I didn't post this video because it's about The Walking Dead. I never really cared much for that show. Watched a few episodes, then lost interest pretty fast. Maybe because there's no identifiable theme? I don't know.
I posted the video because it's about Character Web and how to go about creating one. Each character should have a particular stance on the main theme, or possibly a secondary theme for some of them. Otherwise they don't belong and are just along for the ride and weighing everything down uselessly.
This is one way to approach writing a story. I don't think it's the only way, but it's tested and proven to work if done well. It just so happens when I started writing the Beastseekers I actually did have a central theme, stated in my premise. And I did a pretty good job of making a web of characters around it. Even after I've stopped and re-started almost from scratch several times, that character web still seems to be holding true. But I'm going to be doing some exploratory writing about it for a while to see if I might have missed a major take on the theme that I left out. I might want to add another character to represent that, I don't know. Or maybe save it for a sequel or series if it goes that way. But I think it's well worth exploring. It might modify my existing characters somewhat. A couple of them have started to become a little too similar I think.
The moment that made me decide to build a blog post around this video was when he said this:
Avoid depth for the sake of depth—without purpose, depth is a waste of time.I've been exploring how to write deeper into the emotions and thoughts of my main character, and to express more about the other ones too, but this gave me a bit of a brake check. I mean, I definitely will continue to do freewrites and practice scenes delving into that stuff, because it's improving my writing. But for the actual story there's no depth unless it's called for.
- This entry is part 16 of 33 in the series General Writing Related.
Series TOC
- Series: General Writing Related
- Part 1: The New Weird
- Part 2: Creative/Critical—pick one
- Part 3: Back to Basics
- Part 4: No Art without Craft
- Part 5: Internal Dialogue
- Part 6: Conflict
- Part 7: Emotion
- Part 8: Story Unites
- Part 9: Noir
- Part 10: Noir #2
- Part 11: Neo-Noir
- Part 12: Noir #3
- Part 13: Noir #4
- Part 14: Chapter and Scene
- Part 15: Dialogue = Action
- Part 16: Webbage
- Part 17: Who or what is driving this thing?
- Part 18: How Many Words?
- Part 19: Short Story Structure
- Part 20: Telling Tales
- Part 21: Transcendent Writing
- Part 22: Inner Life
- Part 23: Characters in King and Spielberg
- Part 24: What can be Learned from Buffy?
- Part 25: Looking closely at some Hardboiled Writing
- Part 26: Writing from the Unconscious
- Part 27: Alter Yourself
- Part 28: Writing From Life
- Part 29: Local. Script. Man.
- Part 30: Dunning Kruger
- Part 31: Looking into Leiber
- Part 32: Discovering Writing
- Part 33: Devices of Horror
- This entry is part 16 of 33 in the series General Writing Related.
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