Over in the Story To Script article on writing the Ultimate Fight Scene, I talk a bit about the importance of consequences. In fact, this is something I’ve discussed in a number of places, because it’s key to writing well…
I wanted to take a minute today, to explain exactly why consequences are so important.
Narrative consequences ground the reader in the storyworld reality.
While we all know fiction is not reality, when we read fiction, we want to believe.
At least in the context of the story we’re reading…
No matter the genre, we want to believe for the few moments we’re reading a novel, comic, or whatever, that the story we’re reading is alive. That although it doesn’t exist…
it could exist.
And that the characters and outcomes of their decisions and the events that unfold, all matter.
There is no greater way to disconnect the reader from all of this, than to ignore consequences in the narrative.
You’re writing a fantasy story about a little elf-guy named, Lonk. Lonk fights a dragon, he gets the crap beat out of him, scorched, thrown through a barn, but after finally defeating the dragon, he heads over to the nearest tavern for a little ale and dinner.
Later on, Lonk is running through the Twisted Forest and accidentally steps on a tiger trap. He falls into a forty foot pit, just narrowly missing the spikes at the bottom. He pulls himself together and struggles to climb out, which he does without much issue.
Lonk arrives at Hirule Castle, determined to purchase a Unicorn’s horn, which is absolutely critical to his quest. As soon as he enters the castle grounds, bandits attack. They steal all his money! Scoundrels. Hey, this smells like a consequence… BUT WAIT, Lonk heads over to the rare ingredient shop and pulls out a hidden gold ring. He not only buys the Unicorn horn he needed, but gets cash back in the process and walks out with more money than he had going in.
If you notice all these events, circumstances, and decisions don’t really lead to significant consequences making it feel a lot like Lonk is some sort of Marty Stu (Mary Sue), gold star. Lack of consequences when focused on a specific character, absolutely pushes them into that territory.
But more so, as I just mentioned above, it breaks the engagement with the reader.
Once a pattern of missing consequences gets established, the reader realizes it doesn’t really matter what happens. Because in this story, things are just going to happen the way they happen.
It’s perhaps, the ultimate form of Plot Forward PASSIVE writing.
To keep your writing moving forward with maximum reader engagement, always develop consequences.
Consequences significantly alter ‘things.’ Things that can’t be undone in short order.
Consequences are one of the best opportunities to inject turns, reveals and narrative twists…
When developing consequences, remember your plausible causality, another thing I’ve mentioned numerous times.
Narratively speaking, it’s where the relationship between a cause and effect (or consequence) is considered believable and reasonable, but also, feels like it’s the only real choice or outcome that could arise.
Hey, Lonk, help us out.
So Lonk runs through the forest and falls into the pit…
He lands on top of Princess Zilda, who’s sitting there knitting a sweater.
It’s not really plausible that Princess Zilda is randomly sitting in the bottom of this pit, but what’s worse is what happens next.
Lonk is so excited to see Princess Zilda, he climbs out of the pit with her, announces he’s abandoning his quest that needs that unicorn horn, and sets off to an island to start a Jazz Band with him on bass and Zilda on vocals.
While those are consequences, they have absolutely no plausible causality.
Super side note: If you recognize that absurd consequences and totally IMplausible causality feels humorous. Wink to you. This is often a bedrock of writing comedy. (One of these days, I’ll get around to adding comedy to my genre articles over at Story To Script.)
Notice in my definition of plausible causality, I mention picking the “only option.” This really means the best option that fits the previously defined nature of the characters and the storyworld.
While in real life, you could be hit with an important decision and have multiple totally valid choices, in fiction, all but the one choice that most reflects the “character” are weaker choices. Because this is fiction, not reality, but dramatized reality.
If the Hulk gets surrounded by a bunch of mutant crocodiles. The hulk COULD leap away. That is actually plausible. But it really doesn’t capture the essence of who the Hulk we all know and love, is.
Nope. Hulks only really plausible option in that scenario, is to start smashing.
Of course, being able to develop consequences, while considering your plausible causality, while at the same time surprising the reader. For the reader to have not seen the outcome coming, but once it does, recognize it as, “of course, the best outcome.” Now that’s the secret sauce that delivers maximum reader engagement and a story the reader just can’t put down. ▪
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Nick Macari is a full-time freelance story consultant, developmental editor and writer, working primarily in the independent gaming and comic markets. His first published comic appeared on shelves via Diamond in the late 90’s. Today you can find his comic work on comixology, Amazon, and in select stores around the U.S.