Motivation.
This is the powerful emotion that inspires people to get off the couch and grab a tub of ice cream. It’s the only thing that is strong enough to pull me out of a very warm bed when it’s still dark and cold outside. It’s what inspires Harry Potter to defeat Voldemort in Harry Potter, Elizabeth Gilbert to find food, meaning, and companionship respectively in Eat Pray Love, and Frodo Baggins to make the long walk to Mordor in The Lord of the Rings.
UPDATED 5/17/19
Your characters have to want something
Every good book begins with a protagonist who wants something. There’s a reason you don’t generally see books about characters cast about by the whims of fate without any sense of purpose or desire, or, worse, characters who are aimlessly wandering about trying to find their purpose. Even Odysseus, essentially a powerless character blown about by the gods, has a rock-solid motivation: he wants to get home.
Wanting something is what makes protagonists interesting. It’s what makes readers invested in finding out if the character is going to get the things that he or she wants. It’s what makes these characters feel like living, breathing humans. After all, we all want something at any given moment.
Your character does not have to know what he or she wants on page one, but it should be conclusively clear by page 30, preferably earlier. Every step that your protagonist takes after this point should be a step toward this goal, though the forward progress will be thwarted by obstacles and other characters, who have their own set of desires and motivations.
Make what they want complicated
Many stories, especially genre novels, have a built-in motivation that’s kicked off at the beginning, like a parent whose child was kidnapped or a save-the-princess fantasy novel. The character’s motivation is immediately apparent based on the situation they find themselves in.
Better yet is a novel where a character wants more than one thing and these two things are at odds. The main character might want to save the princess, but he might just have his eye on the king’s throne as well, and so he has to decide by the end of the novel which of these two motivations are more important to him.
Better still is a character that wants things that are internally contradictory, so that the character not only has to battle exterior obstacles to get what he or she wants, but the character also has to battle their own conflicting desires.
Competing desires
Here’s a way of illustrating that in A Game of Thrones style.
- Good: Ned Stark wants to help his friend, King Robert, protect the realm.
- Better: Ned Stark wants to help his friend, King Robert, while also protecting his family.
- Best: Ned Stark wants to help his friend, King Robert, while also protecting his family and maintaining his personal sense of honor, but he may only be able to do one of the three.
When I was crafting the plot of Jacob Wonderbar and the Cosmic Space Kapow, it was important to me that Jacob should have competing desires in the climax. He isn’t just trying to figure out how to get home to Earth, as he isn’t even sure if he wants to go home. He isn’t sure at all about what to do in the end.
Before the climax, I steadily built up the idea that perhaps Jacob’s dad was in outer space. Jacob could continue looking for his dad in space or he could return home with his friends, but he couldn’t do both. He had to overcome his own internal battles to make this choice. He had contradictory motivations.
The desires of your characters will help shape these crucial choices in your novel. Every time you introduce something a character wants, either internal or external—regardless of whether they want to save a princess, seek acceptance from their parents, or snare a white whale—you’re introducing a plot arc.
Hone your plot arcs
A plot or character arc is basically a drawn-out process in which a character wants something and then tries to get it. The arc closes when they succeed or fail in getting what they want.
Every single character you introduce, major or minor, from your protagonist to the pizza delivery robot, should have their own plot arc(s) with defined goals and motivations.
If you’re a planner, write these arcs down and know them by heart. Map them out from beginning to end. You should be able to create a spreadsheet of everyone’s arcs, which are shaped by the things they want and their high points and low points as they try to get them.
If you’re an improviser, make sure that when you’re finished with your draft, you can trace these arcs from start to finish. Look for moments when characters don’t display enough motivation, and consider rearranging some events to make the arcs fit together more cohesively.
The more important the character, the longer and more complex the plot arc(s). For instance, your main protagonist’s and your main villain’s plot arcs should be introduced early in the novel, and you will probably have a rather nuanced view of their desires and contradictions.
We probably don’t need to know about the existential crises of the pizza delivery robot, but it should still show some sort of motivation if it is to be an interesting character.
Why your characters are flat
Motivation is often where writers miss opportunities. Their characters seem flat because there’s nothing beating in their hearts. A character without motivation is an automaton. They’re just going through the motions.
Instead, at every step of the way, on every page, with every exchange of dialogue and every action, the best characters are actively trying to achieve their desires. Every character is motivated. Always ask yourself what they want. Then construct obstacles, whether internal, external, or both, that stand in their way. They’re encountering characters or monsters or inanimate barriers that want something different than they do and that are stopping them from getting what they want.
Need help with your book? I’m available for manuscript edits, query critiques, and coaching!
For my best advice, check out my online classes, my guide to writing a novel and my guide to publishing a book.
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Art: Désirs by William Kendall
Marilyn Peake says
Kristi said:
I’m assuming it gets easier with time to have others read your work…is that true?
Not for me. I think most people in the arts continue to have angst about their new works.
Lupina says
This post was superb, Nathan. Even though I thought I had done pretty well arc-wise in my most recent work, it made me stop and re-evaluate a couple of characters. Sharpening and clarifying never hurts!
Have you thought of writing a book based on your posts? I bet you could land yourself one fine agent.
Amy Sue Nathan says
I think the key for writers is to know how to show the character motivation without spelling it out. One of my secondary characters wants to appear picture-perfect and serene, everything she does and says reverts back to wanting happiness and peace around her…yet she never says, “Oh my I want to appear perfect.” The motivation is there, in her clothing and hair, her dialogue and actions. She works very hard at it.
What I’ve learned through the writing process is that secondary characters cannot revolve around the main character like the planets revolve around the sun. To be believable they need their own orbits.
It’s great to read about writing here – and to remember that every character, like every *real* person wants something – even if it is just a glass of water like Vonnegut said, and your first commenter reminded us!
T. Anne says
This is wonderful information! Thanks Nathan!
It’s something to consider even down to the least of characters.
wolf says
Lynn Viehl of Paperback Writer has this awesome spiel where she asks her main character: Who are you? What do you want? What’s the worst thing I can do to you?
I read that and all of a sudden, character motivations made sense.
Rochelle says
Great post today. I love your blog every day, but this one is a keeper. I’ll be sending it to my other writing pals.
Chris Bates says
DIMA:
I’d say Holden has a very definite motivation.
He’s on a quest for ‘truth’ or ‘meaning’ in life.
That said, he is an anti-hero … an adolescent one at that, so his angst may render him as a character that appears aimless.
But clearly, he is at a ‘loss’ because he has experienced ‘loss’. The search for himself is the ‘push’ for the novel, however internalised it may be.
Of course, I could be speaking absolute sh!t. You’d be hard pressed to fill the back of a driver’s license with my knowledge of story craft!
reader says
Nathan, can this post be saved in the “essentials” part of the blog off to the side?
I have a feeling I’m going to need to come back to this… again and again as I start my rewrite.
Mira says
Rick – thanks, I’m glad you like the idea. You as well, Anon. I think I’m going to try it.
I’ve heard alot about Evil Editor, but I’ve never checked him out. I’ll have to do that.
Mira says
Okay, interrupting for just a second – Nathan, today I was going to go over to that nice, sweet Janet Reid and ask her to be my agent. Then she could represent me to you so you would be my agent.
Well, I went.
I poked around a bit, looking for the right place to ask my request. And as I looked, more and more, a phrase kept running through my head. Here’s the phrase:
“Eat me alive.”
As in dip me in flour, fry me in oil and have me for breakfast.
Um, I’m not sure that sweet and nice are the right words.
Don’t get me wrong. I could see the heart of gold. I was just afraid that she’d clop me on the head with it.
But I don’t want you to think of this as chickening out, although that would be a pretty darn accurate way to describe it. However, I’d prefer you think of it as a wise choice leading to self-preservation.
In fact, the type of wise choice that you might value in a business associate. A business associate you might send a signing contract to, for example.
Okey dokey. I think that’s a pretty persuasive argument there.
Boy, I need some time to re-group.
Actually, I need a drink.
Okey dokey. I’ll look for the contract in the morning.
Chris Bates says
I get the feeling that Nathan’s post is ‘news’ to a few readers. It shouldn’t be.
With all due respect to Nathan (Hell, for all it’s worth, I think you do a really great job with this site, Bransford), a literary agent’s blog probably shouldn’t be your first port-of-call for discovering the mechanics of story-telling. Sure, Nathan is a clued-up industry gatekeeper. He is obviously talented in what he does and shows more than a modicum of sympathy when it comes to writing and writers.
But… there are a million books out there that broach the craft of writing. Read them. Some are worthy, some are not. Point being: writing is rarely a sit-down-and-scrawl affair. At the risk of sounding like a know-it-all-prick, I’d suggest most of us breezing through here are probably in need of a little education when it comes to outlining, characterization, theme, motive etc.
Nathan, maybe a ‘Resources’ link for books on the craft?
Anonymous says
Nathan,
I love you. People don’t reach out in the blogosphere and say that – in earnest – enough. And I mean it! I look forward to your sage advice and my belly chuckles every weekday and I appreciate having your wit and knowledge in my life, especially when you could charge for it.
In the very beginning of the PART FOUR of Dostoevsky’s IDIOT, he talks about people who want to be original and clever so bad that it hurts. You are NOT one of those people. You’re a person who doesn’t understand how valued and clever you really are, because if you did, you’d call yourself a writer and you’d get a book deal.
-Alex
Oh, and Mira- excellent idea. Also, Janet Reid, while genious and probably lovely in person, terrifies me too. I’m not a masochist myself and I sympathize with your decision.
Anonymous says
Yowza, Chris Bates! You know, you’re charming passive agressive voice can’t be heard through the characters on the page. Even Marilyn Peake was enthused by the subject. Guess what? She’s PUBLISHED.
Nathan Bransford says
Naw, I agree with Chris Bates — there’s nothing here that you won’t find in books on writing (other than my own personal spin on it). I think there’s a lot to be said for reading the books and learning the craft. My advice just happens to be free.
Jil says
Nathan, thanks for a great post that stirs the writing juices.
Malanie, When I sent my first novel off to live with an agent in New York it was winter and I felt terrible sending my young protagonist into that cold weather. I’m always a nervous wreck when someone is reading my work.
Miri – Great idea. I’d love to send one of my characters over for a chat!
Anonymous says
I agree with him too. It’s just very easy to seem like you’re putting people in their (inferior) place when you can’t hear a tone of voice. Writers are delicate creatures, by and large. Sorry Chris Bates. If I knew how to erase it, I would. I rescind my nasty comment and ask forgiveness
Jen C says
Just because one can be inspired or jolted by a bit of well-timed advice, doesn’t mean that one is necessarily clueless and hopelessly in need of education. I have been writing for years, and have a shelf full of writing books, plus a few writing courses under my belt. I’m also well into studying for a degree in English Literature and Composition.
Yet, reading that post gave me a flash of inspiration – not that my characters were running aroud aimlessly with no motivation, but I had an idea of how to make that motivation deeper.
So perhaps you can’t tell what is going on in someone’s world just from a quick blog comment! I think that many people who read this blog are in the same boat – filling their head with writing information, and then excitied when one thing really resonates with them.
Word Veri – Penag. So humorous comment, I just liked the sound of it. Penag!!
Jil says
Chris is right, and most of us have read, or heard. the information Nathan gives us but the fact that it comes a bit at a time, well written as though from a trusted friend, is a strong reminder and incentive to work on things which may have gotten lost in a rush of words.
That’s the way I feel, anyway!
Anonymous says
I didn’t take Nathan’s post as “news,” Chris, more as a reminder. And an amusing one at that. I’m working on revisions now and it reminded me that 1) my protagonist’s motivation has to change in the course of the book (she realizes that her original desire will not be fulfilled, and begins to focus on a new one), and I need to be clear about why that matters; and 2) even though I intend there to be a sequel, there needs to be provisional closure to my each of my characters’ “arcs” in this book.
MaLanie says
Mira, great idea! If you do the Character blog let me know.
I have question about secondary characters.
I have a main character(Libby)she represents me stuck in dogma five years ago.
Then I have three other secondary characters (who represent a liberated me today) each character teaches Libby something that helps her out of the dogma.
Now, here is my question, do they (the secondaries) need to have their own personal issues/motives? Or is it okay that their motive is to just to teach her?
I think it is okay with their motive being that they want to guide her out of her miserable dogmatic life style. However, I am a newbie here. So any advice would be great!
MaLanie says
If you need to understand the story line better to answer the question you can see it on my blog.
Chris Bates says
Anonymous @ 4.07 & 4.19:
Sorry to irritate. Unintended. I'm an unlikable, yet misunderstood, character with many misguided motivations.
Okay, so to Marilyn Peake. She's enthused. I am too. Fortunately for Marilyn she is someone who is already addressing the stuff Nathan is on topic about. She knows the score. She's published, she must be doing something right. Which is more than I can say for myself.
So here we are: beginning writers with our pencils eating up pages until story resolution. What next?
Go a re-read?
An edit?
Maybe a query to the agent I've been following for 12 months?
I'm going to hinge my hopes and dreams on this query. I know I shouldn't but I can't help it.
My point is that it's a hard education when one is being first exposed to writing craft on an agent's website. My assumption being that people here are seeking representation for novels they have completed, close to completing or wanting to complete.
I'm not trying to attack 'inferior' writers. I am that 'inferior' writer, thus the dog-eared writing how-to books. Thus the self-defeated typist who sits here procrastinating because I could never possibly 'make it'.
My tone is from someone who may once have queried prior to learning the craft. Someone who knows a manuscript needs an edit but would prefer if I didn't accidentally see the 'WTF!!!' scrawled midway through your copy! Passive aggressive = frustrated novelist.
Again, apologies for being insensitive. I really gotta stop putting my name to this crap I brain-dump.
Marilyn Peake says
I love the way discussions get going on this blog. I think Nathan’s topics are so thoughtfully written, he gets discussion moving.
I was thinking this afternoon about the discussion here, the topic of character arcs, and about how different novels emphasize different aspects of novel structure. I love novels that emphasize individual character development. I also love novels that, although they contain definite character arcs, allow the characters to play second fiddle to an artistic or intellectual idea. Examples: The Gold Bug Variations, by Richard Powers in which the similarity of patterns in music, genetic coding and computer programming was an overarching theme and Cloud Atlas: A Novel, by David Mitchell, described by Publishers Weekly as having “kaleidoscopic plot structure”. And I love experimental novels in which much of the focus revolves around playing with the form of the novel itself, e.g. If on a winter’s night a traveler, by Italo Calvino and House of Leaves, by Mark Z. Danielewski.
I_am_Tulsa says
This is my first time to speak up here… Thank You!
I enjoy ALL of your posts but this one came at a specially good time. I’ve been battling with a new character and your comments have shed some light on her “needs”. Thank you!
other lisa says
Let me try that again…
Different people process information in different ways, so it’s always good to hear fundamental principles stated in different ways. What really scores with you and helps make that essential connection might go right over my head. Maybe I needed to hear it from another angle.
Great post! And a great discussion.
Oh, I got “flestiv.”
Griffin Asher says
“Every single character you introduce, major or minor, should also have their own plot arc(s)…”
That’s fascinating. I don’t think I’ve ever heard it described that way before. That would really deepen things in a story. It would make it easier to write those minor characters too. They wouldn’t just be stick figures or simple walk-ons, but actual people to work with.
Great post! Thanks for sharing.
*runs off to start filling out goal and motivation cards for all her minor characters*
A Paperback Writer says
Wow, Nathan. This is about the best description of motivation and conflict I’ve run across. I hope you don’t mind if I quote some of it (giving you credit, of course) to my 8th grade creative writing class.
Vodka Mom says
excellent post. (Just make sure the mom’s get vodka. It’s usually in the sippy cups.)
Sara Tribble says
Okay somehow I managed to delete my previous comment? lol.
Anyways I love the post-it’s genius! Made me reflect on my own characters and I am happy to say they each have their own motivations!
Love the blog–keep them coming!
Robin Constantine says
The Super Mario Bros example is too cool!!
Great post.
Anonymous says
Chris,
I am the anonymous coward you addressed and again, I am sorry. I didn’t mean to make you feel bad. Actually, I did, but then when I apologized I was sincere. You weren’t wrong that we all need to be educating ourselves as much as possible. Ever since I became a mother I’ve become the defender of all mankind. Please don’t feel bad.
-Alex
(See, you inspired me to not hide behind the anon ’cause that’s not fair)
Genny says
Great to find your blog, Nathan. What a wealth of information. I’ve been pouring over your posts and just subscribed to your updates. I also saw the link to Rachelle Gardner; I’ve subscribed to her blog for a while now.
Looking forward to the SCBWI conference in May!
The First Carol says
To Judith Coughlin: Our critique group reads twelve minutes out loud each week. That is feedback in your face (is that a pun?). You know when they’re listening and exactly when they got bored. The read aloud technique is recommended by Elizabeth Lyon in her book, Manuscript Makeover. I bribe my kid to read to me — I clean the kitchen, she sits and reads. It’s an intriguing form of editing.
Oh, and I lie. Everyone else gets 12 minutes. I get thirteen. I run the stopwatch.
Chris Bates says
Alex,
I doubt you’re a coward.
As for the need to defend all mankind? It’s that very same sensitivity that motivates us to create stories and express our views.
BTW, I didn’t want to ‘out’ you. Only reason I sign my crap is because I can’t select the ‘anonymous’ identity option from my high horse! 😉
lisanneharris says
Props, Mr. Nathan-Dude. It doesn’t matter how many “how-to” books we read, workshops we attend, or web sites we visit dedicated to the writing craft, there’s always need for clear and concise reminders. You gave it to me in one short blog post. Why pour over a heavy tome written in a boring voice when you say it with glister? 🙂
Man, I like your style. Thanks for keeping peeps like me informed on a plethora of topics.
Lis’Anne
MaLanie says
Chris- don’t be frustrated. This is just a season and remember seasons pass.
Be happy you can write like you do! How exciting! You have a gift. I would love to be gifted that way. Oh, to be a Hemingway!
Smile friend, and if you can’t smile go get some chocolate-it works every time!
Haste yee back ;-) says
At the very least writers… start your education with, ELEMENTS OF STYLE – Strunk and White.
Hit all of Lajos Egri… ART OF DRAMATIC WRITING, etc.
(Although for screenwriting)… devour STORY – Robert Mckee. IMHO, an absolute must read for every writer!
(Again, screenwriting), but really all purpose… STORY SENSE – Paul Lucey.
THE WRITER’S JOURNEY – Chris Volger and everything by Volger’s mentor, Joseph Campbell.
If you want more, get close to POETICS – Aristotle.
Obviously, I agree with Chris Bates.
Test in the morning. Pull an all-nighter if you have to, but read these, dammit!
Haste yee back 😉
Yes, it’s gonna be work!
Writer from Hell says
So simple..I just wrote that novel. This is the query..may I send the manuscript pls.
Writer from Hell says
just read the comment above mine by haste yee back.. couldn’t resist responding to the Aristotle quote with another: ‘Homer has taught all other poets, the art of lying skillfully’
O! these damned talented poets – I’ll never envy them again – they are all a bunch of liars – aristotle said so!
ps – storytelling is just lies really – as it is not the truth!
Mira says
I liked reading the conversation between Chris and Alex. It’s nice when folks can get past disagreements to connect as people. I applaud both of you for your integrity – also, Chris for your honesty, and Alex for your loyalty.
And Alex, thanks for supporting me in my decision re. Janet Reid. I just checked, and I still have all ten fingers and toes, so it’s all good. 🙂
Alex, Jil, Malanie, you’ve convinced me. I’m going to set up the blog this weekend. I think it would be fun and useful.
Mira says
Oh, Haste ye back,
thanks for all of the recommendations. I haven’t heard of many of them, and I’ll check them out.
And this is nothing about you, since you clearly found it useful, but I’d like to complain about Strunk’s Element of Style. I just did’t get it. I find it almost completely unreadable. Maybe I’m reading it wrong. I know alot of people like it, but what I could understand, I didn’t agree with.
I do need massive help with grammer – a friend just lent me a book called “Woe is I” My hopes are high.
Lynne says
Revenge is a good way to start, even for a character many love. What brought about the anger that seeks to hit back, hard.
Well, sometimes the best defense is a good offense.
Go watch basketball, Nathan, where the rules are finite. Characters never are.
Alex says
Yay Mira! I’m glad, and thanks for being kind.
Chris, you’ve forever endeared yourself to me. (see there’s my superiority complex shining through)
Chris Bates says
Mira, I’ll second Haste ye back’s nomination for McKee’s ‘Story’.
Get yourself a copy if you haven’t already. My bias is from a screenwriting perspective but the book is beneficial for anyone seeking structure, dialogue, pacing, characterisation info etc.
‘Elements of Style’ is a great reminder on how we tend to over-write. I’ll put up my hand on this one. Also, many of us tend to be too literary in our writing … because, you know, we want to show that we are ‘writers’. My hand goes up again. Somehow we forget the economy of the craft, the simplicity of good writing. You know, the writing that you don’t even notice because you’re caught in the story?
King’s ‘On Writing’ is great to remind us that adverbs equal lazy writing… and quite a few other dumb-writer things most of us do.
As for grammar/spelling … get it in the re-write. Story comes first.
@Alex: Good to see I’m not a total prick! Hopefully I can fleece some cash off you one day with a book sale!!
Alex says
Chris, again, I’m not hearing you say it so I’m just going to assume you’re grinning benevolently. I’ll have my eyes peeled for your name in a pretty, glossy font from now until I’m 90 and my mind goes, because I’m queer like that.
Aaralyn Montgomery says
I was actually thinking of characterization today because over the weekend I got to see “Watchmen.” Some characters were better than others, but for some reason the Comedian keeps sticking out in my mind.
His character arc was complex and fascinating and I’m still thinking about it now. That’s my aim in designing characters and their goals, to have them occupy the reader’s thoughts long after he or she has put down the book.
Thanks for the great post.
Richard Lewis says
Conflict? Bah. You’re a lousy analyst, Bransford. No wonder you’re an agent and not an MFA graduate program professor.
Two Flights Down says
This advice frolics through fields of awesomeness. This is definitely something a writer should be reminded of from time to time, but don’t only think of motivation; think also of tactics. How do your characters plan to reach their goal? What happens when an obstacle gets in the way? How do their tactics change? What do these choices in tactics, whether conscious or subconscious, say about your characters? Or perhaps these questions are more for literature analysis. ? Anyhow, it’s something I’ve picked up from my theater minor and it’s always carried with me through literature analysis, whether it be for plays or books. Perhaps these questions could help a writer when stuck.
Cat Moleski says
This was such a helpful article, I copied it out to a folder for future reference.
Thanks, Nathan!
sex scenes at starbucks says
Very nice, Nathan. Especially the bit about wanting conflicting things. I rarely see it in the short stories in my slush, but those conflicting wants belong there, too!