The distinction between a character’s internal want and external goal is the heart of this. Plot starts to feel artificial when events are moving the character instead of the character’s deeper lack shaping the events. I’d add one question: What false belief does the character carry into the story? That lie often determines what they pursue, what they fear, and what they must become capable of seeing before the ending can mean anything.
That would be the sixth question for sure. I tend to lump this into the first one because that want usually stems from the false belief. Your comment about seeing the truth before the end is pivotal to their growth. That's why we root for them.
I like that way of framing it. The false belief answers *why* the want exists in the first place, so it really is woven into the character's motivation. I think that's also why satisfying endings feel earned. The external victory matters, but it's seeing the truth that tells us the character has actually changed.
I'm wrestling with this in a couple of novels I'm writing. It's surprisingly difficult to tell whether the false belief is driving the story or whether I've just written an interesting plot around the character. Have you found a good way to test that when you're outlining or editing?
Very useful. I find focusing on connecting the character with the reader on the human/emotional level helps, especially if you're writing bizarre fantasy or sci-fi stories. As a reader, I've never experienced interstellar travel, but I have been on some long haul flights and understand the tedium, boredom, but also the excitement or anxiety of going somewhere different.
The distinction between a character’s internal want and external goal is the heart of this. Plot starts to feel artificial when events are moving the character instead of the character’s deeper lack shaping the events. I’d add one question: What false belief does the character carry into the story? That lie often determines what they pursue, what they fear, and what they must become capable of seeing before the ending can mean anything.
100%
That would be the sixth question for sure. I tend to lump this into the first one because that want usually stems from the false belief. Your comment about seeing the truth before the end is pivotal to their growth. That's why we root for them.
I like that way of framing it. The false belief answers *why* the want exists in the first place, so it really is woven into the character's motivation. I think that's also why satisfying endings feel earned. The external victory matters, but it's seeing the truth that tells us the character has actually changed.
I'm wrestling with this in a couple of novels I'm writing. It's surprisingly difficult to tell whether the false belief is driving the story or whether I've just written an interesting plot around the character. Have you found a good way to test that when you're outlining or editing?
Very useful. I find focusing on connecting the character with the reader on the human/emotional level helps, especially if you're writing bizarre fantasy or sci-fi stories. As a reader, I've never experienced interstellar travel, but I have been on some long haul flights and understand the tedium, boredom, but also the excitement or anxiety of going somewhere different.
Exactly. If you can connect the experience to a relatable feeling or desire, your reader makes that connection too.