Writing How-to: Put Ground Under Their Feet

A frequent piece of advice writers get is to put ground under the feet of their characters. Yet, advice on how to do that is limited or confusing. Often taking the advice literally, writers attempt to make certain the reader knows where the character is physically. However, the phrase means more than what city or building they are in. It also means where this character is in relation to the objects in the room and other characters in the scene. It reveals who this person is. 

Characters fit into a story, into a scene, like puzzle pieces. The right pieces make a complete picture. The wrong pieces can be confusing. To create a character that involves your reader in the story takes many unique pieces or layers. This article will touch on some of the different things you can do to put ground beneath your characters’ feet. 


Making characters’ voices, or dialogue, as unique as the instruments in a symphony, helps the reader to identify with your characters. But the reader needs more. Every word in your story (or scene) comes from a specific point of view. Strengthen your story and put ground under your characters’ feet by choosing words that reflect what your character sees, senses, his values, judgments, and opinions.


George, a 36-year-old prematurely gray business manager, walked down the street.

That helps the reader see him, but it doesn’t put ground under George’s feet. 

Be careful

Keep it natural sounding. You don’t think: I, a 36-year-old, struggling writer with her deep brown hair tied in a messy bun, walked down the mud-streaked asphalt street, do you? Of course not.

I’m not saying don’t refer to your character by name. There are certain things you have to do, so your reader isn’t confused, especially at the beginning of a story. However, the larger percentage of your descriptions should be as your viewpoint character thinks of it. So instead of the staying outside of George, try to focus on the inner George:


George, a 36-year-old prematurely gray business manager, walked past his favorite coffee shop on his morning walk.

That’s an improvement, but you can do better.

Read more.

I’m so glad you’re here. I blog for the Writers in the Storm (WITS) blog once a month. I share a portion of it here so that you who don’t follow WITS, can read it.

Don’t worry, I’ll be back to regularly posting content here very soon.

Thank you for reading and being willing to click to read the rest of the post.

For the rest of the article, please go to the Writers in the Storm blog.

Image Credits

Top image by Barbara from Pixabay

The Frame of a Story: The Forces of Antagonism

This is the beginning of my contribution to The Writers in the Storm blog this month. I share my understanding of Robert McKee’s Forces of Antagonism and how I use those forces as the frame of a story.

This photo is a shot of the grass and blue sky visible between the backs of a man and a woman standing side-by-side. Each has an arm extended in front of them with their thumb and index finger framing the ghostly outline of a house illustrating the frame of a story.
Dreaming Couple Framing Hands Around Ghosted House Figure in Grass Field.

In constructing a story, I am both a pantser and a planner. I plan the frame of a story, then place the characters in that frame and discover what they will do in that situation. It’s taken years for me to figure out a method that works for me. I share it here, not so you have a blueprint to borrow, but to illustrate one way to build your own frame. As I explained last month, the first step in building a story’s framework is the story sentence. The next step I take is to decide on the Forces of Antagonism that will best express my story.

I first came across the idea of forces of antagonism in Robert McKee’s book, Story. No disrespect to Mr. McKee, but I didn’t get it at all. I had a more narrow definition of antagonist that I conflated with the word antagonism. Plus, his terminology didn’t resonate with me. In fact, I barely understood what he was saying. Then a friend reintroduced me to the concept. 

Forces of Antagonism 

… the principle of antagonism is the most important and least understood precept in story design.” Story, by Robert McKee

The first part of the principle is easy. It’s about people. Humans conserve energy, all kinds of energy. It’s part of our DNA. If we see two choices ahead of us and one seems easier than the other, most of us will do the easier thing. We avoid taking risks, if we can. 

Mr. McKee explains “the principle of antagonism is that a protagonist and his story can only be as intellectually fascinating and emotional compelling as the forces of antagonism make them.” He says the more powerful and complex these forces are, the more completely realized the character and story must become. 

If you’re like me, you read antagonism and think antagonist. Most likely you are thinking of a single person or group who will oppose your protagonist. But that’s not quite right. 

The Frame of a Story

Read the rest of this post and learn about the principle of Antagonism, how I interpret the four forces, and how I use them as the frame of a story so I can be both a planner and a pantser on The Writers in the Storm.