Creating the goal of a scene when the main character is passive?
In my current writing, I've been having some trouble with the plot, specifically with going from an outline detailing what I need, to an outline detailing how I get there. I think the problem (or at least part of it) might be that I don't have a clear chapter-by-chapter summary for the book. My problem is that I'm having trouble designing this chapter-by-chapter outline.
I'm working with the following structure:
- Character has a motivation/goal.
- Character faces building conflicts in the way of that goal.
- Something big goes wrong for the character, inducing a possible cliffhanger.
- Chapter ends.
- Next chapter: Character reacts to big disaster.
- Character adjusts to deal with the problem.
- Character makes decision and takes action (or doesn't).
My problem lies in step 1. In my very first chapter, my character is entirely passive. He is in fact part of a large crowd that is being evacuated. I cannot seem to find a goal he is actively striving for at this time.
Note: I realize passive characters is not something readers greatly want, which is why I will also be scanning my outline for other instances of it, and fixing them. Regardless, there will be instances where the main character is passive.
Question: How can I determine the goal of a scene/chapter when the main character is entirely passive? Can I even do it? Do I need to make him active somehow?
Disclaimer: I realize that there is a certain level of disapproval on this site towards structures (from some people). Please keep in mind the question is not about the structure. It's about finding a goal for a passive character.
3 answers
How can I determine the goal of a scene/chapter when the main character is entirely passive?
This hugely depends on what kind of a book you're writing: genre, audience, message. And the kind of a character you're trying to create. If becoming active and bold is part of his character arc, his goal in the first scene can just be for the evacuation to go okay and to get home as soon as possible. If he has a dog, he might have a goal of returning in time to feed or walk it. Or if he has family, maybe he's missing some important event and evacuation becomes a conflict for his goal of not missing that event. Or he may be late for work, date, what have you. Possibilities are quite endless, since his goal doesn't have to be tied to the evacuation. Rather make it an obstacle.
Can I even do it?
Yes, by turning the evacuation in an obstacle and giving him a goal that has nothing to do with it.
Do I need to make him active somehow?
Yes. Even if he's stuck doing nothing, waiting for things to happen. He can be active in his head - frantically worrying that he's late wherever, imagining worst-case scenarios if he misses whatever. Finally, he can be texting or making calls, which will also give you opportunity to start introducing him to the reader.
This post was sourced from https://writers.stackexchange.com/a/19045. It is licensed under CC BY-SA 3.0.
0 comment threads
From the information you have given above it is completely understandable to have a character like that in the first scene. Passiveness can be state of mind given a period of time. Now as you mentioned evacuation you can describe the scene and other people's reactions and how your protagonist is immersed in these things and so decides to have no personal goal on his or her own. You could describe his or her panic and the sense of alienation or anything you feel relevant that you can flesh out in the plot later on. There is no need for the character to always be active as in deciding an activity and they can be pretty passive. However, passivity as in complete inertia is pretty traumatic or well not believable and somewhat denies the character a basic human trait so I would avoid that entirely.
This post was sourced from https://writers.stackexchange.com/a/19066. It is licensed under CC BY-SA 3.0.
0 comment threads
The motivation doesn't have to be massive or book-spanning. As Cole correctly notes, it could simply be "getting to the door." Or "not getting an elbow in the eye." Or "not choking from the smoke" (or whatever the problem is that's causing the evacuation).
Or conversely, maybe your character's goal has nothing to do with the situation he's in. Maybe he's passively accepting being herded because he's desperately trying to get his husband on the phone and frankly doesn't care where he's walking or who hears him, and the real goal is to reach his husband, who is on the other side of the city and also affected by the evacuation.
So the goal of the scene may be to set up the larger conflict of the book, which is "Hero and Love Interest are separated and have to get to each other by the end of the story," even if the actual events of the scene are moving macguffins.
0 comment threads
0 comment threads