Introduction
This essay explores the creative writing task of crafting an opening to a short story titled “The Witness,” where a character must confront and process a profound experience. The focus lies in establishing a strong sense of character and motivation, essential elements in engaging readers and laying the foundation for narrative development. As an English studies student, this analysis delves into the techniques of characterisation, the importance of internal conflict, and the role of setting and tone in conveying a character’s emotional journey. The essay will first discuss the theoretical framework of character creation and motivation, drawing on literary theory and creative writing principles. It will then present an original story opening of approximately 600-900 words, followed by a critical reflection on the creative choices made. By blending theoretical insights with practical application, this essay aims to demonstrate a sound understanding of narrative craft at an undergraduate level, contributing to broader discussions on storytelling within English literature studies.
Theoretical Framework: Character and Motivation in Storytelling
Creating a compelling character is fundamental to effective storytelling, as characters often serve as the emotional conduit between the narrative and the reader. According to Forster (1927), characters are either ‘flat’ or ‘round,’ with the latter possessing depth and complexity that allow for growth and reader empathy. In “The Witness,” the protagonist must be a ‘round’ character to reflect the internal struggle of processing a significant event. This complexity is achieved through nuanced portrayal of their thoughts, emotions, and backstory, which collectively inform their motivations. Motivation, as defined by Burroway (2019), is the driving force behind a character’s actions, often rooted in desire, fear, or unresolved conflict. For a character coming to terms with an experience, motivation might stem from a need for closure, understanding, or redemption—key themes to explore in the story opening.
Moreover, internal conflict is a critical mechanism for showcasing a character’s emotional journey. As Vogler (1998) suggests, a character’s inner turmoil often mirrors their external challenges, creating a layered narrative that resonates with readers. In crafting “The Witness,” the character’s struggle to reconcile with their experience must be central, evident through their introspection or interactions with their environment. This approach aligns with the psychological realism often celebrated in modern literature, where the exploration of the human psyche takes precedence over external action (Lodge, 1992). By grounding the character in a believable emotional arc, the story opening can establish a foundation for deeper engagement later in the narrative.
Original Story Opening: “The Witness”
The rain tapped incessantly against the warped windowpane of Elsie’s attic room, a rhythm as unsteady as her own heartbeat. She sat hunched over the old oak desk, her fingers hovering above a crumpled photograph, the edges worn from years of handling. The image showed a younger Elsie—barely sixteen—standing beside her brother, Tom, on the pier at Brighton, their smiles wide under a summer sky. That was before the night that changed everything, the night she became a witness to something she could never unsee. Now, at twenty-two, the weight of that memory clung to her like damp wool, heavy and suffocating.
Every creak of the house seemed to echo the past, dragging her back to that alleyway where the streetlight flickered and the air smelled of petrol and fear. She had seen it all—the glint of the blade, the sudden slump of a body, the shadow of the perpetrator fleeing into the dark. Elsie hadn’t screamed, hadn’t run. She’d frozen, rooted to the spot, a silent witness to violence she couldn’t comprehend. In the years since, she’d told no one, not even her parents, who assumed her withdrawal was mere adolescent moodiness. But the silence was her prison, and the guilt of inaction gnawed at her daily. Why hadn’t she done something? Why hadn’t she spoken up?
Tonight, though, something shifted. A letter had arrived, slipped under her door while she was at her shift at the library. The handwriting was unfamiliar, jagged, but the words inside burned into her mind: “I know what you saw. We need to talk.” Her first instinct was to tear it to pieces, to bury it alongside the memory. Yet a flicker of something—perhaps desperation, perhaps defiance—stirred within her. She needed to know who wrote it, why now, after six years of silence. Was it a threat, or a chance to finally unburden herself? Elsie’s hand trembled as she folded the letter, tucking it into her coat pocket. For the first time in years, she felt a purpose, however fragile, guiding her actions.
She stood, pulling on her coat, the fabric stiff from disuse. The mirror by the door reflected a pale, hollow face, but there was a hardness in her eyes that hadn’t been there before. If facing this meant revisiting that night, so be it. She couldn’t keep running from the shadows in her mind. The rain had slowed to a drizzle as she stepped outside, the cold air biting at her cheeks. The street was empty, but every sound—the distant hum of a car, the rustle of leaves—made her flinch. Still, she walked forward, driven by a need to understand, to confront whatever awaited her. The witness would no longer be silent.
Critical Reflection on Creative Choices
In crafting the opening to “The Witness,” I prioritised establishing Elsie as a complex, ‘round’ character through detailed introspection and subtle backstory integration. Inspired by Forster’s (1927) emphasis on character depth, I portrayed Elsie’s emotional struggle through her interaction with the photograph and her visceral memories of the traumatic event. The use of sensory imagery—such as the smell of petrol and the flickering streetlight—aims to ground her experience in a tangible reality, enhancing reader immersion as suggested by Burroway (2019). Furthermore, her internal conflict is central, reflecting Vogler’s (1998) idea that inner turmoil drives narrative tension. Elsie’s guilt and indecision about her silence create a psychological realism that mirrors themes in contemporary literature (Lodge, 1992).
Motivation is conveyed through Elsie’s response to the mysterious letter, which acts as a catalyst for action. Her decision to confront the unknown, despite her fear, suggests a latent desire for closure and redemption, aligning with theoretical perspectives on character-driven narratives (Burroway, 2019). The setting, a dreary attic room and a rain-soaked street, complements the tone of isolation and unease, reinforcing Elsie’s emotional state. However, I acknowledge that this opening provides limited external dialogue or interaction, which could further illuminate Elsie’s personality. This choice was deliberate to focus on her internal journey, though future development might introduce other characters to offer contrasting perspectives.
Conclusion
This essay has explored the creation of an opening to “The Witness,” focusing on character development and motivation as critical elements of storytelling. Through theoretical analysis, drawing on key texts such as Forster (1927) and Burroway (2019), it has highlighted the importance of internal conflict and psychological realism in crafting a compelling protagonist. The original story opening demonstrates these principles through Elsie’s emotional struggle and her tentative steps towards confronting her past, supported by vivid imagery and a reflective narrative voice. While the piece effectively establishes a foundation for character and plot, further development could incorporate additional perspectives to enrich the narrative. Ultimately, this exercise underscores the broader relevance of character-driven storytelling in English literature, inviting readers to empathise with universal themes of guilt, silence, and the search for resolution. Indeed, such narratives remain a powerful means of exploring the human condition, a pursuit central to literary studies.
References
- Burroway, J. (2019) Writing Fiction: A Guide to Narrative Craft. 10th ed. University of Chicago Press.
- Forster, E.M. (1927) Aspects of the Novel. Harcourt, Brace & Company.
- Lodge, D. (1992) The Art of Fiction. Penguin Books.
- Vogler, C. (1998) The Writer’s Journey: Mythic Structure for Writers. 2nd ed. Michael Wiese Productions.
[Word count: 1023, including references]
