The past few months, I’ve critiqued around 90 stories. During that time, I’ve noticed a common issue that has left me scratching my head all too often. It’s an issue every writer deals with, but not every writer knows to address until someone (a beta, an editor, a reader, etc.) points it out to them.
“What’s the point of this story?”
“Your plot feels aimless.”
“Why is this happening?”
“Why is that happening?”
“Why? Why? WHY?”
As obvious as it is, stories need a purpose. Whether it’s something as grand as saving the world, or something subtler like self-discovery, every story needs something that drives it forward. A key motive that is the backbone of everything else. I like to call this the “Big Why.”
“Why am I writing this story?”
“Why does my protagonist exist?”
“Why will readers care?”
You should be asking yourself these vital questions while you write. No, you shouldn’t let them consume you to the point you can’t write anything at all. In fact, I’d recommend during your first draft (or two) you simply write and not worry about the Big Why. Let it develop as you go along. However, by the time you’re approaching your final draft(s), you should have a solid answer. If you can’t verbalize the main purpose of your story to a stranger (yes, I know we all hate the dreaded, “What’s your story about?” question) then you need to step back and think about it.
Once you’ve nailed down your Big Why, it’s time to support it. For example, you can say, “My story is about a girl with special powers who saves the world from an evil madman.” But, why? Why does this particular girl have to be the one who saves the world? Can’t someone else do it? And why does this evil madman want to take over the world? And why is he evil? And a madman?
As storytellers, we need to dig deeper with our motives. Saying, “I don’t know” or “Just because” won’t satisfy readers. Everything needs to have a reason, and those reasons need to be unique. Don’t say the girl has to save the world because she’s gifted (or, worse, because she’s “the chosen one”). Give her depth, obstacles, tragedy, hope–something that triggers her desire to rescue mankind. And don’t say the madman wants to conquer the world because he’s power hungry. Why does he want power? Why is he so hellbent on world domination? Again, “I don’t know” and “Just because” won’t cut it. Give readers more. Help them understand so they’re able to connect to your story.
Digging into the Big Why means digging into every aspect of your story. If you don’t have a viable explanation for each component, then you need to consider the reason for its existence.
Characters
Do you ever notice when a book gets adapted into a film, the film version sometimes (ahem, all the time) chops out secondary characters (and subplots)? Yeah, it annoys me too. But let’s think about why Hollywood does this: They have to condense a 400-page book into a two-hour film. That means they have to be picky and only use what matters. And what matters are the things that support the Big Why.
Although I hate seeing my favorite books butchered, I have to admit I like Hollywood’s general strategy from an editor’s standpoint. It’s brutal, but necessary. All of us (myself included) have to be willing to whittle our stories down to the essentials. Which means we have to examine all aspects, including our characters. As much as we want all of our imaginary friends and foes to stick around, sometimes–er, many times–it’s not in our story’s best interest. We have to put on our “Hollywood Caps” and start asking, “Why?”
“Why does this character exist?”
“Why do I need three sidekicks? Isn’t two plenty?”
“Why do I have two women with different names, but similar roles?”
Why, why, WHY? Just like The Big Why, we have to evaluate each character and figure out what the point of their existence is. If they’re not driving the plot forward, then give them a hug and part ways. Or take what you love about them and combine it with another (more valuable) character.
Plots
Just like with characters, not every plot line needs to stay in a story. In fact, the more plots you have, the foggier the Big Why can become. This isn’t to say multiple plots lines are bad. Not at all! Just look at “The Lord of the Rings,” “The Fall of Giants,” and “The Lunar Chronicles.” Each has multiple plots, but each of those plots matter. And, one way or another, they all contribute to the Big Why.
Unfortunately, many writers fall into the deep, dark Plot Pit. They keep inessential story lines that take readers away from the main focus and into a maze of, “Huh?” These include random tangents, excessive info dumps, and sentimental scenes nobody but the author understands. So, once again, as you’re editing, sit back and ask yourself why:
“Why does this plot exist?”
“Why is this scene relevant?”
“Why will this plot matter in the long run?”
Words, Words, Words
I know we’re getting down to the nitty-gritty, but we must if we want our stories (and their Big Whys) to stand out. We can create the best plots and the best characters, but readers won’t be able to appreciate them if they get lost in translation. So, everyone grab their beloved red pen and start asking:
“Why do I need this paragraph? This sentence? This word?”
“Why did I use dialogue here?”
“Why not break up this paragraph and add more white space?”
Obviously this isn’t a step to take during your first couple of drafts (if you do, you won’t get anything done). But, when you begin to edit and polish your manuscript, go at it. Attack every page with your red pen. Slash the fat, rearrange words, and tighten things up until every aspect of your story reads loud and clear.
The more you ask, “Why?” about your story, the clearer its purpose will become. Just remember there’s a time and place for everything, and that includes asking this important question. Don’t let it bog you down every step of the way. Ask it when the time is right…Just make sure to ask it at some point.
Don’t forget, my editing website is up and running! If you’re looking for someone to help with your story, check out Jen’s Edits and Critiques.
For more tips, visit my Jen’s Editing Tips page!
Photo credits: giphy
So any tips that might help reduce my stress, or simply make my manuscript the best it can be, I’ll take. And I’ll happily take these awesome tips in this article. Thanks, 
On the manuscript front, things have been both frustrating hopeful. Last Saturday, I began revising my first draft. Almost a week later, I’ve only edited two chapters. Two! Yeah, talk about sloooow going.
No, my snail-like pace isn’t because I’m being lazy or unmotivated or distracted. It’s because I’m no longer writing a story. I’m building one. As I revise, I’m constantly asking myself, “Why is this happening?” and “Who are these characters?” and “How can I make this more interesting–more relevant?” It’s no longer about pouring ingredients into a bowl. It’s about baking a cake. That means this draft is going to take time. And these first chapters will take a lot of time. They’re the ones that will set the tone and lay the foundation for the rest of the story.
Thankfully, after chewing my nails all day, my mom called and told me she genuinely enjoyed my MCs and would like to know more about them. Woo-hoo! Unfortunately, she had issues with a couple of other things, and she asked me some questions about the plot I had a hard time answering. But, it’s okay. That’s what second drafts are all about–finding the problems and fixing them. And, hey, better to fix them earlier than later, right?
Thankfully, I came across this article via Helen Hart (
Jen's Pen Den 