Authors get to the point of creation where we’re unsure what’s next. Inside a story, in the making of one, even in what we’ll do with our creations. There are plenty of choices at hand about practices to make stories and how to spread them into the world. The choices about what’s inside stories are clearer.
As it turns out, making choices is a big reason our stories are read and enjoyed. Our main character, as well as our protagonist, gets the chance to choose. The first time I heard the term for this, I locked onto it. Agency, that’s what we like seeing in a story.
There’s an inverse to choosing to act, and that’s restraint. Stories of transformation are more popular. The act of restraining, or being steadfast, can have energy too. Our main character’s defense of a code — like an investigator who gets worked over by a gang member because he’s too nosy — is also something to cheer for. Or rubberneck, like the way we stare at a car wreck as we pass by it. Good stories have lots of wrecks.
Another way to think about choices for story events comes from courage versus being steadfast. A character can stake a claim for integrity by acting. It’s better if there’s risk, or something significant at stake. The other side of this picture is painting a character who holds back because they know they need help. A character moves toward the courage to act, or they move away while gathering resolve, or allies.
Whenever courage comes up in a story, there’s talk of being heroic. We want a character to sacrifice something to show their heroism. While we fill in the missing spots in story, even when it’s nonfiction like memoir, we can consider if we need a moment of movement. Toward courage, or away into defense.
