 No matter where you are in writing your story, weather can play a part in moving the action forward, defining a character, or throwing a wrench in the path of good or evil.
Great writers from Shakespeare to Steinbeck have successfully used weather in their stories. If it weren't for the drought, the Joads might never have set out to California. In The Tempest, we can't forget how Prospero used weather for his own good. Here's how you can hurl lightning bolts at your villains or paint rainbows for your protagonists and get away with it. PLOT. If you are stuck moving the action forward, change the weather. When your MC steps outside without an umbrella and is caught in a sudden downpour, does he slip into a cafe for a fortuitous encounter with someone? Does he hop on a bus to avoid the weather? Does that bus crash? Is it the wrong bus, and he ends up late for (work, a date, picking up a child)? Insurance companies don't take responsibility for acts of God. Neither must writers. Use storms, landslides, earthquakes. These things happen without notice. CHARACTER. How do your characters respond to different weather events? Use them to reveal moods, fears, hopes, or long-lost dreams. Maybe every time it rains, your character is reminded of the day his dog died. Or whenever she sees a rainbow, she makes a wish. Don't go overboard. No one likes a cliche. Subtlety is your best move. SETTING. Last but not least, we must talk about the obvious. Depending on where your story is set, some weather events just won't come up. It's unlikely an earthquake will hit in Iowa or that a monsoon will flood Arizona. If you are writing realistic fiction, study the weather in the area where your story is set. You might discover some freak storm that hit years back. You could use that for a tragic backstory, or it could be the reason for your character's behavior or motivation. That's my story. What's yours? Please share your ideas in the comment section below! Happy writing :)
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 I dare not say these words out loud, but... shhh... come closer, and I'll whisper them to you.
I think my story is finished. Don't tell anyone. Not yet. First, I need to make sure I've satisfied the questions with which the story began. I have worked on my young adult contemporary manuscript for more than a year. I'm not talking the writing part. The writing began in 2013. I'm talking editing and revising. A year. To be precise, fifteen months. ON THE ROAD TO MARTY MCFLY has seen changes in characters, point of view, and plot. It is an entirely different story than the one I began three years ago. It is also an entirely better story. First, let me tell you why it's better then I'll show you how I know it's finished. One. I have addressed every concern an agent or editor brought to my attention during contests and querying. Two. I have examined and corrected every detail my amazing critique partners raised a red flag to. Three. I like it. It's a story. The characters are authentic. The MC is fallible. Now let me show you how I know it's finished using the following five questions. One. Is the main plot resolved? I don't want to promise a premise that doesn't pan out. Readers need resolution to the protagonist's problem. Resolution does not necessarily mean a happy or satisfying ending. It just needs to be plausible. Two. Did the protagonist solve it (YA needs this)? In YA, the protagonist needs to be the one to solve her problem. Adolescents seek empowerment; adults screw with their destinies enough in the real world. Three. Has the character grown or changed from the opening scene? Consider Joseph Campbell's Hero's Journey narrative. When the reader meets the MC, there must be something the reader asks or observes, something he expects to change. Four. Have all the minor plots resolved? Your A story and B story and all minor journeys that arose along the way must each come to a close. Five. Have all the "teasers" been dealt with or resolved? In Act I, you've no doubt introduced red herrings or secondary characters with their own story. These all need closure. If Mom has been looking for a job throughout the story, and you keep referring to it, she either needs to land one or make a comment about going back to school. Something. Don't leave teasers teasing (unless you're writing a sequel... but that's another story...). If you think you're story is over, answer the five questions. What other questions do you think writers need to ask? Share with us here. Write on!  The incomparable Professor Snape aka Alan Rickman. Rest in Peace, our dear friend. While working with my creative writers recently, a student frowned and said, "I don't want to make a character people don't like."
I wonder what Alan Rickman would have said to that? Most definitely the author, JK Rowling, filled him in on the multi-dimensional character. Every character in your story is important. If not, get rid of them. No character--as no human--is perfect. We are flawed. We love; we hate; we care; we judge. Your job as a writer is to build three-dimensional imaginative people who readers believe. As for creating unlikable characters, those can be the most fun. Villains, antagonists, creeps--all of them--help your hero figure out what she needs and how she'll get there. However, the antagonist and villain are not synonymous. The antagonist is your hero's biggest adversary. Adversaries can simply be annoying pains in the neck. They can help develop your protagonist, but they are not vital to the plot. This obstacle might also be a phenomenon like the weather (GRAPES OF WRATH) or an institution (CATCHER IN THE RYE, ANIMAL FARM). Classic antagonists in children's lit include Tinkerbell and The Queen of Hearts. They help the protagonist grow and learn, but they do not tie in directly to the main plot. The villain is essential to the plot and prevents your hero from reaching resolution. The villain is one whose dastardly ways impede your main character. (In HARRY POTTER, Snape might be seen as an antagonist, whereas Voldemort is clearly the villain.) Villains we love to hate: the Devil, Moriarity, Captain Hook) Let's complicate things. The villain might also be your protagonist. This character seeks a goal, but he's not the nicest of people. Think: THE GRINCH, THE GODFATHER, MACBETH, or the TV show DEXTER. In these cases, you can see that a villain/protagonist reads more like a villainous protagonist. That said, not every story has a villain, but every story has an antagonist. It often depends on your genre. Whether you are in the middle of your story or just getting started, consider who or what impedes your hero's journey. That is your obstacle. If it's a person or being, they are either your villain or antagonist. If that character is essential to the plot, they are most likely your villain. Think of the fun Rowling had with Voldemort. Readers despised him from the get go, but we also learned more of why he was so tormented. Without Snape, our antagonist, Harry would never have survived. This we know now. Create characters with flaws, characters who annoy us, characters who do despicable things. It's your world. Whatever you do, put as much heart and time into developing these hated ones as you do your main character. Side note: when I told my young writers to imagine a teacher or classmate who truly got on their nerves and turn them into a character in their stories, they each smiled and put pen to paper. Remember, writing is fun. Have fun. Write on! |
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