Have you ever read a book that captured and held your attention so completely that you never quite realized it was over 600 pages long?
And then have you ever taken the time to find out how the story achieved this?
I recently read Fool’s Assassin by Robin Hobb and this was my experience.
What makes it more remarkable is that the story itself is not full of twists and turns and high-adrenaline scenes. Rather, it’s a gently told tale, following the life of a former assassin who now wants nothing to do with the life of intrigue he led as a young man.
So how did Robin Hobb weave a tale that held my attention and left me wanting to know what happens next?
Through her characters.
The Hook
The opening line of the prologue to Hobb’s delightful tale is the statement “I hated her when I was a boy.” This immediately introduces us to two elements necessary for any story: character and conflict. And even though we’re never introduced to the “her” FitzChivalry Farseer hated as a boy, we’re hooked.
Hobb continues to build the picture surrounding FitzChivalry and his childhood. We learn that he’s a royal bastard raised and trained to be an assassin. And we learn that now, as an older man retired from the intrigues of court, he’s questioning assumptions he’d made as a boy.
And ultimately, it’s FitzChivalry’s questions that draw us into the tale. We’re drawn to his voice, to how he doubts himself and wonders how things would be different if he had made different choices.
He’s human. He’s relatable. He’s real.
Building Conflict
Through the rest of the book, Hobb makes expert use of interpersonal conflicts to carry the tale. Chapter one immediately presents FitzChivalry with a choice: to speak with a messenger but ignore his wife during the festivities at the annual winterfest, or ignore the messenger and their urgent message for a little while.
This choice, insignificant on the surface, has repercussions later in the story. But in the moment, it places FitzChivalry in a quandary, because he is unable to talk with both his wife and the messenger at the same time. This forces him to choose between them.
Hobb continues to do this through the tale, crafting moments that force FitzChivalry to choose, often between two less-than-ideal options. Later, when she introduces a new point-of-view character, she uses the new perspective to add to the tension by having them think about choices FitzChivalry made and providing their thoughts and feelings about those. Misunderstandings rise between the two point-of-view characters, bringing additional conflicts and challenges FitzChivalry must work to overcome.
Ultimately, even though Fool’s Assassin is a more gentle tale (although it does have its violent moments), it’s still a gripping story thanks to the intense interpersonal relationships and the conflict they bring.
Application
Obviously, knowing what Robin Hobb did isn’t the same as being able to reproduce it. Let’s take a look at some ways you can add the same strength to your characters.
First, get to know your characters well. FitzChivalry Farseer and every other character in the story are all well-developed people with their own goals and desires. The feelings they feel and express within themselves and to others are fully developed. Their reactions to situations are completely believable. Their frustrations, joys, tears—every emotion is organic and something we fully understand.
Second, your secondary characters have goals too. And these were often what Hobb used to push FitzChivalry into choosing between what he wanted and what others believed he needed to do at the time. Its easy to forget about our secondary characters and what they’re doing or trying to gain at a particular moment in the story. Give them goals that they are actively working toward, and place their goals in opposition to those of your main character.
Third, make your character choose between two bad options. If your character decides to pursue A, they’ll lose B; if they choose C, then A will no longer be an option. Add in time pressures so that they have to decide quickly and then let us see the turmoil the decision places them in. Don’t allow your character’s choice to be easy. And don’t allow it to be free of cost later on either.
Conclusion
Your characters are the vehicle through which we experience the story. We see the events through their eyes and feel the joys and sorrows through their emotions. They are a powerful tool in any writer’s toolbox and can serve to build conflict in even the most gentle of tales.