Never write a weak character again! Using short, easy to digest lectures, this course will go over:
If you're a new writer just getting into characters, or an experienced author looking for a better understanding of what makes a character work, this course is for you. After this course, you will never again wonder why your characters turned out the way they did, and better still, you'll be able to fix them.
Take this course, and with it take control of your character development, and gain a clear understanding of the inner workings of all characters.
This lecture will give you a quick overview of the course as a whole. Be sure to take it, as you'll be able to see what the course will cover ahead of time, as well as learning some important things about teh course before you get started. I'll also give you some important information on how to get the most out of Udemy courses using the Q&A feature.
Matrix Writing is my own personal method of writing. In this lecture, I'll explain how it works, and why I use it to write my own novels. This is the process that the entire course is based off of, so this is a very important lecture.
Theme is the single most important aspect of developing novels. In this lecture, I'll explain exactly why it's so important, as well as just how much it helps your creative writing and novels. If you're interested in learning more about theme, I recommend that you take my course on it.
Now we get to the character development. In this lecture, I'm going to explain a very important concept that gives rise to all the other character development talked about in this course: larger-then-life characters. I'll explain exactly what this means, as well as why it is SO important when writing your novels. Additionally, I'll explain the logic most writers have when developing characters, and I'll show you exactly where things go wrong and how to fix them.
In this lecture I'll explain exactly what strength is and why the characters of your novel need it. I also include some examples of strength, showing why a character with it is far better than one without it.
Sometimes a novel writer wants to write a character that's dark, evil, or just plain unheroic. The inexperienced author usually messes these characters up and can't figure out why they aren't working. After this lecture, not only will you know why, but you will also know how to write a dark protagonist - or any other character - correctly.
Strength can be divided into two types of showings - small and large. In this lecture, I go into detail about what each type is like. Additionally, I've included a downloadable PDF with examples and further notes on both. I'll show you an example of including both in a novel later on in the course.
You've probably heard of inner conflict before, but in this lecture I'll help you to break free of the fog of misconception that surrounds the topic. Most writers interpret inner conflict as something completely different than what it truly is. Discover not only what it is, but what it is designed to do and how it accomplishes it.
Inner Conflict is a very complex part of character development, and understanding how to create it is an all-important step to understanding exactly what it is and how it works. IN this lecture, you'll discover the basics of creating inner conflicts for your novels, and the characters of your writing will become far better for it.
It is easy to get lost in inner conflict. One way to avoid that is to have a good understanding of what main conflict is. Main conflict is the conflict of the story; inner conflict is the version of main conflict exclusively for the heroes. Therefore, having a good understanding of what makes up a main conflict is essential to understanding how an inner conflict works. In this lecture, learn what constitutes a main conflict, and how an inner conflict is different.
In this final lecture on what inner conflict is, I discuss the sides of inner conflicts. Inner conflicts are made up out of two sides, and understanding the nature of those sides is necessary to understanding the inner conflict itself. In this lecture I go over what kinds of sides there are, and how they drastically simplify the process of creating inner conflicts.
If you thought creating inner conflict was difficult and confusing, you're in for a surprise: you need to develop the inner conflict. An undeveloped inner conflict is mediocre at best, full of holes and shaky on balance at worst. The process of developing innner conflict will not only identify and fix all problems, but it will push your inner conflict to the max, making sure that you and your readers get the most out of it.
High Worth is a simple, yet confusing aspect of character development. It is so similar to strength, inner conflict, and even some parts of stakes, that it is often confused with all three. High worth is actually a very separate aspect, though it can take the place of strength or inner conflict. In this lecture, learn exactly what it is and why you need it.
In this lecture, learn how to create high worth. Begin the process of giving your characters value, forever disabling your readers' ability to forget about them. Once you've made high worth, you have the reader in the palm of your hand, and the ability to draw him to the edge of his seat at any given moment is yours. Use it well.
In this lecture, go through the process of defining what your character's strength is. Learn how to find the qualities and traits that make up your character, and discover which one is central to the theme, and suited to become strength.
Simply knowing a hero's strength isn't enough; the reader has to know it as well. In this lecture, figure out how to show your hero's strength. Determine what kind of showing you will need, down to exactly how the showing unfolds.
Start looking at your hero in depth, and figure out the inner turmoil within him. Deduce what drives it, what makes unsolvable, and why your hero is locked into it until the very end of the novel.
Work with the inner conflict of your hero, and make sure it cannot be solved until the very end. Make sure it has to be dealt with, both by the reader and the character. Leave the hero no path of escape. Develop your inner conflict to accomplish this and more.
Now that you've seen exactly how the development works, it's time to take an inner conflict fo your own creation, and try developing it. It will be harder than you think, so smooth out the difficulties and the problems now, so that you don't face them when creating the inner conflict of a real novel.
In this final part of character development, create your character's high worth. Determine if it separate, or combined with strength or inner conflict. Figure out how it came to be, and why the hero is driven to adhere to his personal code or belief. Give your hero value.
In this final step, add in all the character development you've done so far into your synopsis. Then, go through it paragraph by paragraph, watching for any place where you can test your hero's high worth. Learn to identify where the hero's struggle becomes the darkest, where only by clinging desperately to his high worth despite everything else will he ultimately triumph.
A brief conclusion to this course, thanking you for your time and wishing you the best in your written endeavors. Good luck!
I’ve always been interested in design. It started as a desire to draw pictures, figure out how artists made things look so life-like, and do the same myself. It morphed into Photoshop and digital design. It expanded to the internet, web-design, and the learning of some html.
Additionally, I’ve always wanted to write novels. The desire has just always been there. I remember sitting down at the keyboard when I was five or so and starting to write. Not that such endeavors ever lasted. I would get bored or lose interest. Something was missing.
And then, about six years ago, these two desires collided. I took a new approach to writing. I studied all I could about it, through books on writing, novels that had been successful, and my own trial-and-error. I joined a writing community and put their constructive criticism to use. I made my own writing contest, designed to help myself and others hone our writing skills. I wrote some small works of my own, slowly increasing my skill with the pen (er, I mean keyboard).
True to my interest in design, I built a process, a checklist if you will, designed to create a novel the way I thought it should be. I put everything together from everything I’d learned or read, and came up with a process that worked. I tried it out on my own writings. I revised it many times. I perfected and simplified it until it was a process anyone could follow, a process that would not just allow them to create a novel, but create a novel that would succeed, and stand out from the average authors. I don’t want to be an average author, and I doubt anyone else does, either. I want to be a successful author. I want to reach as many people as I can. And for that, my novels needed that something extra that I had always been missing.
Learn my process, see why I call it Matrix Writing, and you’ll find out what your novels have been missing too. Don’t be an ordinary author. Be extraordinary!