How Robert J. Sawyer Writes A Novel

I just came across this interview with Hugo and Nebula Award winner, Robert J. Sawyer.

How Robert Sawyer creates his characters

The characters almost always come out of the research I do. For instance, in Frameshift, Pierre Tardivel started out simply as a man at risk for a genetic disorder, but as I learned more about such things, his background, motivations, and thoughts grew more complex and subtle. I really do believe what Nobel laureate Ralph Bunche said: "If you want to get across an idea, wrap it up in a person."

Robert Sawyer's advice for aspiring science fiction authors:

As a business, science fiction is very similar to mystery. Both have healthy short-fiction marketplaces, dominated by Dell Magazines — the same people who publish Ellery Queen's and Hitchcock's also publish the top two science-fiction magazines, Analog and Asimov's. Both genres are series oriented: if you want to develop a character and write book after book about him, her — or it — you can. Both are convention-driven businesses: just as there are lots of mystery conventions, so, too, there are lots of science-fiction conventions. And both are research-driven genres. You can't write a really good mystery without doing lots of research; the same is true of science fiction. My advice for those wanting to break into science fiction is the same advice I'd give for those wanting to break into mystery: start with short fiction, then try to sell a novel. And, just as in mystery, I'd say the greenest pastures are in New York; don't be afraid to tackle the American market, and don't worry about your Canadian content — I've never had the slightest problem selling flagrantly Canadian work in the States.

Read the rest of Robert J. Sawyer's interview here: Fingerprints Interview of Robert Sawyer.

Credits: "From the December 1997 issue of Fingerprints, the newsletter of the Crime Writers of Canada. Interview conducted in November 1997 by Jim McBride."

Other articles you might like:

- Walter Benjamin's Advice To Writers
- 5 Rules For Writing A Murder Mystery: Keeping the Murderer Secret Until The End
- How To See Through Your Character's Eyes

Photo credit: "I am Chicago" by kevin dooley under Creative Commons Attribution 2.0.

Walter Benjamin's Advice To Writers

Brain Pickings is one of my favorite blogs.

Not all the articles are about writing--though many are--but all the posts are valuable, often surprising, and always interesting.

Take, for instance, Maria Popova's lovely piece, Advice on Writing.

First, one's eye falls on a miscellany of advice. The quotation that caught my eye was from Stephen King, "Write with the door closed, rewrite with the door open."

In other words, write the first draft for yourself, write the second with the knowledge it will be read by strangers, some of your friends and, possibly, your mother.

Maria also tells us that in 1928 essayist Walter Benjamin gave writers the following advice:

(The following are loose paraphrases. Very loose.)

2. Don't read what you've just written.

If you reread what you've written it is inevitable you'll hate it and want to rewrite it, to fiddle with it, pushing words around on paper, changing them. The only result will be that all impulsiveness, all life, will bleed out, leaving it with the uniqueness and interest of a cardboard box. 

Be bold. Be different.

Have a reason for every change, not just a vague feeling.

3. Seek out the right writing environment for you.

Sound matters. Some of us need complete silence, others prefer a babble of noise like what we get writing in our favorite coffee shop.

Others must have music. The rhythm of it can help us inhabit a scene--driving music for tense action, calmer, moodier songs for sequels, scenes where our characters pause and reflect on what they are doing and why they are doing it.

And many of us aren't any one way but prefer to flit between musical identities, between writing environments, preferring complete quiet one day while the next we curl up in a coffee shop and let the soft babbling murmur of our fellow patrons wash over us like an ocean swell.

4. The magic of habit.

If you write

a) in the same place using
b) the same materials (laptop or pen and paper, whatever you're used to)
c) at the same time

it will be that much easier to do it again and that much harder not to do it.

By doing the same things over and over you'll form a habit. Writing habits are wonderful things!

5. Write your ideas down.

If you have an idea for a story, a scene, a character, write it down.

If you hear a word you'd like to use, write it down.

If you see a dessert in the window one of your characters would love (or hate), take a picture. (Pinterest can be a great way of keeping track of research photos.) (see: Using Pinterest To Help Build Your Fictional Worlds)

If you hear a song one of your characters would love (or hate) record a snippet of it so you can find out, later, which song it is and put it with your other research. (see: How To Create And Maintain The Habit Of Writing)

7. Before you sit down to write decide how long you'll write for. 

Write to the end of the appointed time. If no idea comes to you, work on describing the items you have at hand: your keyboard, your mouse. Your cat.

Or do a writing exercise.

Don't stop writing before the appointed time.

Walter Benjamin's advice appeared in an essay entitled "Post No Bills" and was part of the book One-Way Street. The essays in this book have since been re-published in Reflections: Essays, Aphorisms, Autobiographical Writings. 

#  #  #

What advice would you give to new writers?

Other articles you might like:

- How To Create A Villain Your Readers Will Love To Hate
- Joe Konrath Is Having A 99 Cent Sale
- Dean Wesley Smith Writes A Novel In 10 Days

Photo link: "White landscape" by lrargerich under Creative Commons Attribution 2.0.

How To Create A Villain Your Readers Will Love To Hate

Have you ever had the experience of suddenly seeing something everywhere after you begin studying it? Of having something 'on your mind'?

That's what's happening to me with antagonists/villains.

A few days ago Larry Brooks wrote an excellent article, The Flipside of Hero Empathy, about the importance of crafting an antagonist your readers love to hate, and how that generates narrative drive. I thought it was brilliant so I'm sharing it with you. It's all about the basics of the craft, but those are strangely easy to forget.

Empathy

"Your reader needs to feel something for your hero."

We know this. We want our readers to care intensely about our protagonist and about whether he/she will achieve his/her goal.

Dramatic Tension

The antagonist is "the obstacle to the hero's question. Therefore a good antagonist will help build dramatic tension or what I call narrative drive.

The Antagonist

The antagonistic force tries to prevent the protagonist from acquiring his/her goal, often because the antagonist wants it, or something it would lead directly to.

Also, the antagonist is often very much like the protagonist but with one crucial difference. For instance, Luke and Darth Vader were both strong in The Force and both trained as Jedi Knights. One could say that they both wanted what was best but they had very different ideas about what that was.

Similarly, Dr. Belloq was Indiana Jones's antagonist in Raiders of the Lost Ark. They were both archaeologists, they were both passionate about finding and bringing back relics and they both liked Marion Ravenwood, Indiana's old flame. The big difference? People were more important to Indie than relics.

Empathy & Narrative Drive/Dramatic Tension

Larry Brooks holds that if readers have both a) empathy for your protagonist and b) a strong desire to see the antagonist get what's coming to him (/go down in flames) then your story will have oodles and oodles of narrative drive, that couldn't-put-it-down-if-they-tried quality which most of us would like our stories to have.

After all, if readers desperately not only want the hero to achieve his/her goal but want the antagonist to go down in flames then they will keep turning pages until that happens.

The Following

Larry Brooks writes:

I mention this killer (literally) television program [The Following] because it offers one of the most compelling, interesting and deliciously hateable villains, maybe ever.

I haven't watched this series yet, though it's on my to-do list.

Which antagonist(s) do you love to hate?

Other articles you might like:

- Joe Konrath Is Having A 99 Cent Sale
- Dean Wesley Smith Writes A Novel In 10 Days
- How To See Through Your Character's Eyes

Photo credit: "Snow" by Luis Hernandez - D2k6.es under Creative Commons Attribution 2.0.

Joe Konrath Is Having A 99 Cent Sale

Joe Konrath writes:

One of the biggest reasons I wanted to regain control over my legacy books was so I had say-so over the price. I felt that publishers price ebooks too high.

.  .  .  .

For the next three days, my Jack Daniels, Jack Kilborn, and sci-fi books will each be 99 cents (with the exception of AFRAID, which is free 4/19 - 4/23).

This sale ends at the stroke of midnight Sunday night (April 21, 2013).

For more information, click here: Joe Konrath's 99 Cent Sale.

Other links you might like:

- Dean Wesley Smith Writes A Novel In 10 Days
- 3 Ways To Create An Antihero Your Readers Identify With
- How To Write Episodic/Serialized Fiction

Photo credit: "Edge Of Space" by JD Hancock under Creative Commons Attribution 2.0.

Dean Wesley Smith Writes A Novel In 10 Days

Writing A Novel In 10 Days

That's right. Dean Wesley Smith is writing a novel in 10 days!

If you're boggled by that--and I was the first time I read it--Dean discusses what he calls "fast writing" here: Writing Fast.

In Writing Fast, Dean says he believes that "the quality of the final product has no relationship to the speed, method, or feeling of the writer while writing." Therefore whether he took a year to finish the book or only 10 days, the quality would be the same.

But not only is he going to write the novel in 10 days he is also going to only do one draft. He writes:

I hope to write the book (70,000 words) in 7 to 10 days and then turn it in to the publisher. One draft. (The Ghost Novel Writing Is On For Next Week)

To find out about Dean's views on Rewriting see Rewriting Part Two.

How One Professional Writer Prepares To Write A Novel

In his first log I noticed Dean talked a bit about how he gets organized to write a novel and that's something I've always wanted to hear more about from established writers.

Dean's writing computer is different from his internet computer

Dean has different computers for writing and internet related activities. His writing computer (he has discussed this in other posts) isnt' conneted to the internet so answering email, surfing the web, and so on, won't be a temptation.

I think this is a brilliant idea.

Chapter templates

Dean writes,

1:45 PM… Moved to my writing computer, set up files, set up a chapter template since I keep a different file for every chapter and combine them at the end, then typed in a title, typed in the main character’s name and started writing. 

That's interesting, using a different file for each chapter. I do something similar, but with the help of Scrivener. I've found that having each scene on its own makes structuring and organizing a novel easier.

For instance, sometimes I will write a scene two different ways in an attempt to discover which feels truer to the story and being able to label them "Act 2 Scene 3 Version 1" and "Act 2 Scene 3 Version 2" helps enormously.

Background Information

Dean writes:

5:05 PM… Moved over to my writing computer from my internet computer and decided that before I went too far I needed to start a glossary of terms, character dress, place names and such, so I set that up and put in it the little bits I had done in the first 500 words.

- glossary of terms
- character dress (perhaps character names as well plus tags and traits)
- place names

That's straightforward. 

No Outline

Perhaps I'm burying the lead, but I found it interesting that Dean didn't create an outline previous to sitting down to write.

At least, that's what it seems. He writes:

1:45 PM… Moved to my writing computer, set up files, set up a chapter template since I keep a different file for every chapter and combine them at the end, then typed in a title, typed in the main character’s name and started writing.  I have no idea where this book is going, but to start I paid attention to making up some setting through the character’s eyes and opinions. [Emphasis mine]

And

At this point at 4:26 in the morning, I’m at 7,625 words for the day. I could go a little farther but this is a ton better than I had hoped for the first day so I’m going to stop and go downstairs with my cat and veg out on some stupid television.

I still have no idea at all where this book is going. Just making it up as I go. But at the same time I’m feeling no worry at the moment either. I have a hunch that will come. (grin) [Emphasis mine]

I guess I'm a plotter rather than a pantser because I'm getting a nervous tick just thinking about sitting down to write a novel in 10 days without an outline!

I'm eagerly looking forward to following Dean's progress. It's not often--in fact, hardly ever--that one gets to look over an authors shoulder as they write. This will be interesting. I just wish I could read the book at the end!

Other articles you might like:

- How To See Through Your Character's Eyes
- 50 Shades Of Grey: The Most Profitable Books Of All Time?
- When Is A Story Ready To Publish?

Photo credit: "Its Always a Journey" by Zach Dischner under Creative Commons Attribution 2.0.

How To See Through Your Character's Eyes

When we're using a point-of-view character we know what they know. We see what they see. We hear what they hear.

But what a character notices will depend on what kind of person they are.

As a result, what a character pays attention to will give us a wealth of information about them. For instance, what sounds irritate her, what scents tantalize? When she walks through a park what will she notice first, the beautiful scenery (is she a photographer?) or the children running around (does she desperately want kids?).

As Kami McArthur writes in David Farland’s Daily Kick in the Pants—Tightening Your Focus:

When you’re writing a tale, it almost always turns out better if you get deep into the head of your protagonist and tell the story from that person’s point of view.

But how do we get inside a characters head? Kami has a few pointers.

1. Determine your characters dominant sense

I've heard that each of us has a dominant sense that they use when learning. For example it's said this is how it breaks down:

25-30% visual
25-30% auditory
15% tactile/kinesthetic
25-30% mixed modalities

How does your character learn? Through seeing? Hearing? Touch?

If they are a visual learner then when you use this character's point of view the visual properties of the environment should dominate. If auditory then the auditory properties, and so on. (Apparently some folks learn most by smell. Who knew?!)

This also provides yet another way to differentiate characters.

Kami gives a terrific example:

... I had a companion who remembered people’s cars. If someone had a red 72 Chevy, he’d see the car in a parking lot and say, “Hey, there’s John Thomas!” Then I would look up, and John was nowhere to be seen. I recall vividly one day how he began naming off people and saying, “There’s John, and the Metzgers, and the Sally Day, and . . .” I looked up eagerly, and there wasn’t a single person on the street. He named a dozen people just by looking at their cars.

2. A characters profession will affect what they notice

For instance, Kami writes:

As a corrections officer, I always made note of unlocked gates or doors left open when I was driving through town. I’d watch strangers to see how they moved, where they put their hands. I’d be careful when walking into restaurants, making sure to place my back to a wall and give myself a clear field of view to see who had enter.

3. Your character will have certain criteria for judging others

Your character may not be self-aware enough to know they have criteria, but we all do, even when we try not to. Does your character focus on:

makeup,

clothes,

social-economic status,

what a person does for a living,

how much money they make,

what kind of car they drive,

who they know,

whether they're good at their job,

intelligence, 

grammar,

speech patterns,

whether someone is environmentally conscious, and so on.

Kami writes:

A young woman may judge a new girl by her designer labels, or her hair, rather than her friendliness and her smile. A young man may only be interested in befriending another boy if he thinks that the boy would be an asset to the football team. A third person may avoid people who are wealthy, while a fourth might gravitate toward people who have a strong sense of humor.

4. What specific knowledge does your character have?

What can your character do well? What are they an expert in? Kami gives the example of a young parent.

These are the kinds of things a young parent would be able to tell you:

- Where the baby is
- How many diapers they have and where they are
- When the baby wakes, when they sleep, when they want to play
- What they liked to eat

The same sort of thing applies to a chef, or a hunter, or a police person. They would each pay attention to different things, notice different things, so if you described the same scene from four different perspectives you would learn something different each time.

I've only skimmed the wealth of information in Kami McArthur's article, I encourage all of you to head over to David Farland's site and read it.

#  #  #

I don't usually dedicate my blog posts to anyone, but I'm dedicating this one to the people of Boston. My heart goes out to them and to the families and friends of those injured or dead. They have become a brilliant example for all of us on how to handle a crisis.

Other articles you might like:

- 50 Shades Of Grey: The Most Profitable Books Of All Time?
- 5 Rules For Writing A Murder Mystery: Keeping the Murderer Secret Until The End
- Publish Your Own Magazine On Flipboard!

Photo credit: "Chris 02 © studio.es" by Vincent Boiteau under Creative Commons Attribution 2.0.

50 Shades Of Grey: The Most Profitable Books Of All Time?

Love it or hate it, E.L. Jame's 50 Shades of Grey series is a huge economic success.

I knew that. We all knew that.

What I didn't know was how profitable.

In The Incredible Economics of Fifty Shades of Grey Kevin Rose writes:

It's no secret that E.L. James's Fifty Shades trilogy is the kind of monster publishing success that comes along only once or twice a decade. ....

. . . .

But we didn't know the full extent of the Fifty Shades financial bonanza until yesterday, when Random House's parent company--the giant German media conglomerate Bertelsmann AG--released its preliminary annual report. What the report revealed is that Fifty Shades's success has propped up not just Random House, but the entire corporate structure above it. [Emphasis mine]

Wow.

The Wall Street Journal has this to say:

At a time when other publishers are struggling to generate sales growth, Random House's world-wide revenue rose 23% to €2.1 billion ($2.7 billion). Operating earnings before interest and taxes rose nearly 76% to €325 million.

Fifty Shades vs Harry Potter

For all its success, E.L. James's series has yet to outsell J.K. Rowling's Potter series. Yes, Fifty Shades has outsold Harry Potter on Amazon, but according to The Wall Street Journal its worldwide sales are still lower.

Let me try to put that in perspective.

E.L. James's "Fifty Shades" erotic trilogy sold more than 70 million copies in print, audio and e-book editions in English, German and Spanish from March through December, according to Bertelsmann ... The first of the books was published in the U.S. in March.

. . . .

For a sense of scale, Random House's second biggest selling North American title last year—Gillian Flynn's thriller "Gone Girl," which has been a national best-seller for 41 weeks—sold more than two million copies in the U.S. and Canada in all formats, between June and December. (The Wall Street Journal)

50 Shades sold 70 million copies while the second most popular book in the same period sold 2 million.

I'm staggered.

70 million in just a year. Dan Brown's The Da Vinci Code sold, as of 2009, 80 million copies, but that was over a period of six years (the book was published in 2003).

By the way, The Da Vinci Code was published by Doubleday in the US and, at that time, Doubleday was owned by Bertelsmann.

That company has been lucky!

To answer the question I posed in the title: Is 50 Shades of Grey the most profitable series of all time? No, it's not.

Not yet.

Do you think E.L. James' 50 Shades series will go on to outsell Rowling's Potter series?

Other articles you might like:

- When Is A Story Ready To Publish?
- Owen Egerton's 30 Writing Tips, Inspiration For Your Muse
- 3 Ways To Create An Antihero Your Readers Identify With

Photo link: "Money" by AMagill under Creative Commons Attribution 2.0.

When Is A Story Ready To Publish?

Or, to use Kris Rusch's term, when is a story ready to be released into the wild?"

"Into the wild." I like that phrase. It covers a multitude of events: sending your work off to an editor, a contest, that sort of thing, as well as publishing it yourself.

So, how does one determine when one's story is ready?

Perfection

I feel some folks would say: "When it's perfect."

Let's say you've given your story to beta readers, your plot points are strong, your characters reactions make sense, there are no unfired guns at the end (Chekhov's Gun), and so on.

I guarantee you there are still going to be parts of your manuscript that could do with polishing.

But nothing's ever perfect. (And perfect for whom?)

The 80-20 Principle

The other day I read an article by Tim Ferriss and he--as he often does--mentioned the 80-20 Principle, that 80% of your benefits come from 20% of your efforts.

For instance ...

Economics: 20% of the world's population earns 80% of the income,

Business: 80% of your profits come from 20% of your customers.

Software optimization: "Microsoft noted that by fixing the top 20% most reported bugs, 80% of the errors and crashes would be eliminated. (Pareto Principle, Wikipedia)"

That got me thinking. Perhaps the 80-20 principle applies to writing as well.

Kris Rusch: No Story Is Ever Perfect

Kris writes:

At every craft workshop I teach, I make at least one writer cry. This week, I’m teaching a short story workshop for professional writers. These are workshop-hardened folk, people who have been eviscerated by the best of them, people who come to my workshops having heard that I make writers cry, expecting me to be the most vicious critiquer of all.

How do I bring writers to tears? Usually by saying this:

I loved this story. It’s wonderful. Mail it.

That’s my entire critique.

Is the story perfect? Of course not. No story is. Not a one. No matter how many times it’s “polished” and “fixed” and “improved.” No one can write a perfect story.

If such a thing existed, then we would all read the same books and enjoy them equally. We would watch the same movies and need reviewers to tell us only which movie is perfect and which one isn’t. We would buy the same comics, again, going only for the comic that is perfect, and ignoring all the others.

Am I telling people to write crap? No. Because the choice isn’t between crap and perfection. Those are false choices. (The Business Rusch: Perfection)

Kris continues:

... I always begin by asking them [my workshop-experienced students] this, “What’s wrong with Shakespeare’s A Midsummer Night’s Dream?”

Well, we’re all raised to believe that Shakespeare is a god who never could do anything wrong. Had he done anything wrong, had his stories been less-than-perfect, we wouldn’t be reading them? Right?

Wrong.

If William Shakespeare—professional writer—had turned A Midsummer Night’s Dream in at a workshop I taught, I would have told him this:

“Bill, lose at least two of your endings. The main story of the play ends in Act IV, Scene 2—and then you go on for two more scenes. All of these endings would work. Pick one.”

Bill Shakespeare, dutiful workshopper that he is, would nod sadly, go back to his room, and delete one of the most favorite and quoted scenes in all of English literature. Puck turns to the audience and says,

If we shadows have offended,

Think but this, and all is mended,

That you have but slumber’d here

While these visions did appear.

I would have said to Bill, “Lovely. Thematically significant. Beautifully written. Lose it. You can do the same thing elsewhere.”

Yeah, right. My harsh words, spoken with authority, and Workshopper Bill’s insecurity would have stolen 400 years of enjoyment from audiences all over the world.

Anything can be critiqued. Criticizing something is easy. It makes the critiquer feel smart, and just a little bit superior to the writer.

But that kind of critique serves no real purpose, because that kind of critique is wrong from the moment the critiquer picks up the story or the manuscript or the 400-year-old play.

Readers read for enjoyment. They vote for what they like with their hard cold cash. (The Business Rusch: Perfection)

In other words, write the story that's in you, finish that story (so hand it to beta-readers and make the changes that resonated with you if that's your process), then send it out.

Besides, you need to know not only what writers think about your work, but what readers do, and the best way of doing that is to send your work out into the wild.

Challenge: leave a link to the last thing you published, whether traditionally or independently. Let's celebrate the stories we've released into the world!

Other articles you might like:

- Owen Egerton's 30 Writing Tips, Inspiration For Your Muse
- 5 Rules For Writing A Murder Mystery: Keeping the Murderer Secret Until The End
- What Slush Pile Readers Look For In A Story

Photo credit: "Fly away" by martinak15 under Creative Commons Attribution 2.0.

Owen Egerton's 30 Writing Tips, Inspiration For Your Muse

In the spirit of Jack Kerouac's list of thirty points he called "Belief and Technique for Modern Prose: List of Essentials" here are Owen Egerton's 30 pieces of writing advice.

Owen Egerton's 30 Writing Tips

1. Write. Now. Go.

7. Do not wait for inspiration. Go out and hunt it. Seduce it. Pin it down and dribble spit on its forehead until it cracks your leg bone and renames you.

8. Writing takes time. Don't find the time to write. Make the time. If necessary, abandon sleep, people, television and drink.

9, Treat writing like a hobby and you will receive nothing but the fruits of a hobby. It's a vocation. Honor it as such.

10. Don't say you're trying to be a writer. If you're writing then you are a writer. Publication is nice, but has nothing to do with the definition.

11. Love rejection. In letters, in criticism, in sales. Rejection is evidence you are in the game. If you're striking out, it means you got up to bat.

12. Drink and talk with those that write and create, but never mistake talking about writing for actual writing.

13. Love solitude.

15. A person can only read so many words in a lifetime. Your reader is choosing to read you instead of Shakespeare, Hemingway, Whitman. Humbly honor that and give them the best of your soul.

16. Do not write from answers. Write from questions. Discover more questions. Our work is not to explain the mystery, but to expand it.

17. The craft of the sentence is important. But a perfectly crafted sentence with no passion is a well-dressed corpse. More fun to dance with a beggar than kiss a corpse.

23. In life many of us aim to avoid conflict. In fiction, we force enemies into a room with no doors.

25. If you discover nothing while writing, don't expect your reader to.

29. You are going to die. So are all your readers. Let this inform every story you write.

As you see, I didn't list all thirty of Owen Egerton's points. I encourage you to head over to Type So Hard You Bruise The Screen and read the entire list. (Thanks to The Passive Voice Blog for passing on the link.)

All of Owen's points inspired me, but I think I'm going to put these on my wall:

1. Write. Now. Go.

10. Don't say you're trying to be a writer. If you're writing then you are a writer. Publication is nice, but has nothing to do with the definition.

What was your favorite quote?

Other articles you might like:

- 3 Ways To Create An Antihero Your Readers Identify With
- Publish Your Own Magazine On Flipboard!
- 5 Rules For Writing A Murder Mystery: Keeping the Murderer Secret Until The End

Photo link: "Untitled" by The hills are alive (Taking time off....) under Creative Commons Attribution 2.0.

3 Ways To Create An Antihero Your Readers Identify With

Yesterday I asked a friend what kind of short story I should write next. He thought about it for a moment and said, "Why don't you write something from the bad guy's perspective?"

At first I was like, Heck ya! That would be fun!

Then it hit me: how could I get a reader to identify with the bad guy? After all, they're the bad guy. We root for the protagonist, in part, because the antagonist is so horrible we want the other guy to win.

It's a problem.

The Villain As Hero

A few days ago Joel Jenkins sent me a link to his article, Writing Unrepentant Characters in which he discussed the challenges of using an antihero.

An antihero is ...

No, not anteater. Though having an anteater as a protagonist would be cool.

Here's Wikipedia's take on what an antihero is:

An antihero ... is a protagonist who has no heroic virtues or qualities (such as being morally good, idealistic, courageous, noble, and possessing fortitude), blurring the line between hero and villain. (Antihero, Wikipedia)

Writing a story that had an antihero for a protagonist could be refreshingly different. It could be surprising and interesting, and both those things are the opposite of boring.

Which is good.

But here's the problem: how are we going to get a reader to identify with our protagonist if they're no better than the villain?

(How to get your readers to identify with your protagonist)

In her article, The Flip Side: Writing Villain Protagonists, Liz Bureman puts her finger on the problem. She writes:

We’re used to rooting for our protagonists. The easiest way to get an audience behind your character is to give them a moral compass that consistently points toward good.

So how are we going to get an audience behind a character whose moral compass consistently points toward evil?

(Jim Butcher on how to build a great villain)

I think there are three ways we can do this.

1. Evil is skin deep

This kind of an antihero (arguably) isn't really an antihero, they're more like a misunderstood hero.

Yes, they have terrible manners and, sure, they don't know how to talk to people without deeply offending them (Monk, Holmes from Sherlock) but, deep inside, they're a good person.

Or at least they're not bad.

Perhaps they don't love everyone, but at least they love someone. That makes them human enough to identify with.

What makes it possible for a reader to identify with this kind of antihero is that: 

a) They aren't really evil.

The traits that mark the hero as different, that make him or her an outcast, are superficial. Sherlock Holmes knows he is smarter than everyone else, with the possible exceptions of Moriarty and possibly his brother Mycroft. And he doesn't in the least care what people less intelligent than him think.

Except for Dr. John Watson.

And his landlady Mrs. Hudson.

And Irene Adler.

And ...

He actually does care ... at least in certain circumstances.

b) The antihero has a redeeming trait.

I think (a) and (b) overlap. Holmes' redeeming trait is his love for Watson. We're not exactly sure what kind of love it is, but it's there and it's enough to make him (somewhat, marginally) relatable.

2. Lesser Of The Two Evils: The enemy of my enemy is my friend

Here we have what I think of as a 'true' antihero. He's (or she's) not just socially awkward--perhaps made so because he has an amazing and unusual ability (a gift and a curse)--he's the kind of person who would kill you if the money was right, and it wouldn't bother him in the least.

What makes it possible for a reader to identify with this kind of antihero is that:

He is fighting someone worse, and that someone worse wants to kill characters you identify with.

Also, the antihero often has the admirable (or minimally decent) quality of not going back on his word, though perhaps for him it is a mark of professionalism rather than morality.

Whatever the reason, if you make a deal with him to kill the bigger 'big bad' then you can be sure ... okay, relatively sure ... he won't turn around and kill you when he's done.

Though if you don't pay him he probably will. Nothing personal.

Examples: Riddick from The Chronicles of Riddick.  Also, possibly, Hannibal Lecter.

3. Familiarity Makes The Heart Grow Fonder/Shared suffering

For me this is the trickiest category.

Imagine someone irredeemable. He's evil. Heck, evil people think he's evil.

And you've had to spend years together.

Perhaps you're in the same cell together. Perhaps he's your dad. It doesn't matter why, the essential thing is that you've shared a lot of time together.

He's saved you a few times (for completely self-serving reasons, but still) and you've saved him a few times (perhaps because he keeps you alive and you like being alive).

Shared experience--repeated exposure to the same person--can build a bond.

Yes, sure, if this person is continually rude to you, insufferable to be around, no bond will form. You'll go to bed each night dreaming of pressing the button that ends the evil so-and-so's life.

But let's say they're not rude to you, that they watch your back, that they're there for you. They're a friend to you. Not to anyone else, but to you.

If you could communicate that in a story, then perhaps a reader could identify with this kind of protagonist.

What makes it possible for a reader to identify with this kind of antihero is that:

- They're polite. I know that probably sounds odd. But if a character has no other redeeming qualities I think they have to be marginally polite, at least to folks who don't disrespect them (Hannibal and Barney).

- Mutual need. The antihero is protective of another person, not because he likes them but because either he needs them or because of his particular pathology. Hannibal was decent to Barney because Barney respected Hannibal. But if Barney had slipped up, Hannibal would likely have still eaten his nose.

Also, Hannibal liked Clarice Starling (in part) because he reminded her of his sister. In the book, Hannibal, we learn that Hannibal thinks that, in an odd and very crazy way, Clarice is his sister. He doesn't kill Clarice--instead he remakes her personality--because it ties in with his pathology.

Example: In Supernatural Dean Winchester befriended a vampire when he was in purgatory.

This is something I'm still thinking about, feeling my way through.

Question:

I'm curious, have you ever written a story with an antihero? If so, what kind of antihero did you use? Would you do it again?

Other articles you might like:

- Publish Your Own Magazine On Flipboard!
- How To Write Episodic/Serialized Fiction
- Larry Brooks On The Structure Of Short Stories

Photo credit: "Project 50 - Day #6 (Midnight)" by seanmcgrath under Creative Commons Attribution 2.0.