Problems with my main character

As I work through the first few chapters of my current story yet again, one of the main issues I’m trying to address is a weak protagonist. For the last re-write of these chapters I intentionally focused on him having a lack of confidence. I thought this would be a good way to show the character grow as he regained that trait and took charge of his particular situation. Turns out this wasn’t a good idea. The entire story was written so that a protagonist without confidence simply isn’t believable. Damn. Now what?

Another aspect of this character is that he has been born with a special gift of magic. It’s a gift he doesn’t trust, and if anyone knew of it, he’d be ostracized. Not only that, it’s a gift he’d never been taught to fully exploit. There are some other twists to it, but this is the gist. By the end of the story, he will have learned the trick of commanding the better part of his real power, and use it to win the day. At first glance, it’s a pretty subtle bit of character development, but when I look back at what he goes through, it’s not really subtle. In fact, it’s the key change he undergoes through the story. From that perspective, it makes perfect sense that I should focus on his magic as the dynamic element, especially since most of the story revolves around his learning of magic. The next step is to go through each chapter and re-write to make him confident, perhaps to a fault, and instead focus on magic as the key aspect of character development. With luck, this change will make the story more interesting, believable and engaging. If not, well, I’ll just revise again.

Starting in the right place

I’ve been struggling with the first chapter of my story for some time, not the prologue, but the first-chapter proper. Part of the reason for this is that it was a breakthrough chapter for me when I wrote it, although it took me a long time to realize that. It had initially been a part of a different character’s back-story, and when I made it the starting point for my story, a lot of stuff started clicking into place. As a result, I was rather married to the first iteration of it. Then, I asked some friends to read it, they all said the same thing: It really doesn’t work with the rest of the story. It wasn’t that it didn’t fit the plot, it was the tone and direction that first chapter seemed to set out that wasn’t working. So, I revised it. The feedback I got on that was better, more along the lines of, this works way better, but it needs a lot of polishing. That felt better in terms of review and ego, but the chapter still doesn’t, in fact, work with the rest of the story. There are a lot of reasons for this, it still has vestigial bits and pieces from the original chapter so it has an uneven tone. The main character is still also not defined well enough, of course this causes other problems moving forward, there’s also a bit of that plausibility issue as well. So, I’ve decided to make another crack at it. This is largely because having that chapter so rough bothers me. I want it to be the best chapter of the book. It really needs to be if I expect anyone to actually pick it up.

I spent a lot of time today avoiding writing, not because I didn’t want to, but because I was letting this problem stew in my mind. Finally, I spent an hour working on the first couple of paragraphs (this is almost always a bad sign for me, unless there’s another real distraction in the room). After re-reading what I’d puked out, my conclusion: It’s worse than what I started with, hardly fixes the original plausibility problems, and really doesn’t even read well. So what am I going to do?

I have come to the conclusion the story starts in the wrong place. I’m actually not far, I think, I just need to step back to events fifteen minutes before the original start. At the beginning, I’ve got my character running through the woods, which I think is a really good idea, but it makes life difficult for establishing the setting properly, because I’m neck deep in action. I mean, this can be done, but I’m not quite skilled enough to pull it off. What this is going to do is give me a couple of sentences for setting, which is relevant to the larger story, though quite subtle, and then launch into the action more naturally. It will also stretch the action out a little so that when the main character has to give up the chase, it’ll feel less jarring. I’m super-optimistic about this change, so hopefully it’s what I need to help me launch chapter 1 so it’s every bit as great as I expect it to be.

Where do you find the time?

This is actually a question I get asked about my other hobbies. I do woodworking, beer brewing and plus there’s the job, kids and trying to help keep the house from falling apart. Not to mention going to the gym in order to avoid a heart attack before the age 39. It’s a good question though. As I devote virtually every free moment to writing, I wonder. How is it that writers manage to finish not one, but multiple book while juggling work, home life and general living? I’ve only been at it hard for about the past year or so, before that I was a lot more casual about it. I’d go on jags for a few weeks where I’d think about and do nothing but work on my story, then I’d go weeks or months with little more than a cursory effort. Now as I enter the home stretch for having a full draft, recognizing there’s about as much work left as I’ve already put into it. I wonder – Is it really worth the exhaustive effort? This is a somewhat rhetorical question, I’m going to keep at it regardless of the outcome. I’m way to stubborn not to. It’s sort of like this: Let’s say I finish my story. Then there are at least 2 books behind that to finish out the project. Let’s further assume I manage to sell my work (this is a big assumption, I fully recognize this, but that is the goal.) I will still be working my full time job, managing children, ducks, other hobbies, and a constant battle with health (I’m not super unhealthy or anything – my usual work out is a 2-3 mile run. I just HAVE to do it almost daily or my blood pressure becomes dangerously high). So, what do other writers do? How do you manage the life-work-writing balance?