Do You Excel at Developing Characters, Action, Both in Stories?

Many writers develop one plotline at a time and they tend to begin with the Character Emotional Development line or the Dramatic Action line, while putting off the Thematic Significance line to the end.

Most writers have a preference for one style over the other. The plot line you first choose to carry through the entire first draft is most often directly tied to your strength; strength deteremines preference.

Are you adept at developing complex, interesting, and quirky characters? Or, do you excel at page-turning action? Perhaps you're one of the fortunate writers and find ease in creating both the Character Emotional Development plotline and the Dramatic Action plotline simultaneously.

Broadly speaking, writers who prefer writing action-driven stories focus on logical thinking, rational analysis and accuracy. Action-driven writers approach writing as a linear function and see the story in its parts. Action-driven writers like structure and usually pre-plot or create an outline before writing. They also have little trouble expressing themselves in words.

On the other hand, writers who write character-driven stories tend to focus on aesthetics and feelings, creativity and imagination. These writers enjoy playing with the beauty of language. They are more intuitive, and like to work things out on the page. Character-driven writers are holistic and subjective. They can synthesize new information, but are somewhat (or more) disorganized and random. In their eyes, the story is seen as the whole. They may know what they mean but often have trouble finding the right words.

Not sure which kind of writer you are? Take the test 

For plot help and resources: 

1)  The Plot Whisperer Workbook: Step-by-step Exercises to Help You Create Compelling Stories
2)  The Plot Whisperer: Secrets of Story Structure Any Writer Can Master
3)  The Plot Whisperer Book of Writing Prompts: Easy Exercises to Get You Writing.
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To continue writing and revising (and, lots of writers are finding PlotWriMo the exact right resource to help pre-plot for a powerful first draft. Knowing what to look for in a revision helps create a tighter first draft):

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• PlotWriMo: Revise Your Novel in a Month

 ~~ View your story in an entirely new light. Recharge your energy and enthusiasm for your writing. 8 videos (5.5 hours)+ 30 exercises

Plot for Murder Mystery Writers

Two male writers, both writing murder mysteries -- one for the adult market, the other targeted for urban middle-grade boys.

In reading the two character profiles I was sent before the plot consultation, I quickly ascertained their writing preferences. The adult writer had complex goals plotted out for his characters with spotty character traits. The middle-grade writer had well-thought out character traits for the protagonist AND the major secondary characters, too, and the character goals had more to do with the internal life of the protagonist than to solve the mystery.

For the writer of the adult mystery, I wasn't too concerned about the spotty character information. In a murder mystery, the more complex the crime, the less complex becomes the demands for the protagonist transformation. Plus, we had worked together before and I knew he struggled with character-driven plot and excelled in dramatic action-driven plot. However, when we were actually in consultation, I learned that the protagonist was going to take action at the Climax that for him would have been completely out of character and something that was impossible in the beginning of the story based on who the character was. I immediately knew the writer was in trouble. He quickly caught on, too.

In order for the character to transform enough to do the action that would be required of him at the Climax, the writer had to step back and plot out his character emotional development over the course of the book in order to make the final action taken by the protagonist to be believable and inevitable in the end. The writer groaned, but only so much as if to say he already knew, was resisting, and needed me to give him the shove...

The writer for an urban middle-grade audience had the exact opposite weakness. In order for the murder mystery to work as a murder mystery, he was going to have to put his preference and strength -- everything character-driven -- aside and delve into the dramatic action -- the solving of the mystery -- itself.

My wish? I wish these two writers could meld together to create the next blockbuster story on the New York Times bestseller list. Or, since we're dealing with real life here, I wish them both the time and motivation and passion to work on their area of weakness until it becomes a strength. That way we'll end up with two uniquely different blockbuster murder mysteries for two uniquely different audiences.

I wish them both well....