Mick Silva Editing

That’s because if there’s one cardinal rule for storytellers, it probably has something to do with this–make sure it’s believable.

And while there are several key elements to focus on for that, all of them taken as a whole are what make the story work, and convince the reader this could have–or really did–happen.

A lot of beginning writers don’t seem to want to go to all that trouble. Ensuring every element–character, plot, and description–are working to answer the readers’ question, “Really?” It’s hard work! And yet, isn’t this one of the most important, if not the most important, part of telling any story? Who can deny? This deserves some care and time.

Bestselling novelist of over 100 books, Dean Koontz, says even the wildest plots can be made believable through good character motivation. Love, jealousy, self-preservation, revenge, etc. Most of us sense this is true. I can’t think of one thing we nutty humans wouldn’t do for the right reason, and many times for even the wrong one.

But characterization is the key to believable motivation, and that’s why believability really comes down to your first reader question: who? Character. If I believe the reasons this character feels as he does, I’ll go to hecktown and back to see him get what he wants.

Of course, there’s a lot more to it than believing he has reasons to feel as he does. But this is arguably the most important place to start. Listen to your reader asking “Really?” and try to answer that doubt with as much proof of this hero’s reasons for feeling that way. And as you already know, you’ll want to show it, not just tell it.

The thing I see most frequently with new writers, and the thing I’ve even done myself as an inexperienced novelist, is trying to get readers to believe our characters really, really want something just because we told readers he does. That’s not good enough. That’s not believable proof. Like I did, I think most writers sense something isn’t working, but they aren’t sure what it is. Typically, it’s this. We know characters have to want something badly. But we forget to show the reasons for that wanting.

And this is the reason for the prolog or the flashback after getting to know the character and see them being heroic or compassionate in the opening scene. After convincing readers they’re likable, it’s important to see and experience why their motivation is believable. Readers need to feel it and experience it themselves, so we’ll flashback to the car accident that stole his wife, or we’ll find out that’s what the crazy prolog was about–someone had stolen her whatever, so she’d given up until now.

Some will say do not do prologs. Others will say never do flashbacks. I say, if you can figure out how to show readers your characters’ motivation not using those, then go for it. Most beginning writers are going to need to use one or the other. Just keep them short, dramatic, and to the point.

Major believability issues can arise from characters who aren’t flawed in some way or who don’t show reasonable fear or doubt. We’ve got to believe they’re like us, but they push through it. So show us. Too convenient plot points, and inaccurate details are other obvious biggies. Don’t protect your characters with too many convenient necessities, and don’t neglect your research. I’ll never forget my roommate in college watching Dances with Wolves and being incensed: “There are no mountains in Oklahoma!”

Sometimes you’re going to take creative license and knowingly strain that famous “suspension of disbelief.” But plenty of authors, including Koontz, have made all sorts of crazy seem believable. And if you believe millions of sales of their stories, people have found their characters believable.

I know you want to share this–please feel free. Also, the ebook “The Best Monday Motivations for Writers” is coming soon. If you have questions or comments, I’m always happy to hear–email me through the form below. And meanwhile, remember your motivation, and write… 

For the higher purpose,

Mick