![]() Kennedy Elementary who’s known for his quick, albeit repetitive, wit, commences an epistolary friendship with the Norse god Freyr. Are you an expert in the Norse weather-and-fertility gods? Or in elementary-school crossing guards? I am, and I hope you’ll consider for representation “Larry and Freyr: A Novel in Letters.” In it, Larry Patowski, a genial crossing guard at John F. I’m sure you’ll figure out that pesky protagonist in no time. Asylums are great places to think without the distractions of the modern world. Do not reply, but simply keep questioning aloud, “What does this character want?” Eventually you’ll be committed to an asylum. If you’re having trouble fleshing out your characters, continually ask yourself in each scene, “What does this character want?” Say this out loud enough, and soon someone nearby will ask why you keep repeating that. The best one is Larry, followed by Freyr. Decide which point of view makes most sense for your story: first person second person third person, either limited or the omniscient, godlike perspective the less omniscient but still potent perspective of Freyr, the Norse god of weather and fertility “Larry,” the crossing guard from your elementary school who always made the same joke about your getting a failing grade at crossing the street, except for that one time he saw an anachronistic iPhone and became confused the camera I’ve covertly installed in your bedroom. ![]() ![]() For instance: “Benjamin Waller, a hard-charging banker who stood six feet one, with a size-thirty-two waist and a chest girth of forty inches, was having an extramarital affair.” Also mention that he drives a flashy sports car.Ĭhoose a point of view. In every paragraph, tell the reader exactly how high, wide, and long he is. This is a good start, but to avoid turning him into a cliché, you need to fill him out in three dimensions. Say you’re writing about a hard-charging banker who’s having an extramarital affair.
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