Readers can’t resist turning pages when characters are facing tough choices. Use these 5 keys to weave moral dilemmas into your stories–and watch your fiction climb to new heights.
#1: Give Your Character Dueling Desires
Before our characters can face difficult moral decisions, we need to give them beliefs that matter: The assassin has his own moral code not to harm women or children, the missionary would rather die than renounce his faith, the father would sacrifice everything to pay the ransom to save his daughter.
A character without an attitude, without a spine, without convictions, is one who will be hard for readers to cheer for and easy for them to forget.
So, to create an intriguing character facing meaningful and difficult choices, give her two equally strong convictions that can be placed in opposition to each other.
For example: A woman wants (1) peace in her home and (2) openness between her and her husband. So, when she begins to suspect that he’s cheating on her, she’ll struggle with trying to decide whether or not to confront him about it. If she only wanted peace she could ignore the problem; if she only wanted openness she would bring it up regardless of the results. But her dueling desires won’t allow her such a simple solution.
That creates tension.
And tension drives a story forward.
So, find two things that your character is dedicated to and then make him choose between them. Look for ways to use his two desires to force him into doing something he doesn’t want to do.
For instance, a Mennonite pastor’s daughter is killed by a drunk driver. When the man is released on a technicality, does the minister forgive him (and what would that even look like?) or does he take justice into his own hands? In this case, his (1) pacifist beliefs are in conflict with his (2) desire for justice. What does he do?
Good question.
Good tension.
Good drama.
Another example: Your protagonist believes (1) that cultures should be allowed to define their own subjective moralities, but also (2) that women should be treated with the same dignity and respect as men. She can’t stand the thought of women being oppressed by the cultures of certain countries, but she also feels it’s wrong to impose her values on someone else. When she is transplanted to one of those countries, then, what does she do?
Construct situations in which your character’s equally strong convictions are in opposition to each other, and you will create occasions for thorny moral choices.
#2: Put Your Character’s Convictions to the Test
We don’t usually think of it this way, but in a very real sense, to bribe someone is to pay him to go against his beliefs; to extort someone is to threaten him unless he goes against them.
For example:
How much would you have to pay the vegan animal rights activist to eat a steak (bribery)? Or, how would you need to threaten her in order to coerce her into doing it (extortion)?
What would it cost to get the loving, dedicated couple to agree never to see each other again (bribery)? Or, how would you need to threaten them to get them to do so (extortion)?
What would you need to pay the pregnant teenage Catholic girl to convince her to have an abortion (bribery)? What threat could you use to get her to do it (extortion)?
Look for ways to bribe and extort your characters. Don’t be easy on them. As writers we sometimes care about our characters so much that we don’t want them to suffer. As a result we might shy away from putting them into difficult situations.
Guess what?
That’s the exact opposite of what needs to happen in order for our fiction to be compelling.
What’s the worst thing you can think of happening to your character, contextually, within this story? Now, challenge yourself—try to think of something else just as bad, and force your character to decide between the two.
Plumb the depths of your character’s convictions by asking, “How far will s/he go to … ?” and “What would it take for … ?”
(1) How far will Frank go to protect the one he loves?
(2) What would it take for him to stand by and watch the one he loves die when he has the power to save her?
(1) How far will Angie go to find freedom?
(2) What would it take for her to choose to be buried alive?
(1) How far will Detective Rodriguez go to pursue justice?
(2) What would it take for him to commit perjury and send an innocent person to death row?
Ask yourself: What does my character believe in? What priorities does she have? What prejudices does she need to overcome? Then, put her convictions to the ultimate test to make her truest desires and priorities come to the surface.
#3: Force Your Character into a Corner
Don’t give him an easy out. Don’t give him any wiggle room. Force him to make a choice, to act. He cannot abstain. Take him through the process of dilemma, choice, action and consequence:
(1) Something that matters must be at stake.
(2) There’s no easy solution, no easy way out.
(3) Your character must make a choice. He must act.
(4) That choice deepens the tension and propels the story forward.
(5) The character must live with the consequences of his decisions and actions.
If there’s an easy solution there’s no true moral dilemma. Don’t make one of the choices “the lesser of two evils”; after all, if one is lesser, it makes the decision easier.
For example, say you’ve taken the suggestion in the first key above and forced your character to choose between honoring equal obligations. He could be caught between loyalty to two parties, or perhaps be torn between his family obligations and his job responsibilities. Now, raise the stakes—his marriage is at risk and so is his job, but he can’t save them both. What does he do?
The more imminent you make the choice and the higher the stakes that decision carries, the sharper the dramatic tension and the greater your readers’ emotional engagement. To achieve this, ask “What if?” and the questions that naturally follow:
What if she knows that being with the man she loves will cause him to lose his career? How much of her lover’s happiness would she be willing to sacrifice to be with him?
What if an attorney finds herself defending someone she knows is guilty? What does she do? What if that person is her best friend?
What if your character has to choose between killing himself or being forced to watch a friend die?
Again, make your character reevaluate his beliefs, question his assumptions and justify his choices. Ask yourself: How is he going to get out of this? What will he have to give up (something precious) or take upon himself (something painful) in the process?
Explore those slippery slopes. Delve into those gray areas. Avoid questions that elicit a yes or no answer, such as: “Is killing the innocent ever justified?” Instead, frame the question in a way that forces you to take things deeper: “When is killing the innocent justified?” Rather than, “Does the end justify the means?” ask, “When does the end justify the means?”
#4: Let the Dilemmas Grow From the Genre
Examine your genre and allow it to influence the choices your character must face. For instance, crime stories naturally lend themselves to exploring issues of justice and injustice: At what point do revenge and justice converge? What does that require of this character? When is preemptive justice really injustice?
Love, romance and relationship stories often deal with themes of faithfulness and betrayal: When is it better to hide the truth than to share it? How far can you shade the truth before it becomes a lie? When do you tell someone a secret that would hurt him? For example, your protagonist, a young bride-to-be, has a one-night stand. She feels terrible because she loves her fiancé, but should she tell him what happened and shatter him—and perhaps lose him—or keep the truth hidden?
Fantasy, myth and science fiction are good venues for exploring issues of consciousness, humanity and morality: How self-aware does something need to be (an animal, a computer, an unborn baby) before it should be afforded the same rights as fully developed humans? At what point does destroying an AI computer become murder? Do we really have free will or are our choices determined by our genetic makeup and environmental cues?
#5: Look the Third Way
You want your readers to be thinking, I have no idea how this is going to play out. And then, when they see where things go, you want them to be satisfied.
There’s a story in the Bible about a time religious leaders caught a woman committing adultery and brought her to Jesus. In those days, in that culture, adultery was an offense that was punishable by death. The men asked Jesus what they should do with this woman. Now, if Jesus had told them to simply let her go free he would have been contravening the law; if, however, he told them to put her to death, he would have undermined his message of “forgiveness and mercy.”
It seemed like a pretty good trap, until he said, “Whoever is without sin among you, let him cast the first stone.”
Nicely done.
I call this finding the Third Way. It’s a solution that’s consistent with the character’s attitude, beliefs and priorities, while also being logical and surprising.
We want the solutions that our heroes come up with to be unexpected and inevitable.
Present yours with a seemingly impossible conundrum.
And then help him find the Third Way out.
I hope this helped! I’ve been really busy today, seeing how my mom had surgery and I’ve been trying to continue writing my novel today as well. I thought I’d squeeze in some more stuff for you guys!
If you have any questions or just want to talk, feel free to visit my ask box!
Leveraged an inventory of established fictional character and setting elements to generate a disruptive custom-curated narrative entertainment asset.
I worked in HR, handling applications and interviews, and if someone turned in that string of techno babble nonsense, I would have rejected them out of hand.
A resume doesn’t need to sound fancy or overly technical, it needs to tell us why we should hire you.
“Independent novelist/writer” is more than sufficient here. If you want to express the skills that fan fiction taught you, something like, “creative writing, editing, and publication,” will get you a lot further than… Whatever that just was.
A resume should be tailored to the position, if you can afford the time and energy for that. But if not, then just think about what writing for fandom taught you. How to respond to criticism, how to present a professional public face, how to correct punished mistakes, creative thinking, project planning, persuasion via emotional leverage, html formatting, office suite fluency.
There are a lot of actual, marketable skills that go into fan fiction.
art takes hours to produce and seconds to consume so dont act suprised when artists get upset when their posts only get likes and no reblogs
similarly a piece of writing that takes a few minutes to read could have weeks of work behind it… dont take creativity for granted when ur getting it for free
i complimented an old lady customer’s little round glasses and she said “why thank you! someone told me they had a ‘steampunk look’. i haven’t been called a punk in a long time, much less a steamy one!” i’m flatlining
legend has it that if you say “women can’t carry blockbusters” three times in the mirror, sandra bullock and cate blanchett appear outside your window with bubble guns and frame you for robbery
concept: instead of hedwig, Harry goes into the pet store and this little snake in the back of the store talks to him, obviously gets his attention more than the other animals, and harry feels sorry for it so he takes it home. Then the snake helps Harry throughout his years at hogwarts as harry carries it wrapped around his hand all like “pssssst, haaarryyy, the dark lord isss coming sss” or just petty shit like “haaaarrryy, now is the time, assskkk out cho chaaannngg”
The snake getting really agitated in second year and Harry like ‘Aw, what’s wrong little friend?’
And snake’s like ‘Nah don’t worry it’s cool, it’s just that big fuck-off snake in the pipes that keeps making you think you’re hearing things—it’s like, ten thousand foot long, and I’m a corn snake, so you know. Bit intimidating.’
Third year he eats Scabbers and saves them all a lot of time
When you attend school you are technically in story mode but once you graduate your life turns into an open world game with just side quests here and there.
Here’s the first volume in what will be an expanding glossary of publishing terminology. If you have any questions about any term defined in this list, feel free to let me know and I’ll create an expanded definition for you.
Acquisition: The process of a publisher buying the rights to a manuscript from an author or agent.
Agent: The person who represents an author’s work and interests, submits their manuscripts to editors for acquisition, and negotiates contracts.
ARC (Advanced Reader Copy)/Galley/Proof: A promotional copy of a novel distributed for marketing purposes before publication. ARCs are usually not-yet-finalized, paperback versions of the book, which may have: minor copy editing errors, missing dedication/acknowledgment pages, or no cover art. They’re distributed mainly to reviewers, librarians, booksellers, and other industry professionals, but also make appearances at various book/fan festivals.
Big Five: The biggest publishing houses: Penguin Random House, HarperCollins, Simon & Schuster, Hachette, and Macmillan. These five houses publish and sell the majority of books you see in stores and have a lot of sway in the industry.
Draft: A specific version of your manuscript, used for describing the state your manuscript is currently in. You can have a current draft, a past draft, a first draft, a revised draft, a final draft, or a 38th draft.
Editor: The person at the publishing house who acquires and helps revise an author’s manuscript
Imprint: A publishing house within a publishing house, basically. An imprint is a division of a publishing house that tends to focus on a certain genre or style of book. A chart showing the imprints of the big five publishers.
Lead titles: The predetermined “bestsellers” on a season’s list, which get the most publicity and marketing for that season, and often receive the biggest advances.
Manuscript: Basically the best term for a book before it’s actually in print. When you carry your novel around in a binder or as a stack of pages, it’s a manuscript. When you carry your novel around bound in a pretty cover, it becomes a book.
Publisher: A company that acquires manuscripts and prepares them for sale
Query/-ing: n. the combination of a cover “query” letter and sample chapters of a manuscript to be submitted to literary agents in the hopes of acquiring representation; v. the process of submitting queries to literary agents
Revise and Resubmit (R&R): A response from an editor or agent in between an offer and a rejection, when they are interested in a book, but do not want to take it on in its current state. Agents and editors who request R&Rs will also often request first looks at the revised manuscripts as a professional courtesy in return for their editorial letters/guidance. R&Rs may result in an offer from an editor or agent, or they may result in a rejection.
Seasons: The publishing industry divides the year into three “seasons”: fall, winter, and spring/summer. For each season, publishers will produce catalogues showcasing the titles to be published in that calendar period. These seasons and catalogs can affect books’ publications. For example: titles may be pushed back in publication to fit a certain season (a novel about ghosts will generally be published in September, in the fall catalog where it is most salable). Titles may also not be acquired because there are already similar titles in certain catalogs, and the publishers may not want to publish competing books.
Starred Review: Trade reviews give “stars” to books of “exceptional merit.” Good reviews of upcoming publications are not always starred. Starred reviews can be influential when publishers are selling books to bookstores, libraries, and other institutions.
Submission (sub): The process of an agent sending a manuscript out to editors with a goal of acquisition.
The Slush Pile: Unsolicited manuscripts sent to 1) publishers without agents/requests from publishers, or 2) agents without requests (less common usage).
Trade Review: A review in a trade publication, ie. a publication meant for industry professionals instead of general consumers, such as Publishers Weekly.
