A notebook for fiction writers and aspiring novelists. One editor’s perspective.

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How to Create Complex, Interesting
and Memorable Characters
Also: The difference between
plot-driven and character-driven novels.

Allow me to reiterate: A good novel isn’t about What happens. It’s about What happens to whom. This post is all about the whom. Because if readers can’t identify and empathize with your characters, your plot probably won’t matter much.

The simple truth is this: Every plot imaginable has already been written—many, many times over. Plots written today will seldom, if ever, be truly unique. However, your characters are (or can be) utterly unpredictable, oozing with complexity and charisma. Putting new personalities into established (old) plot lines can create the illusion of originality. If your characters are empathetic, readers won’t mind if the plot feels vaguely familiar—and, hey, they might not even notice. Fully developed characters can be memorable and (imho) the key to a successful novel.

But, first! A preamble.
(Plot Driven vs. Plot Driven Stories)

Fiction typically falls into two major classifications: Plot-driven stories and Character-driven stories. By default, a third also exists, the Hybrid novel—a fairly equal combination of plot-development and character-development. Is the hybrid plot structure better? That potentiality depends upon the writer. And the story. And one’s stylistic approach. And one’s audience. We all have our preferences.

Need examples?

J.D. Salinger’s The Catcher in the Rye is a character-driven novel. It’s all about a teenaged Holden Caulfield and his various attempts to fit into an uncertain, unrelenting society.

Michael Crichton’s Jurassic Park is an example of a plot-driven story. It’s all about the dinosaurs, and their escape from captivity. Crichton’s characters are onlookers, instigators or snacks.

Mario Puzo’s The Godfather is a hybrid novel. The books offers a solid sequence of unfolding plots and sub-plots, yet also features a great, fully-formed ensemble cast. (I consider most sagas and serials to be hybrid efforts.)

Typically, in a character-driven (CD) novel, a story’s focus centers on a character or characters who encounter a plot—or more typically a series of semi-relevant plots or adventures, rather than the singular event that dictates the characters’ roles throughout the story. The author is internalizing much of the story—via thought bubbles (internal monologue) and strong (or unique, or eclectic, or eccentric) POVs. And while a character’s growth arc isn’t absolutely necessary in a CD novel, it’s anticipated. And strongly advised.

In a plot-driven (PD) novel, a singular ‘umbrella’ plot typically takes precedence over a character or characters who are driven or forced into action solely by the plot’s unfolding. One’s inciting incident usually gets the ball rolling. A PD story is often revealed externally (visually) rather than focusing on the personality (or emotional stability or the inner complexities) of a character—or more commonly will contain a group of diverse characters, rather than a single POV. Together, these characters can provide various, disparate, often conflictive, perspectives as the plot unfolds.

As previously stated (See Simple, But Exciting), a novel consists of three main components: 1. Solid plot-momentum; 2. Solid character development, and; 3. Appropriate scene/realm building. When writing a novel, little else matters. Structurally, a PD novel may contain a far greater percentage of plot structure and a relatively smaller amount of character development. Conversely a CD novel will contain a greater percentage of character development—and likely a greater insight into a character’s inner being. Scene/realm building is equally important in both formats.

In Mark Helprin’s character-driven Winter’s Tale, a magically-tinged reality sets an elegant, almost fairy-tale quality to accentuate the mythic qualities of Peter Lake, the story’s MC. It’s difficult to separate the complexity of the book’s grounding (scene-setting) from the personalities who inhabit the story—and only serves to strengthen the bond between author and reader.

In Tom Clancy’s plot-centric techno thriller The Hunt For Red October, the same rules apply, Clancy providing proper grounding for a target (techno-savvy!) reader base. Clancy spends an inordinate amount of time describing the technical details and operational components of a Soviet Tycoon-class submarine—and those fictional sailors aboard the Red October better damn well know those features as well. And although Clancy’s characters remain largely focused on the emerging plot (one will seldom see Jack Ryan at a PTA meeting, for instance) they remain complex enough to keep the drama riveting.

Whether character-driven or a plot-driven, both formats require proper grounding. (See Scene-Setting.) So don’t skimp on building a suitable location or realm that will suspend disbelief. Grounding readers also requires a good deal of continuity (AKA, a character’s choreography from scene to scene). So be sure to update every character’s current environment before continuing forward plot momentum. Has night fallen? Have several hours, days, weeks passed between scenes? Has a character moved from a deep forest wood to a bustling city? Has a character’s mood or emotions changed? Has a bright, sunny morning turned to a gray, rainy afternoon?

How do you acknowledge new characters who first appear in a scene? One suggestion: don’t just throw readers a random name—give each character a bit of personality and/or motivation as well. Just a line or two is sufficient for the moment. If that character is to reappear again in the story, give them sufficient identity for readers to remember them 5 or 10 or 50 pages hence. One not need build an elaborate dossier every time you introduce or re-acquaint readers with a character, but drop a few hints about who this new character might be. Such as:

“Hello,” Richard said. “I’m your new neighbor.“
“Hello, Nice to meet you,” Richard replied.

Might become: “Hello,” the young man said, smiling broadly, holding out a bottle of pino noir. “Welcome to the neighborhood. My name’s Richard. I live next door.”
‘. . . . .” “Nice to meet you,” Phil replied. He couldn’t help notice the ragged scar that sliced across Richard’s cheek. An old war wound, Phil assumed, shaking his new neighbor’s outstretched hand, returning the smile, albeit warily.

That’s all it takes—a snippet of personality, an off-hand comment, a curious presumption. Readers will remember those small touches, if adroitly placed.

Occasionally, an avant-garde or experimental story idea may come along, offering little more than riveting dialogue from unique personalities. Solomon Northup’s Twelve Years a Slave, or example. Or Manuel Puig’s richly intimate, dialogue-heavy The Kiss of the Spider Woman. Or—and these are cinematic examples, BTW—1981’s My Dinner With Andre and 1990’s Mindwalk. These plot-lite stories may only hint at any sort of tangible story line. The unfolding drama stems wholly from dialogue and personality/perspective.

Building the Basic Beast: What to Consider.

When you begin to write a story, you’re introducing characters who are new to you, and also new to readers. However, these paper-people have been (theoretically) living full, complex lives long before they appear on the page. Thus, even if your plot dictates that your characters attempt to save the world—rocket scientists who discover a giant meteor about to obliterate Mankind, for instance—they have presumably led full lives filled with various ups and downs. Some have perhaps endured difficult childhoods, lost (or won) love and probably come into focus with a great deal of emotional baggage. What to omit? What to include? And when? That’s up to you. Do you immediately describe their past lives in great detail to readers? Absolutely not! But it’s important that you know who they are, and who they’ve been, and what makes them tick. And then you begin to parse those personalities/POV’s/motivations slowly to readers.

In other words, if the end of the world is around the proverbial corner, the rent’s still due, or maybe your MC’s getting divorced, or someone’s having mother-in-law issues or has a runaway kid sister. Maybe somebody discovers that the meteor’s actually a giant diamond and thwarts any effort to destroy it before he can scoop up a fortune for himself. The more conflicted or erratic or flawed your characters, the more likely they’ll feel “real” to your audience. Readers love relatable (and yet unpredictable) characters.

So bring your characters into your story fully formed…at least inside your head.

However! I do think it’s important to reveal certain atypical, physical traits ASAP. For instance, if a character stands 7-foot tall, or is wheelchair-bound, or is a pointy-eared, 3-foot tall Orc, readers don’t want to be surprised to discover such visual attributes 100+ pages into the story. Introduce those atypical aspects as soon as you can, to help readers create a reasonable mental image of your cast.

In this age of fractured cultural norms and political correctness, one should be aware of treading carefully if a character is Black in a sea of white faces, (or, a white face in a sea of otherwise Black characters.) So give readers visual clues ASAP. Avoid stereotyping or using outdated clichés as shortcuts.

For instance, if Edward’s lost a leg, long ago in some obscure Afghanistan battle, mention it once and, unless there’s a plot-specific reason, don’t mention it again. So I strongly suggest not mentioning Ed’s a one-legged Afghan vet every time he appears on a page. Give your readers credit for remembering such characteristics and traits.

The same rule applies to atypical emotional traits—PTSD, ADHD, Asperger’s, co-dependency, malevolent narcissism, severe anxiety, insanity. You need not directly reveal these traits upon introduction (or ever, unless relevant to your story) and can hint or imply such neuro-divergency through speech patterns, or dialogue, or other characters’ speculations. Or simply allow readers to deduce such traits for themselves.

A few potentially major stumbles that some writers (and many new writers) make are believing that:

1. Your characters are here only to serve your plot.
2. Your characters must be fully developed immediately upon introduction.
3. Your characters are ‘born’ the moment you introduce them on the page.
4. Dialogue (and linguistic patterns) aren’t that important….

Let’s evaluate each.

1. Your characters are only here to serve your plot.

Not so! It’s probably more accurate to say that your plot’s here to serve your characters. Your characters are your story’s sensual presence. It’s through their fears, or curiosity or humor or warmth or love that readers will respond to the humanistic quality of your story. Without characters present, a giant meteor hurling toward Earth is simply a story about two rocks colliding. But place a handful of likeable astronauts and physicists and that one, young, misunderstood assistant rocket-scientist with a crazy idea of how to save the planet—and now you’re ready to manipulate the emotions and gain the empathy of a bejillion breathless readers.

2. Characters must be fully developed immediately upon introduction.

Nope. Nobody wants to read a dossier on page 1. By gradually revealing fragments of proper scene-setting (your story’s physical realm) and plot momentum (leading readers from here to there), you’re gradually revealing various snippets of a character’s personality as well. You’re basically teasing readers—challenging them to read on and discover more about the people who inhabit your story. Every scene you write should contain all three elements—a little of this, a little of that, and then a bit of the other. Meaning a writer can allude to a physical appearance, a personality (quirks and all) and possible plot-related motivations over several scenes or chapters. It’s okay to tease readers about those paper-people who inhabit your book. Sure—just as IRL—it’s fine to make a memorable first impression, but give readers room to gradually acquaint themselves. Curiosity is a great motivator—and a motivated reader will turn page after page after page….

3. Your characters are ‘born’ the moment you introduce them on the page.

This one’s tricky. You, the writer, have soooo much to reveal about the characters in your story. However, it’s important to realize that these people existed (existentially, of course) long before you decided to drop them onto the page. Some are going through personal issues—an impending marriage, or divorce, or maybe one has a gambling addiction, or is confronting a recent, tenuous sobriety, or maybe has a kid sister who disappeared 14 years ago—all of which may have little or nothing to do with your primary plot. (…or might they?)

Secondary plot-lines can have tremendous value in character-building. A singular plot, with various characters auto-focused on a single resolution… sorry, but that can get tedious or monotonous. However, give characters additional issue or problems (“What do you mean my check bounced?”) can infuse nuance, rapport, insight and empathy to your characters. I mean imagine that the aforementioned meteor’s going to strike Earth in 23 days. And your MC’s just been evicted from her apartment. Throwing obstacles large and small can humanize your story and make your paper-people feel very, very real.

4. Dialogue isn’t that important.

Dialogue can make a break your story. Good dialogue can transform cardboard characters into real people. Great dialogue can transform well-written characters into literary icons.

“I ate his liver with some fava beans and a nice Chianti.” This infamous line from the lips of author Thomas Harris’s far-from-vegan Hannibal Lecter. Or take George R.R. Martin’s classic, off repeated line; “Hodor!” Because sometimes a single word (even from a minor character!) can reveal an astounding character-trait or plot device that might just become eternally meme-able. Such is the power of dialogue.

Other memorable quotes? How about:

“You know how to whistle, don’t you Steve? You just put your lips together and blow.” Lauren Bacall to Humphrey Bogart in To Have And Have Not.

“It was a pleasure to burn.” Montag in Ray Bradbury’s Fahrenheit 451.

“All the world’s a stage, and all the men and women merely players.“ Jaques in Shakespeare’s As You Like It. (Not to mention Hamlet’s “To be, or not to be….” a line that’s almost become a parody of famous literary quotes.)

“After all, tomorrow is another day.” Vivien Leigh as Scarlett O’Hara in Gone With the Wind. (As well as Clark Gable’s—as Rhett Butler—“Frankly my dear, I don’t give a damn.”) BTW, In 1939 the Hays-Code era censors went ballistic with this one.

“Time is the longest distance between two places.” Tom Wingfield in Tennesee Williams’ The Glass Menagerie.

“My God. It’s full of stars!” Keir Dullea—as David Bowman—in Arthur C. Clarke’s 2001: A Space Odyssey.

…but I digress!

I suspect that few/none of these memorable quotes are accidental comments. None feel ‘off the cuff.’ Meaning I cannot emphasize enough the importance of well-considered dialogue.

They say that the eyes are windows to the soul. In fiction, dialogue is the window to each character’s soul. (See Dialogue—parts 1-thru-8—for more in-depth info.) However, in the here and now, do realize that for many writers, dialogue adds the necessary depth to produce well-developed characters. For those writing a story in First Person POV, internal monologue (What secret is Emma keeping from me, I wondered. What isn’t she telling me?) is as equally important; absolutely essential for readers to fully understanding the complexity of your solitary MC. I’m aware of some novelists who try to avoid inner monologue (a fear of deep emotional commitment perhaps?) when writing First Person narratives—but I wouldn’t recommend it. IMHO, First Person POV demands that type of soul searching. If plumbing the depths of a character’s soul isn’t as important to you as developing nifty, Adrenalin-packed plot structures, then I suggest sticking to writing in Third Person POV. (…which isn’t a slam, BTW, just an observation. We write what we write best!)

One last word of a advice. A fictional character should (typically, but not always) be larger than life in certain ways. I’m not talking superhero type awesomeness; just that novelists typically emphasize both the good and bad in everyday people. All my protagonists are a bit smarter, better looking, nicer and far more extroverted than I’ll ever be. Everyday people inhabit an everyday world. But in fiction feel rather blasé—so accentuate and embellish whenever possible.

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A notebook for fiction writers and aspiring novelists. One editor’s perspective.

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The Pillars of Success:
. . . .The Fundamentals of
. . . . . . . .a Successful Novel

Also: The Hierarchy of Competence

An athlete must be fast and agile. A scientist curious and logical. A watch-maker nimble fingered and methodical. A comedian funny. So what exactly are those attributes that a writer must possess to become a published author? Is there a single, foolproof, absolute secret to a newbie writer’s impending success? If so, nobody’s told me. However, a few fundamental qualities, either designed by nature (an innate instinct) or nurture (the process of learning) are probably well worth knowing before you embark upon your journey.

These quasi-laws of Literary Physics—the so-called pillars of success—can serve as cues as to who may be more likely to publish a novel. If lacking one or more of these qualities, are you doomed to never finish or sell a novel? Should you stop writing? Not if you love doing so. Best-sellers have been occasionally written by steadfast, tenacious, pillar-lite souls, despite the odds. And, by all means, give it your best shot. You have my blessing to prove the odds-makers wrong.

Those Pesky Pillars.

Ah, but I digress. Pillars. Depending upon who you ask, three or four such pillars exist. A fifth may provide the proverbial ace up your sleeve and the sixth is a bona fide soul crusher. The problem is, not everyone agrees as to what these pillars actually might be. If you Google the pillars of successful writing, you’ll get an eyeful. I’ve found (in a snappy 0.0874 seconds) the following assumptions:

Ethos, Pathos, Logos. Aristotle, the old Greek dude, coined the original foundations of persuasive communication. Ethos, meaning credibility and acceptance (the readers) of your fictional reality. Pathos, meaning emotion. Drama. Tension. Make it larger than life (if only subliminally), and keep it coming. Logos, meaning logic. Logical characters. Logical story arcs. Because illogical writing makes for weak, unimpressive and occasionally stupid novels.

Variations on this theme are: Aspiration. Inspiration. Perspiration. (Clever! And, yes, all necessary elements.)

Theory, Practice and Consumption. (Theory meaning learning the craft. Practice meaning practice. Constantly. Consumption meaning knowledge. Read novels. Read non-fiction. Read how-to primers. Immerse yourself in all things literary.)

Know your audience. (What’s your genre?) Have a purpose. (What’s your message?) Adjust your style. (Find your writer’s voice.) Repeat the Process. (Practice. Write often. Don’t give up!)

Concept. (A writer’s idea, premise and plot.) Conflict. (Drama. Always.) Characters. (A fully developed protagonist, fully developed antagonist, fully developed extras.) Theme. (The reason you’re telling the story. There’s always a reason, even if we ourselves are unaware when we begin.)

Curiosity. Creativity. Productivity. (All self-evident.)

Plot. Character. Setting. (Ah, this one sounds familiar…although more likely story-based components, rather than a success-based adage, imho. But no less important.)

Emotion. Logic. Credibility.

Mindset. Environment. Tools.

…and the list goes on. Our pillar-theories may vary (we theoretical pillarists), but our intentions are both admirable and identical: The ultimate success of the writer. So, with that in mind, I’ve included my own blend of literary pillarizing. Although I am suggesting a slight twist. I’ve even drawn a Venn Diagram to explain (…a picture being worth a thousand words, after all).
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So let’s dissect this pillary thing, shall we?

The Internal Factors.

• Talent (An innate, inborn capability to concoct and produce a well-written novel). Talent is that inherent ability to tell an interesting story in a unique voice. And then to impress agents and/or publishers with a sterling query. Like chess masters, divas, athletes and multi-platinum selling singer/songwriters, you’re either born with a certain talent or you’re not. Me, for instance. I love music. Learned to play guitar—badly. Practiced daily for years, but never broke out of that meh! stage. The mathematics of music confounded me. (Change keys from G to B-flat? Whaaaa?) I also have a singing voice like a frog in a hailstorm. So no, no amount of dedication was ever going to help. We all can’t be everything we want to be. Just sayin’. Then again, everything we might become is certainly worth a shot. • This attribute is inborn; out of your control or your ability to learn.

• Craft (Technique. Absorbing information. Trial-and-error. Attempting to establish an authorial voice.). Craftsmanship is your ability to learn and develop the rules and mechanics of writing. It means perusing ‘how to’ books on grammar, plotting, narration and dramatic pacing. It means perhaps taking classes or joining a writer’s workshop (which I highly recommend). Or finding employment in a writing-based job—copy writing, advertising, journalism. Or reading manuscripts. Teaching English or Literature. Me? I was a newspaper film critic for several years with a strict 750-word ceiling. Man, that job taught me more about self-editing, about whittling down excess verbiage and getting to the point, and greatly honed my writing abilities. Sometimes it means starting a novel or two, if only to fully develop the necessary knowledge to write a novel that sells. Write until you find your own unique, authentic authorial voice, and then write some more. Realize that it’s okay, perhaps even essential, to blunder, to learn from your mistakes, and then keep writing. • This attribute can be taught and learned.

• Skill (Competence, Expertise, Finesse, Finding your voice). Skill is your ability to realize your potential (an infusion of self-confidence), and then utilize that expertise to its fullest extent. Skill is what results from learning your craft up, down, and sideways, inside and out. Skill is basically Craft 2.0! • This attribute can be taught and learned, but ultimately it’s a personal choice to educate yourself until you’re all but assured of eventual success.

• Patience (Determination, Perseverance, Practice). There’s no other way to finish a novel than to begin. By writing a single line, an infectious opening paragraph, a fully developed first page, you’re making a psychological pact with yourself—that you and your brain are in this for the long run. You’re here for the whole enchilada. Writing a novel is like raising a kid: Less sleep, fewer weekends down at the disco, lots of self-doubt and even a little self-pity. (A little is okay. You’re a struggling artisan after all.) You may be constantly apologizing to friends and family for your prolonged absence. You’re committing yourself because you know you’re competent and talented, even though nobody (yet) may recognize those talents. You’re aware that thousands of other novice writers exist with similar dreams—and if they have a shot, so do you. So you take the leap. Write a page, then another, then another…because that’s the only way home. • This sort of inner drive can’t be taught or learned—and may take years of practice and dedication.

* The Sweet Spot. (That tiny white diamond in the middle of the diagram.) If one has the talent, craft, skill and patience to finish a manuscript and begin to pitch the book, the chances of finding an agent or publisher are typically far better than those writers who find themselves lacking in one or more arenas. (If you do find yourself lacking, doesn’t mean that you can’t learn and grow and, in time, prosper.) Which only leaves a single potential speedbump standing between you and Stephen Kingdom—and that’s luck. But read on….

The External Factors.

• Connections (It’s who you know and who knows you). This one may feel a bit disingenuous—but the simple fact is, nepotism and associatism exist and, by all means, if you got it, use it. Is your uncle an editor at Macmillan? That one’s a slam dunk! If you know somebody who knows somebody who works at Simon & Schuster (even in the mail room), or if your great aunt used to date a literary agent in Tuscon—yes! Follow the bread trail. You never know.

P.S.: If you have no connections, and you’re one of those charming extroverts, capable of perfecting your own bow tie, of making a marvelous (shaken, not stirred) Martini, who’s proficient at making friends and connections wherever you go (and if so, good for you) then go for it! As they say in Hollywood, schmooze ’til you lose!

• Luck (Rolling the cosmic dice). This one’s the looming nightmare, the nasty, giggling gremlin who pervades every writer’s hopes and dreams of a book sale. Luck is fickle, unorthodox and totally unpredictable. If your exquisitely written manuscript lands on an agent’s desk who’s hungover or is having marital problems, you may be inexplicably overlooked. A publisher’s assistant who’s going on vacation tomorrow? Same results. Your e-mail query ends up in a junk mail folder. Maybe your insanely well-written novel reminds an assistant editor of a less adept novel that crossed her desk last month, which was nevertheless accepted and that fortunate writer has just signed a contract for a juicy royalty and certain fame. Or maybe you’ve somehow overlooked a typo on page one. (I’ve done that!) It’s sufficient to turn potential good luck to unfortunate, rotten luck.

Speaking of rotten luck, I’ve known a few fiction writers who’ve lost manuscripts in hard-drive crashes, and (of course) the backup’s been corrupted and…well, shit does happen. Aware of Coronal Mass Ejections? Y’know, those giant plasmatic, magnetic fields occasionally spit from the Sun? A lightweight solar flare will cause a pretty aurora. A direct hit from a heavyweight magnetic distortion can potentially fry power grids. Electronic files can (theoretically, at least) be damaged or erased by such an incident. So here’s a new rule. Maybe one of the most important. Rule #98: Make a hard copy (paper) back-up of your manuscript every now and then, even if you’re still working in draft mode. See Finagle’s (aka Murphy’s) Law. But brace yourself.

Here’s a fitting, random comment about blind, stupid luck. Years ago, producers greenlit a film about John Lennon’s life (John and Yoko: A Love Story). The gifted actor chosen to portray Lennon was named Mark Lindsay Chapman. Lennon’s killer was named Mark David Chapman. Yoko Ono so freaked out at the eerily unlikely coincidence that another actor was ultimately recruited to replace him. True story. Bad luck. It exists.

The Hierarchy of Competence

Whether writing a novel or attempting to learn (and master) any of life’s million or so teachable lessons, there’s a savvy little social model that may explain the ‘Pillar Approach’ in somewhat different terms. American Filmmaker Noel Burch’s The Hierarchy of Competence dictates:
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• Unconscious Incompetence: Meaning that I’m unaware of a particular skill, or of any necessity to even utilize that skill. (Johnny doesn’t know the difference between a noun and a verb, nor does he care. But, hey, he’s just read a good book and the author’s raking in some pretty big bucks. Johnny rationalizes that anyone can write a novel and make a fortune. It’s not that difficult, right?)
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• Conscious Incompetence: I’m becoming aware of a need for a particular skill, and the rationale for learning the appropriate lessons, but nahhh, I can probably get along by faking it. (After scribbling out 5 atrocious pages, Johnny’s confused and angry to realize that he knows very little about writing a novel. And yet, he persists.) By the way, the persistent part? That’s every writer’s make or break moment—the decision to practice and learn and, hopefully, to go the distance, is crucial.
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• Conscious Competence: I’ve learned a thing or two about a particular craft and, hey, maybe I’m not half bad. But I’m aware there’s lots more info to absorb. (Johnny understands the basics of plotting and the fundamentals of fiction writing by now. He’s read Strunk & White. He’s read Bird By Bird. He deconstructs novels that he’s read and likes—trying to figure out what ‘makes them tick.’ He’s even signed up for a creative writing class. Sure, he believes he’s pretty good at writing, but he knows he could be better. Time to read a few more ‘how to’ books and then it’s back to the keyboard. Or sharpen that pencil.)
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• Unconscious Competence: After a few years—yup, years—of practice, of trial-and-error, of finishing a dozen short stories that receive good feedback, I’m becoming a skilled writer, in total control (and harmony) with my talent and craft. (Johnny sits down in front of a computer and new worlds unfold before his eyes. He realizes that the act of writing—drafting, composing, editing—is no longer drudgery and anguish, but has recently become a labor of love. Sure, occasional moments of self-doubt, of lethargy and uncertainty may linger, and yet with utmost confidence, Johnny begins his novel. He’s certain he will finish. His thoughts afire, his fingers dance over the keyboard, working in nearly effortless tandem. (Because, yes, those moments do exist.)

Bottom line: Don’t let anyone—not me, certainly not this post—dissuade you from trying. From persisting. Write your freakin’ ass off, until you succeed or something better comes along. So if I can leave you with anything, it’s this:

“To infinity…and beyond!”
. . . . . . . . . . . . . . . . . . — Buzz Lightyear
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