with desire. It’s all about who wants what and who wishes to keep it from them.

The essence of building tension is choice. Your hero must be forced to make choices in order to keep him moving forward on his quest. His choices, and the process of learning that results from them, are what keep your reader involved in your story. It also maintains the tension of your novel.

Fear intensifies conflict. Your hero must face his fears, so include doubt or worry at judicious points within your manuscript.

Use dialogue as a major tool in the building of your conflict. When used for best effect, dialogue increases the emotion, tension and tragedy.

If you spend the time to develop your conflict as you would your most important of characters, your novel will shine brighter.

Until my next post, I wish you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers.”

Plot Tips for the Aspiring Author

In How-to's, The Craft of Writing on March 11, 2010 at 7:30 am

by C. Patrick Schulze

To listen to a podcast of this article, click HERE.

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Before we begin, it’s probably a good idea to define the concept of plot. In general terms, it’s the problems your hero confronts as he travels through the world you’ve created for him. Plot is what keeps your readers’ interest.

Those areas of your story that most affect your hero are called plot points. Plot points are situations that turn your novel in a new direction. They alter your hero’s quest. For an example, let’s consider the scene in Star Wars when Luke Skywalker first sees the hologram of Princess Leia. This initial plot point shifts Luke’s life in a dramatic fashion. His quest begins with that recording of the princess. Though that story had many plot points, another was when Darth Vader told Luke he was the young Jedi’s father. That, like the hologram, changed everything.

Your plot is comprised of three major components, the Complication, the Climax and the Resolution. The Complication involves those scenes that begin your major conflict or plot point.  The Complication identifies for your reader what dramatic quest your hero must undergo. The Climax is that plot point where your premier character faces his Complication, the bad guy. The Resolution, of course, is that series of events that solve the conflict outlined in the Complication. It closes the story.

It may help to think of your plot as a three-act play. Your first act is the Complication, the second the Climax and the third, of course, the Resolution.

For some general tips on how to develop your plot, consider the following:

1. Make sure your hero suffers. His trials can be emotional, physical, mental, or best of all, a combination of the three. Keep in mind the more he suffers, the better is his exhilaration during the Resolution phase.

2.  The conflict you create must have enough power to encompass the entirety of your story. A secret to this is to interweave subplots into your novel. (For more on subplots, read THIS article.)

3.  Insure your hero and villain are evenly matched. It’s important for the story that your reader never knows if your hero will survive his ordeal. He will, and they know it, but you do need to create that sense of doubt for your plot to work with efficiency.

4. Each chapter of your story should hang on an issue. As a famous author whom I can’t quote at this time said, someone must want something in every chapter, even if it’s only a glass of water. This constant tension will keep your audience wanting to read more.

5. Make sure you couple the correct setting with your conflict and plot points. It’s more riveting for your hero to suffer thirst in the desert than a coffee shop. (For more on setting, read THIS article.)

6. At some time, your hero must grab the bull by the horns and get into it with the villain. Nobody wants to read about an indecisive hero. Get that man dirty.

7. It’s not nice to fool Mother Nature, but it’s just fine to fool your reader. Give your plot twists and turns to confuse and surprise them. I think they call this, “mystery.”

8. Foreshadowing is a powerful tool when developing your plot. Let them know something ominous is coming, just don’t spill those proverbial beans too soon.

9. Try to stay away from stereotypes in fiction. The nun who works for the underground is more interesting than the soldier who does so.

10. Let your plot develop as you move through your story. Don’t be afraid to allow your imagination to take your characters where it wants them to go.

11. The secret to your success as a writer of fiction is the good story. And the good story is all about plot. And plot is all about conflict.

What tips might you wish to share as to how you develop your plot?

Best of luck  and know I wish for you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, Born to be Brothers.

The Sidekick as Character

In General Information, The Craft of Writing on March 4, 2010 at 8:09 am

By C. Patrick Schulze

Listen to a podcast of this article HERE.

The term, “Sidekick” comes to us from gamblers testing their luck at the card table in the 1600’s.  It meant what we now call an “ace in the hole,” or a power card held in reserve for an appropriate time.

Many novels utilize the services of this character called sidekick with great effect. Most often they contrast with the protagonist, but in a nonthreatening, possibly even humorous manner. The secret to the Sidekick when you write fiction? He’s an interactive prop against which the hero bounces.

His purpose is to enhance the characteristics of the hero and possibly offer comic relief. He also gives depth to the plot and other characters. Often a main goal is to provide counsel and/or information to the good guy. The Sidekick is also assigned those duties unsuitable for your hero or beneath his status. Another typical function is to save the hero’s hide at those times when your protagonist appears most at risk. Regardless his duties, the Sidekick participates in almost all the hero’s exploits, except of course, those of a physical nature. To his chagrin, the Sidekick never gets the girl.

Your sidekick should be developed as well as any other important character. He, like his heroic counterpart, requires motivation, he must stay consistent to his personality and have something likable about him.

His personality is typically drawn as smart, shy or even cowardly and a bit neurotic, though this stereotype is changing in literature. These days, the sidekick can be as powerful, or more so, than your hero in some ways. Think of Han Solo in Star Wars. He got the girl even before Luke knew Leia was his sister. (Come on now, as Leia was Luke’s sister, this is the exception to the rule about sidekicks and the story’s love interest mentioned above.) Regardless, The Sidekick’s skills compliment the hero’s. For example, consider Sherlock Holmes and Dr. Watson. The good doctor’s personality made Sherlock a more palatable character.

The Sidekick is often differentiated from the protagonist by one or more characteristics. In sci fi, for example, they are often of another species entirely. In other genres, they can differ by any number of factors which might include economic position, education, culture, race or even gender. By the way, a sidekick never has a physical relationship with the hero, which I’ll explain in a moment.

The primary relationship between the main character and the sidekick is trust and loyalty. Their bond is unbreakable, though the reader needn’t necessarily know this. Should the hero and his sidekick part for whatever reason, it can make for an exciting scene when, at his darkest moment, the hero is saved by the unexpected return of the contrite sidekick. That bond also is why the hero and his sidekick can never have a physical relationship. That can create too many opportunities for this trust to bend and break. Further, if you’re not careful, a physical relationship may even move one or both characters into a different character type altogether. This trust also is why your villain will never have a sidekick. Bad guys and their henchmen are notoriously untrustworthy.

You may wish to create a couple of sidekick types to see if you can’t insert them into your books and novels. You may find they give your story that added spark it lacks.

For more about characters, read THIS.

In the mean time, I wish you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers.”

How to Write Battle Scenes

In How-to's, The Craft of Writing on March 2, 2010 at 9:03 am

How to Write Battle Scenes

By C. Patrick Schulze

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Listen to a podcast of this article HERE.

There are two basic types of battle scenes. There is the one where an individual combatant engages in a fight. There are also those epics where generals maneuver grand armies over the countryside. Though both of these scene types have great similarities when it come to your writing, today we’ll discuss a scene in which one or a few soldiers is involved.

Battle scenes are unlike other scene types as they have a trickier side to them. They utilize a different construction and fewer words to move them forward. These scenes are all about speed, strength and emotion.

Under Fire

However, as with any scene, it must have meaning to the story and move the storyline further toward its conclusion. Does the battle offer a plot twist perhaps?  Does it help the hero grow? Might it enlighten your reader to more of your hero’s personality? Like all writing, these scenes should also utilize your characters’ five senses. And don’t forget about point of view either. It is as critical in battle scenes as any other. For example, how effective would an ambush be if the hero knows it was about to occur? Of course, this part of your novel must be well-written, punctuated with accuracy and all those other things novels require.

Write only about the action and trim out everything not related to the moment in time. In battle scenes you’ll employ fewer words than with your normal writing. Adverbs will become quite scarce as will adjectives. Also, search out specific nouns and verbs. You’ll find great command over your words if you choose that unique verb or noun for the situation at hand. For example, soldiers don’t “run” across a field, they “charge” or “rush” or “dash” across it.

The use of emotion is THE component you need to emphasize in writing battle scenes and you should employ all your powers of persuasion at this time. Though James Bond or Patton may be your exceptions, your characters are not indifferent to combat. Even your heroes will be utterly terrified. And consider the emotions of those at the home front. If you fail to bring their feelings into play, you’re missing a powerful plot point.

One powerful tool at your disposal is sentence structure. Your sentences should imitate a sword fight; furious, short and brutal. Long passages slow down the novel, whereas short, choppy ones increase the pace.

Dialogue is another tool that can enhance, or destroy, your action scenes. First of all, you should work for a bit of realism here, so please, no snappy comebacks. Keep your characters’ dialogue to the point. When a soldier is under fire, he’s not joking to his buddies about a YouTube video he saw last night. Nothing is on his mind other than the events swirling around him.

Now for some general tips.

Remember, this is a novel, not a flicker show. Though the slashing sword is important, the character’s reaction to that event is more so.

Insure your villain is worthy. Nobody’s impressed when your hero fights a challenger who is without adequate weaponry.

Don’t write about David and Goliath. That one’s been done.

Whether writing fiction or nonfiction, large battles or single combat, draw a map of your battlefield. It need not be of high quality, but you’ll be surprised as to how much this can help. Use photos of sites whenever possible. I travel to the actual battlefield where my combat occurs and take photos. I then place them on my screen when I write my battle scenes and refer to them often. You’ll be amazed how something as slight as a slight rise in topography can come into play in this type of writing.

When men are wounded, only four thoughts crowd their minds; what parts are missing, will they die, water and family, not necessarily in that order.

In a fight, if someone receives a minor wound, he doesn’t stop to look at it, touch it and study the blood on his fingertips, show it to his enemy and scowl, step back, retake a fighting stance and egg on his opponent with a flip of his fingers. The instant he looks down, he’s dead. That’s it. Keep it moving.

Adrenalin and panic can overcome only so much. Minor injuries won’t be noticed, more serious injuries will stun a combatant, if stop him. Characters run out of breath, they bruise, they bleed. Write to the realism.

Well, I could go on and on about this as battle scenes are my forte, but for the sake of word count, I’ll stop. I do hope you’ve picked up something of use to you.

You know by now I wish you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers.”