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Throw Obstacles at Your Characters
by Laura Backes
Return to Writing for Children · Print/Mobile-Friendly Version
Successful children's fiction begins with the main character. Many
writers create a biography or detailed character sketch, listing
every physical and personality trait imaginable, so they have a clear
picture of who their character is. Then they give their main (and
important secondary) characters a list of goals.
What does he/she want to accomplish? What does he/she need to do in
order to grow as a person? The goals must be believable within the
realm of who this character is. These goals are as important in
picture books as they are in novels. How your character reaches his
large and small goals provides the bare bones of plot.
But in order for a story to be really interesting, your character
can't just think of a goal and then effortlessly reach it. As a
writer, it's your job to throw obstacles in your character's way.
By developing obstacles that make sense, you add conflict and tension
to the plot. If you progressively raise the stakes for your character
throughout the story, you'll keep your readers turning pages to see
what happens next.
The first obstacle your character will encounter is that of the
critical situation. This is the point in the beginning of your story
at which the character's life changes. Without this critical
situation, the character's life would have gone on as before; but
with it the character is forced to experience the story's events and
challenges. This critical situation should relate directly to the
character's goals, creating major shifts in the character's life.
Once you select the critical situation, get out your list of goals
and select several that lend themselves to creating opportunities for
relevant obstacles throughout the story. Some of these obstacles can
be developed into sub-plots. For example:
- Does the character have to be somewhere at a specific time? Make
him late, or make him miss the appointment altogether.
- Does the character need to find something? Make the search
difficult or fruitless.
- Does the character need to communicate with someone? Have the note
destroyed by weather, stolen by a bad guy or misinterpreted by the
- Does the character need to be alone? Make sure she's surrounded by people.
When developing an obstacle for your character to overcome, you can
examine the obstacle from various perspectives:
- The character can experience the obstacle himself, or choose not
to experience it, which might result in different problems. For
example, your character may experience bicycle trouble, making him
late to a vital class or appointment, or he may choose not to
participate in a family gathering or holiday celebration.
- The character can be the victim of the obstacle, with the obstacle
being done to or used on the character, which requires a reaction
from the character (i.e., your character may get ambushed by the
- The character can witness something which provokes a reaction,
decision or conflict. For example, she may witness a robbery by the
neighborhood gang, but some of the members are her friends and she
must decide whether or not to report the incident to the police.
Another way of creating obstacles is to ask yourself the following questions:
- What could go wrong when trying to achieve or obtain the goal?
- Who or what could hinder progress toward this goal?
- When could things go wrong? Name the worst times.
- Where could things go wrong? List a location and three obstacles
that could occur.
- How could things go wrong? List the process or sequence of events,
or the mechanisms involved.
Also think about the obstacle's placement in the story. What needs
to happen before the obstacle takes place so it can have the most
dramatic impact? What should you foreshadow? And what information
does the reader need to make this obstacle interesting and believable?
Finally, does anything about this obstacle lead the character into
the next goal and the next obstacle? Ideally, the character runs from
one problem to another until finally he either succeeds or fails at
Remember, for an obstacle to work it must be logically and
intricately connected to everything else that's happening in the
story. But that doesn't mean it has to be predictable. The obstacles
can be humorous, suspenseful and above all, surprising. Then you'll
have characters your readers will want to root for.
Copyright © 2001 Children's Book Insider, LLC
This article may not be reprinted without the author's written permission.
Laura Backes is the author of Best Books for
Kids Who (Think They) Hate to Read, from Prima Publishing. She's
also the publisher of Children's Book Insider, the Newsletter for
Children's Writers. For more information about writing
children's books, including free articles, market tips, insider
secrets and much more, visit Children's Book Insider's home on
the web at http://write4kids.com.
Copyright © 2018 by Moira Allen. All rights reserved.
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