Create a Strong Emotional Experience for Your Story Readers: - download pdf or read online

By Amy Deardon

Emotionally Bond Your Reader on your Story

Learn the nature features that Make Your Hero and Villain Come to lifestyles at the Page

Use Point of View because the Key

Point of View

The shut emotional adventure a reader studies together with your characters is an important cause she or he retains interpreting and loving your tale. you could develop that bond among your reader and characters through the use of uncomplicated writing strategies that rework your characters into glowing contributors. during this publication you'll …

  • —Discover the basic characteristics tale personality should have to develop into a “real individual” in your reader.
  • —Review strategies to translate your character’s character onto the web page so your reader is aware her or him in addition to a most sensible friend.
  • —Grasp the robust point of view approach that plunges your reader into your character’s mind.
  • —Master those strategies on your personal writing through going step by step via examples that might express you precisely tips to cause them to work.

it is more straightforward than you think that! you could remain annoyed development characters through trial and blunder, hoping you've got captured the weather that might unflatten them... or study the strong confirmed strategies that generate vivid tale humans. stopover at the author's web site at

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Additional resources for Create a Strong Emotional Experience for Your Story Readers: Build Captivating Story Characters and Use the Power of Point of View to Communicate Your Story

Sample text

He or she sees himself as being the hero. ______ Tip #22: Your antagonist is the perfect tool to highlight your hero’s weaknesses and force him or her to change. Antagonist’s Goal A great many stories employ an evil or at least selfish antagonist who will do what he or she must to improve their life circumstances. The antagonist’s goal in these stories is therefore a positive one—your antagonist wants something. He or she may want to take control of some treasure and misuse it to help advance. Your antagonist may want to control other people in some way.

A big problem I see when critiquing manuscripts is that the character personalities have somehow diminished by the time they hit the reader. Instead of vibrant, three-dimensional people there are a bunch of disembodied names running around on the page. You’ve already done the hard work to make your characters unique. Now you just have to translate those thoughts to your reader. The good news is that this is often a technical problem, rather than an artistic problem. In other words, by following different formulas you can go far in furthering your translation abilities.

Robert Redford is virtually the only actor in this story that describes a series of cumulative disasters on the yacht of a man in the middle of the Pacific Ocean. Will he survive? Another is Tom Hanks’ Castaway when he is stranded on a deserted island and must make his way back to civilization. However, even though these types of “disembodied antagonist” stories can work, it is exponentially easier to write a story with a focused adversarial character. I strongly recommend that you build a specific, personal antagonist for your story who will directly interfere with your protagonist.

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Create a Strong Emotional Experience for Your Story Readers: Build Captivating Story Characters and Use the Power of Point of View to Communicate Your Story by Amy Deardon

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