In revisiting the character, the writer realizes that the lawyer is stereotypical: we’re not sure why he needs to expose the law firm other than “it’s the right thing to do”. The protagonist is a lawyer who discovers his firm is protecting a serial-killing surgeon client. A powerful conclusion, where your protagonist faces a truly immense ‘black moment’, can be the difference between a contract and a rejection – or a good review and a return.Ī writer is working on a mainstream suspense/thriller. I find that most writers pull their punches in the third act. Does your story climax involve the most powerful conflict possible, in terms of story goal?.Does the conflict gradually and inevitably escalate throughout the novel?.Are the obstacles to your protagonist’s goal big enough?.Once you’ve identified the spine of the story, check your conflict. (If you have more than one protagonist, you’ll have more than one set of plot points that need to be woven together.) Build the plot points from your character – or, if you’re wedded to a plot twist, ensure that the character is developed to organically support the choices you want him to make.įrom there, map out your character’s arc via his plot points. Make sure that the character behaves believably and consistently. Readers engage with fully fleshed out characters, not themes hung on archetypes (or worse, stereotypes). ![]() Make sure that your protagonist is a three dimensional person.
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