Writer's Glossary - C

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change

At the end of a story, the protagonist should undergo some kind of change. Change usually happens directly following the resolution of the plot, although it can come before. The protagonist learns a lesson, experiences a revelation, achieves a goal he thought unachievable, makes a decision, corrects a character flaw, etc. A protagonist who is the same exact person on the last page of the story as he was on the first makes for a boring character. If there are multiple protagonists, all of them should undergo some sort of change. However, note the difference between the true protagonists and strong supporting players.

character

A personality in a story. This can be a person (usually the case), or any other living thing—an animal, alien, creature, mythical beast, sentient plant, and so on. A character can also be a non-living thing if it is vivid enough and central enough to the story, although strictly speaking a character is usually someone or something capable of thinking.

• See also antagonist; antihero; hero/heroine; protagonist; stock character; supporting character.

character flaw

An imperfection or weakness in a character. All characters should have flaws; perfect characters are unbelievable, unexciting, and uninteresting. Character flaws should work in tandem with the plot and conflict to help impede or make the character's trip to the end of the story difficult. When the story is over, the character usually will have conquered, been able to deal with, or worked around his flaws.

• See also characterization.

character motivation

The reason a character is attempting to achieve his goal. He may have multiple motivations, but they always spur him forward through the plot attempting to resolve it.

characterization

The methods by which a writer gives depth to his characters—the ways in which he brings them to life.

• See also character flaw; character motivation; elements of a story.

cliché

A phrase, usually a metaphor or other figure of speech, that has become so overused that it has lost its strength and/or appears to be a cheap cop-out on the part of the writer—as if he were unable to think up something new on his own. Here are some examples:

For John, the clock ticked by as it mired in molasses while he waited for Mary to come out of the doctor's office. Despite being emotionally as strong as an ox, he knew the news wouldn't be good. He was ready to square his shoulders and deal with whatever it would be. It was the least he could do for her; after all, she was like a sister to him.

These might seem colorful, but they've been done to death. Avoid them in favor of your own words, even if they seem ordinary.

John waited, impatient and nervous, waiting for Mary to come out of the doctor's office. He knew his usual emotional strength wasn't going to be enough this time. Still, he'd handle whatever was about to happen. It was the least he could do for her; they'd been best friends since they'd met age age six, and had been inseparable ever since.

This doesn't mean you can't use a cliché once in a while. But cut back on them to keep your prose fresh and original, and not relying on battered metaphors and overused figures of speech

climax

The conclusion of the story, where the culmination of all the character's efforts to resolve his problems come to fruition.

• See also anticlimax; elements of a story.

conflict

The opposition by other characters, an outside force, himself, or anything at all that works against the character and inhibit him from attaining his goal. This can be a bad guy or the police just as easily as it can be Mother Nature or his own fear of something. Conflict is usually it's the friction between the protagonist and the antagonist, who are generally working toward different goals and are in opposition to each other, which creates the conflict.

contemporary fantasy

A subgenre of fantasy set in modern times, usually the here and now in our own world, with fantastic elements. A story about someone living in a modern-day city who discovers magical gnomes living his basement could be considered contemporary fantasy.

• My own story "Plutonian Infractions," which is set in the here-and-now small city of Evervale, features the unexplained arrival of Cerberus into a local park—followed by his owner, Hades himself, showing up to retrieve him. Everything about the setting is normal and contemporary, but clearly the arrival of two characters out of mythology make it fantasy.

contract

Legal document signed by a publication and a writer or artist, securing publication rights.

contributor's copy

Or contributor copy, a free copy of a printed publication, usually a magazine or anthology, given to a writer or artist whose work appears in that publication. Contributor's copies are often given to supplement cash payment or, in the case of smaller publications, as the sole payment.

cover letter

Introductory letter accompanying a submitted manuscript, identifying the writer, story title, and other brief but pertinent information. Most editors require cover letters; virtually all have no objection to them. Generally, a cover letter should not ramble on; it should be brief and to the point.