Space is great at being an facilitator inside of a story. Space deserves its own personality. What would that character feel like as a town? A house? Try it! I do this all the time and it works for me. Don’t want to cut a character, even though you know you probably should, fine turn them into a space. Each character must drive their own storyline that makes the reader feel some kind of empathetic connection, not like, love, hate, or even respect, but recognized emotion, even if that emotion is not one that we’re proud of. And when they don’t, that character becomes irrelevant and needs to be cut. Usually, as I figure out how to craft the purpose of the story I want to tell, my facilitator slots into one of these stronger personalities, but not always. They guide everything, like a tour guide, and then I return to the areas and personalities that are the strongest. Meaning, they are a character that facilitates. You test personalities, dialogue, and direct action with this person, but they are not exactly necessary and don’t own their own story drive. I think of an access character as a playing ground. ![]() I’ve written three books and have never used an original first chapter. An access character often works like an access chapter. She was overbearing and I quite like overbearing! I had to write her to get to the other characters. ![]() It actually breathed a sigh of relief because I’d removed a character that crowded the plot. I cut a main character from The Sculptor and redeveloped a sub-character AFTER I’d finished writing the second draft! It was painful, though necessary, and the book benefitted from my ruthlessness. This a difficult decision to make – especially when you’ve finished a draft or organised a plot around a developing character.
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