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How Do You Balance Intensity and Inexperience of a Character?

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meg_evonne:
Everything, but especially plot, are crucial in debut fiction.

[hesitation] [sigh] [ouch, just say it]  [but it's so damn painful]...

It might be that what you have been writing is backstory. So much of what a writer creates is truly for the author. Getting to know the backstory is crucial and the more you know about it the better your final work. Much of this need never go in front of the reader or editor. Some of it might find an eventual home in a flashback, or a story discussed by the main characters as a memory.

One of the first things I heard about story telling is that beginners rarely start in the right place. I don't mean a riveting beginning. Take your work and ask this question:

1. Where does the MC become emotionally invested? (not stumbling through, but dedicated to an outcome and willing to risk all for that outcome--what s/he can do or not do is irrelevant amazingly.) According to many this should be at the 1/4 mark in your book. If when you review your work it happens in the last 1/3? That was where the story should have begun. If it happens in the next book? That is where you should begin.

[now, I'm slinking off feeling horrible and very Eyore like]

OZ:
I am not sure what you mean when you say your overall story is dullish. Are you saying that if you summarize your main plot it doesn't sound that exciting? Unless the ending is just disappointing ( the character wakes up to discover the whole story was just a dream ) it will be how you get to that ending that will ensnare your readers. If the main plot lacks spice, what about the subplots ( e.g. the characters development of his or her powers; relationships between the main character and others including friendships, coworkers, romance, family, etc.; personal problems such as finances, etc. )? These can be more interesting than the main mystery.

Dresdenus Prime:

--- Quote from: meg_evonne on August 30, 2011, 07:19:31 PM ---1. Where does the MC become emotionally invested? (not stumbling through, but dedicated to an outcome and willing to risk all for that outcome--what s/he can do or not do is irrelevant amazingly.) According to many this should be at the 1/4 mark in your book. If when you review your work it happens in the last 1/3? That was where the story should have begun. If it happens in the next book? That is where you should begin.
--- End quote ---

Let me ask you a counter question. How personal does the event have to be for a character to believably become invested enough to risk his life? It's not entirely original, but is it enough that the hero finds out that an event has transpired that could destroy every human on the planet and he may be the only one who can stop it?


--- Quote from: OZ on August 30, 2011, 10:44:42 PM ---I am not sure what you mean when you say your overall story is dullish. Are you saying that if you summarize your main plot it doesn't sound that exciting? Unless the ending is just disappointing ( the character wakes up to discover the whole story was just a dream ) it will be how you get to that ending that will ensnare your readers. If the main plot lacks spice, what about the subplots ( e.g. the characters development of his or her powers; relationships between the main character and others including friendships, coworkers, romance, family, etc.; personal problems such as finances, etc. )? These can be more interesting than the main mystery.

--- End quote ---

Good pointers about using subplots. I don't think my ending is that dull, honestly I think I'm just being overparanoid about my work. I would love to write about how my hero finds the strength and power to take on five wizards all at once that have the power to shape shift themselves into giant dinosaurs or something, but this book is somewhat of a beginning for him and I have to make a story that's not so hard that he can't conquer it in his rookie state.

Quantus:

--- Quote from: Dresdenus Prime on August 31, 2011, 12:06:00 PM ---Let me ask you a counter question. How personal does the event have to be for a character to believably become invested enough to risk his life? It's not entirely original, but is it enough that the hero finds out that an event has transpired that could destroy every human on the planet and he may be the only one who can stop it?

--- End quote ---
That really depends on your character.  If he's an Idealist it would probably be enough.  If he's a more jaded anti-hero he may need something more personal, though self-preservation may be enough assuming he is on said planet; for that matter he may simply need to realize that who/whatever it is he cares about is threatened by the same issue.  If hes a coward he might need a reason to act personally rather than simply run and hide, or try to pass the responsibility to somebody else. 

--- Quote ---Good pointers about using subplots. I don't think my ending is that dull, honestly I think I'm just being overparanoid about my work. I would love to write about how my hero finds the strength and power to take on five wizards all at once that have the power to shape shift themselves into giant dinosaurs or something, but this book is somewhat of a beginning for him and I have to make a story that's not so hard that he can't conquer it in his rookie state.

--- End quote ---
He doesnt have to personally solve the Big problem if it is realistically still out of his league, just give him a scene where he overcomes something related that would previously have been well outside of his ability.  I am listening to Academ's Fury during my commute right now, so Ill use the example I just heard this morning:  Tavi is by no means very powerful (yet ;)) but he just managed, when he needed to, to beat the everliving crap out of the three bullies that had been tormenting him, all of which had enough power that everyone assumed he would never be able to win against them.  It wasn't the big problem of the book, or even directly related; they were just being petty and delaying him at a moment when he could not afford to be.  It was simply an obstacle that he was not expected to be able to overcome, but he managed to do so in a way that highlighted his previously undervalued strengths; it was a significant personal victory, even if it didnt directly save the Realm or anything.  Others will solve the Big Problem, but he demonstrates personal growth in a smaller venue, which in turn allows him to contribute in such a way that is necessary for those more powerful to be able to do so.   

synobal:
Okay so I'll toss in my 2 cents, to balance inexperience with a character I'd suggest having him do the right things but making mistakes in doing them.  For example you mention a stakeout, plenty of things can go wrong on the stake out. He gets bored and distracted with something, he falls asleep or keeps trying to. He drinks far to much soda and ends up taking bathroom break(s). He forgets to bring food and ends up spending the night listening to his stomach rumble. He orders indian food and has bad gas or diarrhea.  Soooo much can go wrong in a stakeout but that doesn't mean that the stakeout in the end is a failure.

Have him do the right things just not very well.

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