Novel Writing – Prologue and opening scenes

This post is the eleventh in a series about writing a novel. You can check out the list of past topics at the end of this post.

You have decided to write a novel. You have planned out your plot and built up believable characters. You have your outline or perhaps you are plan to just sit down and write. You are now at that point.

But where do you begin? How do you begin your novel?

The very first words, sentences and paragraphs are some of the most important. This is where you are going to hook your reader into wanting to keep reading.

You may decide to start with an interesting scene that draws in your reader and sets the stage for your story. That all sounds good until you have to write the scene.

Perhaps you are thinking your reader might benefit from more information before they are introduced to the world you created. This information might help them understand the importance of what is happening. This is where a prologue comes into play.


 A prologue is an opening to a story that establishes the setting and gives background details.

Prologues appear at the beginning of most Star Wars movies.

Various purposes of the prologue

  • Give background information. For example, in a sci-fi book, it may be useful to introduce the alien world in a prologue so that the reader is not confused when they enter a completely foreign world in the first chapter.
  • Grabs the reader’s attention with a scene from the story. I can think of numerous movies that do this. They start with an exciting scene and then pause to go back and fill in everything that led up to that scene.
  • Describe a scene from the past that is important to the story, such as the death of the main character’s mother, which is motivation for the action in the novel.
  • Give information from a different point of view. If the story is written in first person and the prologue in third, the prologue could give information that the main character would have no way of knowing.
  • It expresses a different point in time. The prologue could be the main character when he or she is older and reflecting back on another event, which begins in Chapter 1. (Think of the opening scenes in the movie Titanic.)

So with all these good reasons for writing a prologue, what is the downside? Well, often prologues are boring. If too much history is put into the prologue, it can turn off readers. And many readers say they skip the prologues so if you include an essential part of the story here, your reader may not get it. But the main reason not to include a prologue is that they are often unnecessary. Many of the purposes of the prologue can be accomplished in the actual novel.

So before writing a prologue, ask yourself, will this fit in Chapter 1 or perhaps later in the story? Is this essential to the plot? If the answer is no, skip it.

But if you decide to add a prologue to your novel, here are some things to consider.

  • Keep it short. You don’t want the prologue to drag on for half the book.
  • Keep it interesting. This is the first thing the reader will read so you want to hook them with this passage.
  • Think of the prologue as a separate entity from the novel. Just because the prologue has a hook doesn’t mean you shouldn’t have one in your first chapter.
  • Limit background information. I have read prologues that are dull and boring histories which I ended up skimming. You can weave background information into your novel so don’t dump it all here.

Overall the prologue, when done correctly, can enhance your story and further your plot. But when done incorrectly, it can put your readers off so consider carefully before you include a prologue.

Opening Scene

Now it doesn’t matter if you wrote a prologue or not as the opening scene must still hook the reader. You want them to read the first few paragraphs and want to keep on reading. They should want to know what happens next.

Here are some things that your opening could do…

Introduce your story idea – think of the opening scene of Jaws where the shark attacks a group of teenagers.

Foreshadow your story idea – think of this as the opening to Sleeping Beauty when the fairy curses the baby at her christening.

You may want to start with an action or suspenseful scene. Of course this could backfire as the reader may be confused as to what is happening and which character they are supposed to be rooting for. Well actually there are pros and cons for almost any way that you might want to start a novel.

Long scenery descriptions are typically bad. And most other website will also warn you to not start with a dream sequence unless you first let the reader know that it is a dream. Some authors recommend not introducing too many characters at once in the beginning and others will tell you not to start with the weather.

The key is to not throw too many new things at the reader in the beginning. Don’t worry about backstory, description, character motivation (or internal monologues). Instead look for action that drives your story forward. You only have a few pages to hook the reader (or book editor).

You want to begin with conflict and tension. Something has gone wrong.

Often writers spend too long building up to their story. This means that the first few pages or even the first few chapters could be totally omitted from the novel without any problem. I have seen a few other authors say that it is the first 50 pages or the first three chapter. Know that it does take some practice to figure out where to begin your novel. I re-wrote the beginning of my first novel Summoned a dozen times, starting later and later in the plot until I found the one that worked.

For every “rule” of what not to do, there is an example out there of someone who made it work for them. But the most important thing is to draw the reader into your story. You don’t have pages to convince them this is the book for them. You have just a few pages at most. Make them count.

Previous topics

#1 – Deciding to write a novel – Writing Myths

#2 – Three areas to develop before starting to write a novel

#3 – Finding a Story Idea and How to Know if it “good enough”

#4 – Developing Characters for your Novel

#5 – Major characters? Minor Characters? Where does everyone fit in?

#6 – Developing the Setting for your Novel

#7 – The importance of developing conflict in your novel plot

#8 – To Outline or not to outline 

#9 – The importance of a story arc

#10 – The importance of tension and pace


The importance of tension and pace

This post is the tenth in a series about writing a novel. You can check out the list of past topics at the end of this post.

Before we get into writing your novel, I wanted to talk about two important elements – tension and pace. Understanding both of these will help you write better scenes in your story.


Tension is the element of a novel that evokes worry, anxiety, fear or stress for both the reader and the characters.

One way to think about it is you are raising the stakes for your character, so he or she has to work to get what he or she wants. And this shouldn’t be easy. Basically, you want to keep saying no to your characters so that the conflict appears unsolvable. The more at stake for your character, the more emotions he feels about situations and events.

Tension can take many forms.

  • Anticipation of conflict
  • Unexpected events– sometimes the reader knows what is coming, but the character doesn’t and sometimes both are surprised by what happens.
  • Fear of secrets revealed
  • Impending doom/sense of urgency

It is the author’s job to figure out how to produce these in the story.

Often once one obstacle is conquered, another one crops up. But while good fiction is full of tension and suspense, it needs to vary throughout the story. You need to turn down the intensity for short periods. How much you slow down the tension will depend upon your story needs and the demands of your genre. But just because you slow down doesn’t mean the momentum stops. This may simply be the calm before the storm.

Tips for creating tension:

Short sentences – short, choppy sentences with active verbs signal tension. Think of your sentences matching your protagonist’s racing heart. Avoid long sentences filled with adjectives and adverbs.

Show, don’t tell – rather than “He was nervous.” Write: “His hands trembled.”

Cliffhanger – leave them hanging

The stakes in fiction matter because the stakes create tension. Your protagonist’s happiness and perhaps even his life, depends on the outcome of the story. If the stakes in the story are low, then the tension will be weak.

It is the stakes of the story – the tension – that keeps many readers hooked to your novel.


Pace is the speed in which events happen in your novel. You need to balance the pace of your writing. If your scenes drag on and on (slow pace) then you lose or bore readers. If it is too fast, you will leave your readers unsettled and it won’t be a comfortable read.

The trick is to get the balance just right. And there is no one out there that can tell you what that balance should be.

A lot of this will depend on your style as a writer. It can also be influenced by your genre and your readers’ preference. A young-adult audience might require a faster pace than adult novels. A short story might quickly jump into the action while an epic tale might be told at leisurely pace, speeding up from time to time during the most intense events.

Ideally, your pace will vary throughout your novel. You will have fast-paced scenes followed by slower ones. This will allow the reader to have a break (and perhaps catch their breath) after your action-packed scenes.

Many new writers make the mistake of believing they need to have a very action filled plot to keep the readers’ attention from beginning to end but this is not the case. It is actually the varying of pace that will keep readers hooked to your story.

So what determines the pace?

Fast pace is all about action. When something is happening, the pace is brisk. Slow pace is more on character reflection of past experiences or wondering about the future. It can be scene descriptions or even the passing of time – sometimes months or even years pass in a single sentence.

To speed up pace:

  • Have lots of action
  • Less description
  • Shorter sentences (and paragraphs)
  • Dialogue is short and to the point
  • Cut adverbs and adjectives to a minimum
  • Use strong, active verbs
  • Omit or limit character thought

To slow down the pace:

  • Longer sentences
  • More description
  • Less action or slow action such walking or making tea
  • Dialogue is more relaxed/conversational

Now your story can be paced very fast all the way through or even have a slow pace through most of the story but often it is best to use a mix of both forms. Using variety enhances your story and can keep the reader engaged.

Previous topics

#1 – Deciding to write a novel – Writing Myths

#2 – Three areas to develop before starting to write a novel

#3 – Finding a Story Idea and How to Know if it “good enough”

#4 – Developing Characters for your Novel

#5 – Major characters? Minor Characters? Where does everyone fit in?

#6 – Developing the Setting for your Novel

#7 – The importance of developing conflict in your novel plot

#8 – To Outline or not to outline 

#9 – The importance of a story arc

The importance of a story arc

This post is the ninth in a series about writing a novel. You can check out the list of past topics at the end of this post.

Before we begin writing, I wanted to discuss your story arc. Knowing and understating the nature of this arc can help you ensure that your story stays on course or let you know if the story is getting away from you.

A story arc covers the beginning, middle and end of your story. Characters also have arcs – typically covering internal growth or change. If your story is about just one main character, then your story arc and your character arc could be the same. But if you have a large cast of characters, each character will have their own arc. Some may be ending their own arc while others are just beginning. Your story arc will tie or weave these arcs together.

Beginning/Establish Routine – This is where the reader is introduced to the characters, and we get a taste of what happens in their everyday life.

Example – Think of Cinderella sweeping the ashes or Harry Potter living with the Dursley’s.

Note: Last week, I mentioned starting your novel with a gripping scene that grabs the readers’ attention. But most of the time this gripping scene is probably not what is drawing your character to leave their “normal” life to partake in the adventure. An example of this type of start would be in Indiana Jones and the Raiders of the Lost Ark. While we meet Indy during an exciting scene, we are then returned to his life as a professor.

Trigger/Inciting Incident – Something beyond the protagonist’s control triggers the spark of the story causing the protagonist to act. This incident or trigger will require your character to make a choice and truly begins the story.

Example – For Cinderella, it is the appearance of the fairy godmother. For Harry, it is the appearance of a mysterious letter which leads to him finding out he is a wizard.

In a romance, the inciting incident is probably where the two romantic leads meet each other for the first time. In a mystery, it may be when the first dead body is found.

No matter what the event is, this is what gets the story rolling. It introduces an inequity or problem into the character’s life. The protagonist will seek the solution. The Antagonist seeks to prevent it. But without this event, nothing changes. If Harry hadn’t received the letter from Hogwarts he would have continued to live under the stairs – something very unexciting and certainly not worth a seven-book series.

Rising Action/Conflict – The trigger results in a quest which often has obstacles, complications, conflict and trouble for the protagonist.

Example – Cinderella must endure the antics of her stepmother and stepsisters after her happy time at the ball. Harry stumbles through learning to be a wizard while finding clues about what the Dark Lord wants.

Crisis/Critical Choice – Along the way, there should be incidents of crisis followed by brief breaks. Often the protagonist must make a crucial decision. This is where we find out what type of person the character truly is. At the critical choice, the protagonist must decide to take a particular path.

Example – Cinderella decides to fight her Stepmother for her right to try on the glass slipper. Harry decides to stop Professor Quirrell from stealing the stone.

Climax – This is the highest point of tension in your story and comes from whatever choice your protagonist made during the critical choice. It doesn’t have to be a huge battle between good and evil. It can be something as simple as an important decision being made.

Example – For Cinderella, it is the point where she attempts to escape her locked bedroom as her stepsisters try on the glass slipper. In Harry’s instance, it is his battle with Professor Quirrell.

Falling Action – This is where the consequences of the critical choice and climax play out. It should show the changed status of your characters – especially the protagonist. The changes must make sense with how the story unfolds. The outcome should be probable as nothing should happen for no reason.

Example – Cinderella meets up with her prince and gets married. And for Harry, it is his time in the hospital where Professor Dumbledore divulges the meanings behind the recent events.

Resolution – This is where the story wraps up. Your characters return to their lives but now are perhaps wiser or changed.

Example – We see Cinderella and her prince driving off in the carriage, presumably to live happily ever after. Harry gets back on the train to return to the Dursley’s but this time knowing that he will return to Hogwarts for another year of school.

If you search the Internet, you can find more complex diagrams of the story arc. Some use different terms or add more steps, but these are the basics of a story arc. Knowing these steps of the arc can help you in planning your story or at least making sure you stay on track.

Previous topics

#1 – Deciding to write a novel – Writing Myths

#2 – Three areas to develop before starting to write a novel

#3 – Finding a Story Idea and How to Know if it “good enough”

#4 – Developing Characters for your Novel

#5 – Major characters? Minor Characters? Where does everyone fit in?

#6 – Developing the Setting for your Novel

#7 – The importance of developing conflict in your novel plot

#8 – To Outline or not to outline 

Deciding to write a novel – Writing Myths

Last week, I celebrated my fifth year as a blogger. Since I began, I have written 271 posts on writing or publishing. Whew! Yes, sometimes it feels like I have covered every topic out there.

I tend to write about whatever I am working on in my current work in progress.  If I am just starting out, I write about world or character building. If I am on my second draft, that becomes the topic of a blog, and if I am trying Kindle Select, I write about that and how successful or unsuccessful it was.

This means often times the topics might jump around so I thought I would write a “How to Write a Novel” series in order to help novice writers. (Last year, I did write an outline of writing a novel with links to appropriate posts. You can find it here.)

Now my new project won’t just be a re-posting of old posts. And even though I was thinking of it for the beginner, I think seasoned writers may still be able to find some tricks and tips, or they can feel free to share their own methods and ideas in the comment section.

In fact, if anyone has suggestions of topics regarding writing or publishing, please leave your suggestions in the comment section below.

So, now on to the first topic….

You have always dreamed of writing a novel. Maybe you want that instant fame or perhaps people have been telling you for years that you would be a good author. For whatever reason, you have decided to finally write that novel rolling around in your brain. But before you do, let’s clear up a few common myths or misconceptions about writing a novel.

Myth #1 – Writing is Easy

Some people (who obviously haven’t written a novel) consider it to be something easy. However, you need dedication and determination to write a novel. It is not easy to write and publish a novel. In fact, many people start a novel but never complete it. It isn’t just having a good story idea. You have to write it, then re-write sections or perhaps all of it, edit it, then edit it some more and finally proof it for grammar and spelling. All of this takes a lot of time. You have to be determined to see it to the end and not be discouraged as you work through the process. You are NOT going to pen a full-length novel in a few weeks. (Key word is full-length novel as in 80,000 to 100,000 words. To find out the average lengths of different literary works, click here.)

Myth #2 – Writers Make Big Money

People hear about the superstars. They hear about the J.K. Rowlings, James Patersons and Steven Kings who make bundles of money and expect that most writers make a good living writing. No. In fact, many writers do not write full-time. They need a day job (or a spouse) to help pay the bills. Even if you do make money selling your first novel, it will take a few more books before you probably will see consistent money coming in.

Myth #3 – Writers Write to be Famous

If you are writing to be famous, you probably should pick a different career. Actors and singers have people mauling them on the streets but not many people would recognize Nora Roberts or J.K. Rowling if they ran into them. Some writers may write with the hopes of becoming a household name, but many of us do it because we love it. (Though emails from fans is always a great perk.)

Myth #4 – It is Easy to Publish a Book

Just as with the myth about writing, many assume it is easy to get published. But that is far from the truth. If you publish traditionally, competition is fierce for agents who can get your books in the hands of the right people and even then book publishers are often hesitant on betting on a novice writer. Now self-publishing has made it easier to PUBLISH a book (in electronic or paper form) but just because you publish a book, doesn’t mean you will be successful. There are so many books out there it is tough to reach an audience. You will spend more time promoting your work than writing. (Of course in the best course is often to keep writing more books until you have several published works. To read more about this concept, click here.) But publishing a novel is a whole different area that you don’t even have to worry about until you have actually written your novel.

So if it isn’t easy, we don’t become famous or make a lot of money, why do authors write? I can’t speak for everyone, but I do it because I love to write. I love the creative process and bringing characters to life. There is no wrong way to do this. Some people need to plod along making and learning from their mistakes while others want to plan everything out.  But nothing begins until you make that commitment to actually sitting down and writing your novel.

Tune in next week when I address how you get started on that novel.

Dragons as characters in your novel

Dragons have been a storytelling staple for ages. They have appeared in folklore tales where heroes slayed the dragons to save the damsel.

And in more recent literature, TV shows and movies, dragons have appeared as wild beasts to be ridden or even turn out to be allies. Adding a dragon to your story can create instant conflict as these mythical creatures breathe fire and hoard their treasure or they can be a loyal friend and protector.

Anyway you look at it, adding dragons to your novel can be a way to interject some engaging characters.

The thing with dragons is that there are so many variations in looks and behavior that they really can’t be lumped together. Whether they are villains or protectors, friends or foes, here are the two main categories of dragons.

Types of Dragons

Western or European dragon – These dragons come from European folk traditions. These four-legged, reptilian creatures with wings often have some level of intelligence and may be able to speak either through speech or telepathy.

They dragons live in caves or near rivers. Some breathe fire or poison. Some may hoard treasure. Sometimes these dragons can shape shift into other creatures including humans. Their appearance is varied. They can have horns, multiple heads or tails and come in variety of colors and sizes.

Eastern or Chinese dragon – This also encompasses all Japanese and Asian dragons. These dragons are often serpentine creatures with above-average intelligence. They too have four legs but are wingless.

They creatures represent primal forces of nature, religion and the universe. They are associated with wisdom, power and luck. Many are said to possess some form of magic. Temples and shrines are often built to honor them. Unlike the Western dragons, these Eastern dragons are portrayed as benevolent and kind.

Wyvern This smaller cousin of the dragon is a winged, two-legged creature with a barbed tail. It has the head and wings of a dragon but typically lacks the grace and intelligence of a dragon. They do not breathe fire or speak.

Dragons as characters

Since we are dealing with an imaginary creature, what you do with your dragon – whether you make him a ferocious beast protecting his lair or a full-fledge character adding conflict to your story – is totally up to you. You have complete control over whether your dragon is large or small, has one head or a dozen, and whether it has magical powers or any signs of intelligence. The possibilities are endless.

But if you are going to make your dragon more than a wild beast to be slain and going to make it an important character, you need to develop them as you would any other character. You need to know their desires, their back story and build their behaviors and characteristics around these traits.

My books

I love dragons, so they have shown up in all of my books. In my The Elemental trilogy, dragons are large enough for 5-6 people to ride. But they are far from beasts of burden. They are distinct, well-developed characters who speak telepathically but cannot breathe fire. My favorite is Zoot, a gruff, sarcastic black dragon that befriends Lina, the protagonist of the series.

In my stand-alone adventure, The Heir to Alexandria, the white dragon, Enchanta, plays less of a role in the novel. She too is telepathic, but her main role is to guard a hidden fortress, revealing it only to the rightful heir.

My current work-in-progress, tentatively called Blood Bond, goes back to making dragons main characters within the story. The tale is all about Soren and his dragon Dex. Here again, the dragons communicate telepathically and are key players in the plot.

So if you choose to add a dragon to your novel, feel free to go against the norm and create a unique creature that enhances your story. And remember, you are really only limited by your own imagination.

He said, she said: 4 Tips on Using Dialogue Tags

Recently, my husband commented there was a section of dialogue in my current work in progress (WIP) that was hard to follow. I don’t know if this is because he tends to listen to my WIP verses reading it or not. But either way, it is an area I need to go back and consider revising.

For readers to know who is speaking, you need dialogue tags such as he said and she replied. And while they are necessary, you don’t need them every time someone speaks.

Image result for dialogue tagsI am sure we all have encountered books full of too many or too few dialogue tags. (Check my post on that topic.) Even from professionally published authors I have had to stop and count lines backwards to figure out who is saying what.

Dialogue tags should be like punctuation marks – they should be invisible, guiding the reader, but not getting in the way of the story.

Here are four tips to help you use dialogue tags like a pro.

1.)  While your high school English teacher may have encouraged you to stray from the boring “said” or “asked,” there is nothing wrong with sticking with these words. But many new authors don’t want to stick with “said” and “asked.” They search out posts like this one that show you 100 different ways to say “said.” And while there is nothing wrong with interjecting a few of these into your text, you should do so sparingly. The concern with these more frivolous choices is that the words draw the reader’s attention away from the dialogue.

Bad Example: “You can’t go out into the dark,” Mary cried.

“What now?” Edward groaned.

“No, no, no,” she muttered. “Too dangerous.”

“What is your problem?” Edward wondered.

Here is a writer trying to use too many fancy tags. It should be rewritten to something more like this.

“You can’t go out into the dark,” Mary said, blocking the door.

Edward groaned. “What?”

“No, no, no.” Mary shook her head with each word. “Too dangerous.”

“What is your problem, Mary?”

The second scenario allows you to focus more on the dialogue.

Now there may be times when your dialogue may not communicate the tone or emotion clearly. And there is nothing wrong with using a descriptive tag such as whispered, shrieked, muttered, grunted or boasted to help your reader understand the scene.

Example: “Leave me alone,” he muttered.

But don’t worry about using other words than “said” or “asked.” If you only use them when necessary, and the dialogue is interesting, no one will even notice them. And that is what you want.

2.)  The placement of dialogue tags and how often you use them are important – even more so if you have a lot of characters in a scene. Well-positioned tags insure your scene make sense and eliminate any reader confusion. If a reader has to backtrack a few paragraphs or pages to get the conversation straight, a writer risks the book being abandoned.

Example:  “You always do this to me, Mary,” Edward said. “You get all worked up, forbid me to do something and it turns out to be nothing.”

Bob held up his hand. “Stop it right there, Ed. You don’t need to pick on poor Mary.”

“Thanks, Bob,” Mary said flashing him a smile. “I knew I could count on you.”

“Anything for you.”

Edward rolled his eyes. “If you two are done…”

3.)  You don’t have to always use said or any other dialogue tag to indicate who is speaking. You can use action to indicate this as well as to provide information essential to understanding the character and/or some element of the scene. In the above example, Bob holding up his hand and Edward rolling his eyes are examples of this way to identify the speaker without a dialogue tag.

Or you can have the characters use each other’s names as they speak – but again, this is done sparingly.

Bad Example: “What are you doing, Bob?” Mary asked.

“I am helping you out, Mary.”

“You know she doesn’t need your help, Bob,” Edward said.

So in the above example, characters are calling each other by name but a little too often. In real life people use other people’s names sparingly (typically at the beginning or end of a conversation) and so should your characters. Here is the above example revised.

Mary glared at Bob. “What are you doing?”

“I am helping you out, Mary.”

Edward stepped in front of Mary, shielding her. “She doesn’t need your help, Bob.”

4.)  Use adverbs (such as loudly, softly and angrily) with your dialogue tags sparingly – as in almost never. Nothing points out a novice quicker than a writer who uses adverbs to tell your reader how someone spoke or even worse uses an adverb with one of the fancy alternatives to said.

Examples: she said excitedly

He exclaimed loudly (redundant)

Using an adverb is telling your reader how the dialogue was spoken instead of showing them.

Example: “I never want to see you again,” she said angrily.

But instead of telling us she is angry, show us.

“I never want to see you again,” she said, storming out the door and slamming it behind her.

Of course, as with any “rule” there are exceptions. Sometimes adding an adverb can be a quick way to indicate a mannerism or emotion (she said quickly; he said coldly) without writing longer, descriptive sentences. But keep this to a minimum.

Wrapping it Up

To summarize….

  • Unless you have a good reason, stick to the standard “he said, she said.”
  • Other simple verbs – she asked, she whispered, – are fine.
  • Fancy verbs – he bellowed, she interjected – should be avoided.
  • Use only as many dialogue tags as needed for clarity. If two people are speaking, one every three or four lines is about right. You will need more dialogue tags if you have more characters speaking in the same scene.
  • You can also use character action or calling a character by name to indicate who is speaking.
  • Never use adverbs (or at least very rarely). Instead of telling, show the reader the action.

Even though “said” is the preferred verb, if you use it every time, your dialogue will become tedious. So aim for variety. With some practice, you will learn when a dialogue tag sounds correct and appropriate. In fact, if you don’t even think about or notice the dialogue tag…you got it right!

Q is for Questions #AtoZChallenge

For the A to Z Challenge, I have chosen the theme of antagonists.

On my normal blogging days, Monday – parenting and Thursday – writing/publishing, I will tie that day’s topic to antagonists but on the other days (Tuesday, Friday and Saturday), I will write about antagonists from movies, TVs or books. On Wednesdays, my Quote of the Week will be from an antagonist that matches the letter of the day. Enjoy.

Today is the letter Q, which is for Questions. A good way to get to know your antagonist is to conduct a character interview. This fun exercise can give you a lot of insight into your antagonist, and the better you know him/her, the easier it will be to bring them to life.

You can either get someone to ask you a list of questions or play both the interviewer and interviewee. But all responses should be done as if you are the antagonist. This means that their word choice, manner and attitude should be reflected in their answers.

The key is to ask open-ended questions so your character has to elaborate beyond a simple “yes” or “no.”  So instead of asking, “Were you scared when you were kidnapped?” ask “What was going through your head at the moment you were grabbed?”

Try to stick with questions that will benefit your story. You want to uncover the goals and motivation of your antagonist. And you might just uncover some of their soft spots too.

Need help coming up with questions? Here is a website that lists 50 Questions you can ask your antagonist.

And in case you want to check out my other antagonists from the challenge…

A is for Apocalypse

B is for Bad Boys (parenting)

C is for Cruella de Vil

D is for Darth Vader (Quote)

D is for To Die for Cake (Recipe)

E is for Evil (Writing)

F is for Freddy Kruger

G is for Gollum

H is for High School (parenting)

I is for Iron Monger

J is for Jafar (Quote)

K is for Killers (Writing)

L is for Loki

M is for Maleficent

N is for No (parenting)

O is for Oggie Boogie

P is for Professor Moriarty (Quote)