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Many science fiction and action-adventure tales give their main character a finite amount of time to solve a problem. The ever-accelerating starship has only so many minutes before its structural integrity will fail. The terrorists’ nuclear bomb will explode in so many hours. Only a few days remain before the asteroid strikes the Earth. These time limits are called “ticking clocks.”

To some degree, all stories employ a ticking clock as part of their plot. If they didn’t, the tale would careen aimlessly. Because the story must end, it must reach a breaking point, or climax, where the problem either is or isn’t solved. That climax is when the ticking clock strikes twelve.

To increase dramatic tension, the main character should recognize throughout the rising action that time is running out for him. His sense of urgency should increase as the time available to him diminishes.

Tags: climax, main character, plot, rising action

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Though your story may have reached its climax, the tale isn’t over yet. The author also should briefly describe the effects that the climax has on the characters. This section of the story is known as the “falling action.” It’s what happens to the main character as he descends the mountain that he has spent the entire story climbing.

When Luke Skywalker is given a medal during the celebration held in his and Han Solo’s honor at the end of “Star Wars IV: A New Hope,” we are watching the falling action.

Though the story’s central problem is solved in the climax, without the falling action the tale feels incomplete. The author typically needs to show that there is some payoff for the main character that underwent the change allowing him to emerge victorious during the climax. This payoff needs to be larger than simply defeating the antagonist. Restoration of order and some reward for the main character often needs to be described.

Tags: climax, falling action, main character, plot

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When writing a climatic scene, writers should follow a couple of simple guidelines:

n The climax must be the largest obstacle facing the main character and test him in the most significant ways - In the climax of “Star Wars IV: A New Hope”, not only Luke Skywalker’s piloting skills but also his faith in the Force are tested. Without the mastering of both, he cannot destroy the Death Star.

n The outcome heading into the climax should be uncertain - Often the antagonist holds the upper hand as the rising action ends. In “Star Wars IV:A New Hope”, an operational Death Star is bearing down on the rebel base, and the rebellion appears to be outgunned and outmatched. However, the reader’s understanding of Western storytelling techniques tells him that the main character should emerge victorious. This balance creates dramatic tension as the reader wonders how the rebels might overcome the Death Star when the odds are against them.

Tags: central problem, climax, dramatic tension, main character, plot

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Sometimes for dramatic effect, writers employ a “false ending.” In this technique, after readers think the climax has been reached, the villain comes back one last time for a confrontation. An example is the first “Terminator” movie in which Sarah O’Connor apparently has destroyed the robot from the future in a steel factory. The Terminator’s metal skeleton rises from the flames, however, to pursue Sarah. The false ending actually is the last scene of the rising action.

Tags: climax, false ending, main character, plot, rising action, villain

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In every story, there comes a turning point or an ultimate moment in which the situation has become so intolerable that the main character must take a decisive step and emerge victorious. This scene is known as the climax.

Also called a “final obstacle,” the climax comes at the end of the story’s rising action. The main character metaphorically has reached the mountain top and either must push off the antagonist or be pushed off. Because of this, the climax is a scene of escalated action. It is that part of the story when the main character resolves the story’s central problem.

Tags: climax, final obstacle, main character, plot, rising action

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As writing the rising action portion of your story, be aware that the main character must attempt to resolve his central problem yet always fail. There are several ways this failure can occur:

n Barrier - In this case, the main character’s solution is inadequate to the task at hand. For example, he may try to blow up a bioweapons, facility but his explosives are unable to penetrate an undetected force field.

n Misjudgment - The main character may misjudge what the problem is to be resolved. For example, the main character may give his girlfriend flowers in an attempt to make up after a fight, but she doesn’t accept them because she no longer has feelings for him so the gesture is meaningless. When the main character is guilty of misjudgment, often the problem moves even farther away from his solution and becomes more difficult to resolve.

n Partial solution - Sometimes the main character only solves elements of the problem. For example, when sent to assassinate a pair of scientists working on a biogenic weapon, he kills one but the other escapes.

n Temporary triumph - On occasion, the main character’s solution may only be a temporary fix. For example, the main character may succeed in destroying an invading alien race’s scout ship. Then a larger, more powerful scout ship arrives.

n Complication - The main character’s solution may work but has no immediate payoff. For example, to determine how to get home when lost, one needs to know where he is. The main character may discover that information, but he still needs to make the journey home.

n Reversal - There are instances when the main character’s solution actually makes the situation worse. For example, while destroying an enemy’s bioweapons lab, he accidentally releases deadly bacteria into the atmosphere - and the winds are carrying the germs right toward his nation.

Tags: central problem, counterthrust, main character, plot, rising action

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Often a story is not about defending the world from some outside menace (see out-of-whack event) or about obtaining some item (see macguffin) but is about overcoming some internal, man vs. himself struggle. In science fiction workshops, this type of storyline is called an emotional disturbance.

The Science Fiction and Fantasy Writers of America, Inc. define an “emotional disturbance” as “when a character’s inner state is unstable and he must do something to restore equilibrium.” In short, to solve the main problem of the story, the main character must undergo an inner journey of self-discovery and change.

A common example of an emotional disturbance is Luke Skywalker’s journey from self-doubting farm boy to a confident Jedi knight, as seen in “Star Wars IV-VI.” Skywalker garners skills and a deeper understanding of the universe – and himself along the way – through the mentoring of Obi-wan Kenobi and Yoda. These experiences cause him to grow intellectually and spiritually.

Tags: inciting incident, macguffin, main character, out-of-whack event, plot

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Not all stories are about restoring order in the universe or overcoming some personal conflict. Sometimes the plot revolves around the search for an item that will elevate the main character’s position in the world or will prevent an evil force from gaining the upper hand. This item is called a macguffin, a term coined by Alfred Hitchcock.

The macguffin could be a chalice that promises immortality (King Arthur’s holy grail stories), the One Ring (“Lord of the Rings”), a valuable piece of art (“The Maltese Falcon”), a magic jewel, a secret formula – anything that is so highly desired that it creates obstacles and challenges for the main character who tries to obtain it.

If using a macguffin in your story, two questions must be answered. First, why is the object valuable? If the importance (and usually the exoticness) of the object is explained, the reader will quickly lose interest as the story has little point. After all, every one of us spends time looking for mundane objects. A second question to answer is why are the characters motivated to obtain the macguffin? To say the object is valuable is not enough, for one man’s treasure often is another man’s junk. Usually a character needs some overwhelming reason to desire an object, such as the thirst for immortality or a desperate need for money.

Tags: inciting incident, main character, opening, plot, rising action

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Often the opening of a story involves some incident that upsets the status quo. In doing so, the main character faces the challenge of restoring order in the world.

This incident is known as an “out-of-whack event,” which is “when the story concerns a character who stable life is knocked out of whack by an external event,” as the Science Fiction and Fantasy Writers of America, Inc., defines it.

Consider this example of a story opener that employs an out-of-whack event:

Peter Hanswurst sniffed indignantly. A gray circle of withered plants lay in the middle of his field, an otherwise perfect patch of green soybeans alternating with black dirt that ran into the horizon. The hot Midwestern sun beat down on him, and he wiped sweat from his forehead. Hanswurst figured the circle was no more six feet across, a miniscule fraction of the entire field, and one he decided that was small enough to eradicate.

Tags: main character, narrative hook, opening line, plot

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You’ve probably read several stories in which upon reading their climax in which the hero uses some object to help him achieve victory, thought to yourself, “Hey, that object was mentioned earlier in the story.” The object in question probably was mentioned in passing so that it did not distract you from the tale. But if the object hadn’t been noted, upon reaching the conclusion you’d probably find yourself saying, “How convenient that it was there!”

Mentioning early in a story some object – or even a character, prize or challenge – that later helps the main character resolve his central problem is a ploy known as “Chekhov’s gun”. It comes from playwright Anton Chekhov’s advice that if you put a gun on the in Act I, you must use it by Act III. Otherwise, the gun is just a distraction that is out of place.

Of course, if your science fiction story is a murder mystery set in space, such distractions are necessary to the plot and enjoyment of the story. Like a labyrinth, a mystery’s plot must contain wrong turns and dead ends for the main character.

Tags: chekhovs gun, climax, description, main character, plot, setting

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If you’ve done any reading about story writing, you’ve probably noticed that there are quite a number of terms for types of characters. As stories can be constructed in many, many different ways, several terms are needed to describe a specific kind of character unique to a way of telling a tale. Sometimes when analyzing a story, a special term is needed to so a character can be understood within a certain context.

One such term you might run across is “focus character”. This is the character for who the readers most care, even when he’s not in the scene. It’s a term used in critiques and writers workshops, most notably the Cambridge Science Fiction Workshop.

Focus characters usually are the story’s main character, protagonist or hero. Luke Skywalker is the focus character in “Star Wars IV: A New Hope”. Hiro Protagonist is the focus character of Neal Stephenson’s novel “Snow Crash”. However, a focus character doesn’t always have to be the main character. In ensemble casts, such as “Star Trek: The Next Generation”, the viewer cares for Data, Riker, Worf and others just as much as they do Captain Picard, who usually is the story’s traditional hero. In many episodes, Picard is the not the main character at all.

Like most main characters and protagonists, focus characters possess three traits:

n They have distinct personalities - Luke Skywalker, for example, longs for adventure and meaningfulness in his life during “Star Wars IV”. In contrast, Princess Leia would like nothing more than peace and stability in her life while Obi Wan Kenobi already has a purpose and Han Solo has not desire for it.

n They further the story’s themes - “Star Wars IV” theme of gaining maturity (and hence success) through purpose and self-discipline is played out by Luke’s adventure.

n They interact with other focus characters in the story -Viewers also care about the fate of Princess Leia, Obi Wan, Han Solo, Chewbacca, R2D2 and CP30 in “Star Wars IV”. Luke’s quest involves his cooperation with each of these characters.

Tags: character, hero, main character, protagonist

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Perhaps the most profound conflict a character can face is when he is at odds with himself. Conflicts in which the protagonist faces off against other individuals or society often result in characters that represent ideals and concepts. But the character that first must deal with his own foibles in order to overcome a villain or oppressive values has learned something. He has grown as a character and become a better human being. Ideally, your readers will grow with this character, making his triumph over others more lasting in the readers’ minds.

An example of man vs. himself conflict is Anakin Skywalker’s internal struggle in “Star Wars III: Revenge of the Sith” in which the young jedi must decide if he will serve the powers of good or turn to the Dark Side. In this case, Skywalker makes the wrong choices and becomes the villain Darth Vader.

If handled correctly, a man vs. himself conflict can raise a story to high art. The “Star Trek: The Original Series” episode “The City on the Edge of Forever” in which Captain Kirk must decide between his love for a woman and his responsibility to the future of humanity is modern tragedy. In Stanslaw Lem’s “Solaris”, a psychologist is reunited with what appears to be his wife but in reality is an amalgam of his memories of her. The result is an intense psychological struggle worthy of the best contemporary literature.

Arguably, your story gains sophistication when your main character must do overcome a challenge other than defeating the forces of nature or a straight villain. To survive being marooned on a desert world or succeed in taking down an alien menace, your main character ought to first have to overcome some internal conflict that in turn allows him to be victorious over nature or invader. For example, in Anne McCaffrey’s short story “The Smallest Dragonboy,” the main character Keevan must learn self-discipline and gain self-confidence to achieve his goal of becoming a dragonrider. In doing so, he overcomes the story’s wider challenge of being ridiculed by the other older and stronger boys.

Your story almost always is better when a man vs. himself conflict rests at its core.

Tags: conflict, main character, plot

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One type of conflict your characters could engage in is against God or the gods. In this conflict, the main character opposes a supernatural being that claims to be (or even is) the creator of everything.

Such conflicts were common in ancient literature when gods were believed to play a greater role in the day-to-day life. Often the gods tested the main character or the story’s protagonist challenged them to benefit humanity. One of the most popular of such stories is the myth of Prometheus, who stole fire from the gods and against their express wishes gave it to mankind.

Science fiction stories often pit characters against false gods. “Star Trek: The Original Series” is fond of this theme, with Captain Kirk traveling to alien planets and overthrowing an oppressive false god, which usually turns out to be a computer or machine. This most notably occurs in the episodes “The Return of the Archons” and “The Apple”. 

Today’s treatment of man vs. God in stories typically is a type of man vs. himself conflict. The main character doesn’t face off against God per se but undergoes an internal struggle in which his faith in God or belief in holy works is questioned. Sometimes this occurs because of contact with alien beings. This occurs in James Blish’s “A Case of Conscience” when a Jesuit priest investigates an alien race with no concept of God or original sin.

You Do It
Write a 200-word piece in which your main character undergoes an internal man vs. God conflict. What causes your main character to question his faith in God? What keeps him from entirely turning his back on his religious beliefs?

Visit my Web site about writing science fiction, Inventing Reality.
(c) 2008 Rob Bignell

Tags: conflict, main character, man vs. himself, plot

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Rather than take on another individual, the main character could find himself in conflict with an entire society. When the main character or small group of characters take on the greater culture – who usually are represented by a group of authority figures or “upstanding” citizens – the author is using a man vs. society conflict.

An example of this occurs in the “Star Trek: The Original Series” episode “The Apple”. When Captain Kirk and his landing party beam down to a planet with an ideal climate, they soon discover a machine mind controls the planet and that the natives worship this machine. Kirk sets out to destroy this machine, named Baal, after it attacks the Enterprise. The native aliens try to stop Kirk, however, and are disappointed when our mighty captain succeeds. Through the episode, Kirk and crew find themselves in conflict with the native’s society’s customs and beliefs.

Indeed, such a conflict is good way to show the illogic of a society’s values. The moral of “The Apple” is that intelligent beings need to be free, even if it means suffering (indeed, the planet’s inhabitants now will have to live in a harsh climate, break their backs farming by hand to feed themselves and suffer the psychological loss of faith in a god that provided for and cared for them). Of course, Baal is a false god, so a system in which intelligent beings worship and serve a false god is illogical.

Two problems can arise with man vs. society conflicts, however. First, when readers can focus on a specific individual as the antagonist, relating to and identifying with the main character can be easier. The challenge for the writer is to make the society a living being itself. Otherwise, the main character simply is defending himself against minor characters and obstacles throughout the story. Another problem is that often society is too monolithic for a single character to overcome. The story problem shouldn’t end with the collapse of society but instead the main character escaping it or achieving some success that creates a new hope for the culture’s eventual fall.
 
You Do It
Create notes about a society that for a character to oppose. What are the society’s prevailing beliefs, laws and mores? Why would this motivate the character to oppose it? In what ways would the society come into conflict with the character? What might the character do to sidestep or challenge these conflicts with society?

Visit my Web site about writing science fiction, Inventing Reality.
(c) 2008 Rob Bignell

Tags: conflict, main character, plot

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As developing your story, maintaining a sense of tension is vital. Without dramatic tension – a feeling of uncertainty in the reader about how the main character will solve (or even if he will resolve) the central problem – the story will be flat and vanilla.

Creating tension involves controlling the story’s pace. Pace is the timing by which the major events in the plot unfold and in which the big scenes are shown.

The “better” the story, then the better that the author handled the pace. “Star Wars IV: A New Hope”, the “Star Trek: The Next Generation” episode “Yesterday's Enterprise”, Douglas Adams’ comedic novel “The Hitchhiker’s Guide to the Galaxy” and Ray Bradbury’s short story “A Sound of Thunder” all are examples of masterful pacing.

Every story has a different pace. Those that are more introspective tend to move at a slower pace while those that are action-packed tend to be fast. Because of this, all stories run on a “story clock”. This is a measurement in which action is internally described. As with the wider universe, however, there is no objective clock. A true sign of craftsmanship is when an author sets the story clock winding at the right pace for an individual tale. 

Regardless of the story, however, good pacing always involves compression and expansion of time - In “real time,” events don’t unfold at the same rate as they do in a story. For example, a suborbital flight from New York to Tokyo in real time might take a hour, but in the story it’s handled in a phrase that takes a couple of seconds to read. Usually the authors speeds up or slows down the action to match the emotions he wants the reader to have. 

Tags: dramatic tension, main character, plot, setting, style

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Stories don’t have to be told only from the main character’s perspective. Indeed, the story’s author often narrates a story about a character rather be that persona. When this occurs, authors are writing in third-person point of view.

One type of third-person point of view is third-person limited. This is when the narrator tells the story only from the perspective of what the main character can observe and think, but unlike first-person limited, we also observe the main character through the author’s eyes.

Consider this excerpt from Brian Aldiss’ science fiction short story “Not For an Age”:

A bedspring groaned and pinged, mists cleared, Rodney Furnell awoke. From the bathroom next door came the crisp sound of shaving; his son was up. The bed next to his was empty; Valerie, his second wife, was up. Guiltily, Rodney also rose, and performed several timid exercises to flex his backbone. Youth! When it was going it had to be husbanded. He touched his toes.

Notice how we see events unfolding through the eyes of Rodney Furnell, the main character: waking up, the sounds around him, exercising. We do not see the world through the perspective of his son or his second wife. Further, the word "I" never would appear in the piece unless spoken by someone; that's because Rodney isn't telling the story - the author is. The author even offers a small comment, describing Rodney’s exercises as “timid” (certainly Rodney would not describe them as “timid”!).

Third-person limited offers several advantages, including:
n Giving the writer more flexibility than first-person point of view – If the story above were told only from Rodney’s point of view, the author could not offer his perspective on him. The audience no longer would be looking upon the stage that the main character acted but would be standing upon it in the main character’s body.
n Providing a less biased perspective - Stories told in first-person also carry the weight of the main character’s subjective views and perspectives. Sometimes this can make the protagonist less acceptable likeable to a reader who is more enlightened than that character. Third-person limited moves the reader to the usually more enlightened perspective of the author.
n Offering a clear sense of who the reader should identify with and invest in - Stories told only from the main character’s perspective sometimes don’t make that persona the hero but someone whose weaknesses cost him. The author’s insertions in third-person limited show readers how they should view the main character. Because of that, readers often like this point of view.

One danger of third-person limited, however, is that the reader loses a sense of intimacy with the main character. Rather than fully experience the universe with the main character, the reader can feel superior to him. If your goal is to have the reader relate to the main character, this may not be the best choice for your story’s point of view.

You Do It
Write a 250-word piece in third-person limited. How does selecting this point of view shape your approach to the main character? Would a first-person limited point of view work better for the story you wish to tell about this character?

Visit my Web site about writing science fiction, Inventing Reality.
(c) 2008 Rob Bignell

Tags: first-person, main character, narrator, point of view, third-person

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“Once again, we've saved civilization as we know it."

- James T. Kirk, “The Undiscovered Country”

Most main characters in science fiction stories also are traditional heroes, or larger than characters who serve as the tale’s protagonist. Obvious examples are Luke Skywalker, Captain Kirk and Indiana Jones. Such characters become “mythic”, especially after several stories describing their adventures.

The advantage of using such characters as that they are good fun. Not surprisingly, the memorable heroes mentioned above all appear in motion pictures, which typically serves as escapism rather than high art.

But you do your readers a disservice when your main character is the stereotypical hero. Such characters, after all, aren’t real. After awhile, you have to ask, “How many times can James T. Kirk save the galaxy?” In addition, heroes often are just clones of heroes who came long before them. Skywalker, Kirk and Jones all are strong, respected, admired, clever, brave, intelligent, natural leaders and usually can have any woman. So were Theseus, Horatio Hornblower and Robin Hood. Ultimately, heroes limit your plot. One notable way is that heroes typically collect “plot coupons” in each scene. In such a plot, the hero gains some knowledge or gizmo that ensures he can solve the problem by the story’s climax. The story really is just a clever game of how he’ll gather all of these coupons, for the story’s outcome never is in doubt.

Because some of the tales involving Skywalker and Kirk do show them overcoming their flaws (Skywalker learning to control his fear and anger; Kirk sacrificing the love of his life for the future), they probably are more memorable heroes than Indiana Jones, whose only real Achilles’ heel is a fear of snakes. In short, if you do stick with a hero character, don’t make him “too cool”. He needs to be vulnerable or he’ll be too superhuman and hence not very interesting. For example, a hero shouldn’t be fearless but instead someone who performs his duties - such as protecting or rescuing others - despite his fears (which is why Indiana Jones’ fear of snakes makes him so endearing).
 

You Do It

Create a hero character that is rigorous. Begin by writing a list of all of his heroic qualities. Now write a list of his vulnerabilities that counter each of his heroic qualities. For example, perhaps he’s physically strong (a heroic quality) but is fearful of using his strength because he once physically hurt someone close to him (a vulnerability).
 

Visit my Web site about writing science fiction, Inventing Reality.
(c) 2008 Rob Bignell

Tags: character, main character, plot coupon, protagonist

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When developing your story, you’ll want your characters to face a number of challenges or conflicts. One of the most basic of them is man vs. nature. In this conflict, the characters find their goals jeopardized by the natural forces of the universe: the cold of an ice age, dangerous plants and animals in an alien jungle, or the vacuum of space.

This conflict can truly test the characters’ stamina, and in a Darwinistic way, show who is the fittest. There’s virtually nothing that a character can do to change the weather or his environment, but he can through physical strength, willpower and intelligence survive it. Exactly how the character does survive – whether by forcing himself to stay awake for three days until he can march his out of the desert or by using his wits to kill a beast and sleeping in its belly to stay warm – says a lot about what characteristics the author values.

The man vs. nature conflict can takes on a thematic role in ecological disaster stories. A good example of this is Larry Niven’s novel "Legacy of Heorot". Set on a colony world, the story centers on how nature is “fighting back” against the ecological changes that the colonists have engendered. It examines the issues of what happens when humans interfere with the natural order of a world and if the notion of “protecting nature” is rational.

Write a 250-word piece in which your main character must overcome a force of nature to survive. Some possible forces could include a desert on an alien world, a spaceship caught in the grip of a black hole or total darkness caused by an eclipse on an exoplanet.

Visit my Web site about writing science fiction, Inventing Reality.

(c) 2008 Rob Bignell

Tags: conflict, main character, plot, setting

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When the main character narrates your story, you’ve selected the first-person point of view. But when the narrator but gives only the cold, hard facts as telling us what people said and did, you have a specific kind of first-person, known as first-person objective.

An excellent example of first-person objective is Jules Verne’s “20,000 Leagues Under the Sea”. The story’s main character/protagonist, Dr. Pierre Aronnax, tells what occurs to him as he goes on an expedition to the ocean and his subsequent capture by Captain Nemo. Here’s an excerpt:

What had he seen? Then, I know not why, the thought of the monster came into my head for the first time! But that voice? The time is past for Jonahs to take refuge in whales' bellies! However, Conseil was towing me again. He raised his head sometimes, looked before us, and uttered a cry of recognition, which was responded to by a voice that came nearer and nearer. I scarcely heard it. My strength was exhausted; my fingers stiffened; my hand afforded me support no longer; my mouth, convulsively opening, filled with salt water. Cold crept over me. I raised my head for the last time, then I sank.

Notice how Arronax sticks to a blow-by-blow, almost detached account of what occurs, even when he is a frightening, perilous situation. “Cold crept over me” suffices where other narrators would be more prosaic in their description. Because of this, first-person objective sometimes is called “detached autobiography”.

Because of this, first-person objective offers a major disadvantage: the detached, objective narration can undercut the intimacy readers feel with the main character. Because of this, characters like Arronax are hardly as memorable as H.G. Wells’ The Time Traveler, who tells his tale in the more congenial first-person limited.

Still, first-person limited offers a number of advantages. First, it creates a sense that the narrator is more reliable. A risk of first-person limited is that the narrator may come off as unreliable (and a few “sequels” to Wells’ story often present The Time Traveler as an obsessed, borderline madman). Secondly, first-person objective allows for a unique narrative voice that some readers find appealing. The tough guy character, for example, often is memorable, especially to male readers, because he represents American culture’s ideal of maleness. Because of this, first-person objective is a great voice to use if parodying the tough guy.

You Do It
Look back at one of the piece you wrote for the “Inciting Incident” entry. Rewrite the piece so that it is in first-person objective. How does this change the feel and flow of the story? Is it a more appropriate perspective than the one you originally chose? Why or why not?

Visit my Web site about writing science fiction, Inventing Reality.
(c) 2008 Rob Bignell

 

Tags: first-person limited, main character, narrator, point of view, protagonist

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A story can be told from several different viewpoints. When the main character narrates his own experiences and observations, the author is using “first person limited” point of view.

This viewpoint is autobiographical in nature. It’s “limited” because the narrator only can tell what he perceives, not what other characters see, hear or think.

Consider this example from Ann Aguirre’s novel “Grimpsace”:

My AI asks, “Lights on, Sirantha Jax?”

Such a polite Unit spy. The fragging thing reports everything I do, every time I roll over, probably every time I take a piss.”

We only know the world from the narrator’s perspective. We have no idea what the AI is “thinking” about the narrator, the humans its serves or of its duties.

There are several advantages to using first person limited:
n Immediacy - Since the story is told as the main character makes observations, the reader in turn observes the story’s world as the same moment that the character does. This helps keep a strong flow of dramatic tension.
n Identification- This point of view typically makes identifying with the character easier for readers. They have a greater feeling of intimacy with him.
n Distinctive voice - Often a unique narrative voice is possible, which can make story more interesting to reader. In “Grimspace,” for example, the reader gains a strong sense of Jax’s anger at being incarcerated when she directly tells the tale. If told from a more objective viewpoint, however, some of the anger would be lost, and Jax would be a far less distinct - and hence interesting – character: “Lights on, Sirantha Jax?” her AI asked. Jax cursed at the AI in her mind, thought about how reported everything she did, every time she rolled over, probably every time she took a piss.”
n Control - The author arguably can better control flow of narrative when it is first person limited. Because only one character’s perspective is told, the pace of what happens to that character primarily affects the story’s flow.
n Conversational - This viewpoint often sounds more conversational in tone. This allows for use of slang, jargon offbeat expressions, as in the novel and movie “A Clockwork Orange”.
n Awareness - This perspective sometimes is used because it allows for characters who are naïve, evil or mistaken to reveal their flaws even though they haven’t grown or changed during the story. Because the author can control the narrative flow, he can point out, via the narrator’s errors in observation, that a character fault exists. Readers picking up on this error find themselves contemplating if they themselves possess this fault.

Depending on the story you’re telling, first-person limited can be ill-suited. A few disadvantages of using this point of view include:

n The unreliability of the narrator can be problematic - Since the narrator could be lying or distorting events, the reader may not identify with or understand that character.

n Any action not directly involving the narrator can’t be told - This can be limiting for an author. Who may need to show how other characters react to an event with more depth or objectivity than the narrator’s perception of those characters can offer.

n Threats to the main character can seem less dramatic - The reader knows in advance that the narrator will survive, and a dead narrator can’t tell a story, after all.

n The main character typically can’t describe himself - When the narrator does, he runs the risk of sounding obnoxious, or the passage can sound forced.

Tags: main character, narrator, pointof view

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Virtually every story has a central character that spends the tale overcoming a major challenge. This character is called the protagonist.

Examples of well-known protagonists include Captain Kirk in “Star Trek: The Original Series” episodes, Luke Skywalker in “Star Wars IV-VI” and Paul Atreides in Frank Herbert’s “Dune”.

Usually the protagonist also is the viewpoint character, but not always. Stories told by a friend or assistant of the protagonist would be an example of this.

When writing a story, you want to think a lot about the protagonist. He’s the most important character of your story, after all, an ambassador of the author who is reaching out to the reader. Create a dull or a contradictory or an unlikeable protagonist, and your story will suffer. Because of this, many authors know far more about their protagonist than ever makes it in their story.

Tags: inciting incident, main character, viewpoint character

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Arguably the most important “character” in your story isn’t its hero but the narrator – the person who tells the tale.

The narrator can be the story’s hero, as in Hannu Rajaniemi’s "Deux ex Homine":

As gods go, I wasn’t one of the holier-than-thou, dying for your sins variety. I was a full-blown transhumanist deity with a liquid metal body, an external brain, clouds of self-replicating utility fog to do my bidding and a recursively self-improving AI slaved to my volition. I could do anything I wanted. I wasn’t Jesus , I was Superman: an evil Bizarro Superman.

On occasion, the narrator is another character in the story, who observes what occurs to the hero, as in Sir Arthur Conan Doyle’s Sherlock Holmes stories, in which Watson tells how Holmes solves the mystery:

[Holmes] was a man of habits... and I had become one of them... a comrade... upon whose nerve he could place some reliance... a whetstone for his mind. I stimulated him... If I irritated him by a certain methodical slowness in my mentality, that irritation served only to make his own flame-like intuitions and impressions flash up the more vividly and swiftly. Such was my humble role in our alliance.

Often the narrator isn’t even a character in the story but the author’s persona, as in Stephen Baxter’s “Lakes of Light”:

The door of Bicansa’s car opened. A creature climbed our cautiously. In a bright orange pressure suit, its body was low-slung, supported by four limbs as thick as tree trunks. Even through the suit Pala could make out immense bones at hips and shoulders, and massive joints along the spine. It lifted its head and looked into the car. Through a thick visor Pala could make out a face – thick-jawed, flattened, but a human face nonetheless. The creature nodded once. Then it turned and, moving heavily, carefully, made its way toward the colony and its lake of light.

Who you select as the story’s narrator is vital. The narrator holds a unique position among readers, possessing an air of authority. Because of this, the narrator shapes the reader’s attitudes. Choose the wrong narrator, and you risk the reader interpreting events in a way you don’t intend.

Another note of caution: be careful of not imposing yourself too much if the narrator is your persona. If you directly insert too many of your views rather than let the characters’ action demonstrate your view, the story will be weakened.

You Do It
Write a 100-word scene in which the hero must rescue the Earth from alien invasion. Narrate the story from the hero’s point of view. Now rewrite the piece so it’s told either from the point of view of another character in the story who observes the hero or from the author’s perspective. Which of the two pieces is better? Why? How does selection of the narrator influence the piece’s effectiveness?

Visit my Web site about writing science fiction, Inventing Reality.
(c) 2008 Rob Bignell

Tags: hero, main character, pointof view

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Not all characters in your story are created equal. Some of the utmost importance while some are fairly insignificant.

The most important characters are the ones who face and overcome a number of serious problems and obstacles in a story. They are called major characters. In “Star Trek”, they would be Captain Kirk, Mr. Spock and Dr. McCoy. In “Star Wars IV-VI”, they would be Luke Skywalker, Princess Leia and Han Solo.

In contrast, minor characters face few obstacles and often none at all. Because of this, minor characters have few lines of dialogue and usually appear only incidentally. They are part of the background, necessary for advancing the plot and giving the story a semblance of reality, but they are not who the story is about. In “Star Trek,” they (typically) would be Sulu, Scotty, Uhura, Chekov, the transporter chief, the red shirt who dies on the planet. In “Star Wars IV-VI”, they would be the stormtroopers, the Jawas and the cantina musicians.

It’s not necessary to develop all of your characters. In fact, the fewer you develop the better, especially if writing a short story or novella. This allows the reader to focus on a single character (or small band of characters) who must overcome the story’s central problem.

At the same time, don’t skimp on minor characters if they’re needed in your story. The tale about the scientist professor making a startling but dangerous discovery probably needs to include a research assistant, department secretary and bored students. There’s nothing wrong with including these side players. Just make sure they seem real (that is, they shouldn’t be stereotypes) and that they don’t attract the reader’s attention too much.

Tags: main character, major character, minor character

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Tags: hero, main character, protagonist

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