The rock star had a seizure in his hotel room. He recalled little of it; just a long fight to breathe. As he came to, the other band members were telling the paramedics he’d be fine for the night’s gig, a doctor would take care of him. He didn’t want to let them down, of course, but he felt like death.
His girlfriend had witnessed the unremembered time: 10 minutes of jerking, clawing and choking, pleading for help; the brutal rescue where paramedics only just got him back. She saw the other band members playing down the dangers, arguing with the medics. She wanted to tell them how bad he was before any of them arrived, and how long it went on for; except he was so fragile that might trip another attack. And none of them would listen.
Who is in the worse situation? The rock star or the girlfriend?
If it was real life the answer is a no-brainer. But in story terms, it’s worse to be the girlfriend. So she’s the character we’re more interested in, the more natural focus for our curiosity. But many novice writers would make the rock star the central character.
Why is the girlfriend more fascinating to readers?
She has the heavier burden. She knows that if she could muster enough guts, wits and nous, she could stand up to the band and save her lover. Her conscience is telling her so. But she is outnumbered, has no clout, and even the boyfriend will listen to them rather than her. She is trapped and isolated with her problem. And even if he gets through this show, what about the next and the next? She is burdened with guilt and responsibility. He is burdened only with biology.
When writers want to make us concerned for a character they often try to enlist our sympathy with a trauma or a timebomb. But the reader knows the writer can use a timebomb as the whim takes them; either the rock star dies or doesn’t. Choices and decisions, though, exploit what stories do best; they pit characters against each other, against their own failings, fears and weaknesses. In the above scenario, although the reader might be concerned for the rock star as a fellow human being, they’ll really feel for the girlfriend.
Great stories make us walk in a character’s emotions. A terrific way to do that is to give characters difficult choices. Can she stand up to these people? Does she have the courage to do the right thing? What would it kick off? Will she muster the ability to convince people? We can follow this struggle. If she does the wrong thing, she carries it like a wound herself, but one that was made by the story and her own actions.
Thanks for the dilemma pic Unkreative.
In other news, I just got the ‘Top website for Self-Publishers’ award from the Alliance of Independent Authors. This badge is, according to their email, a benchmark to signify ‘excellence, integrity, creativity and helpfulness in the indie self-publishing world’. If anyone reading this helped it along – thank you. And if you liked this post, there is plenty more advice on getting the reader on your MC’s side in the Nail Your Novel characters book.
Okay, back to the subject. Let’s talk about stories where the writers get us rooting for the characters by the dilemmas they face. Indeed, have you done this in one of your stories?