My heroine has more than one tiger to tame. I need to find out which one is the most important tiger of the bunch.
Stories aren’t always simple. In fact, although you sometimes meet a story that drives single-mindedly to its conclusion like a bowling ball dropped out of a fourth-story window, usually a story will have frills and complications. Much like our world today, many of the best stories, especially if they are long ones, have multiple causes that pile up and turn into a big, beautiful story.
When we were in class the first year, we spent a lot of time talking about main plots. There had to be one protagonist, one antagonist and one major conflict that drives the story. (-: More than once, I got the comment, “Pick a lane!” on my submissions.
We didn’t discuss sub-plots that much, and how they fit into the story, but sub-plots are mostly there to support and drive the main story even faster to its conclusion.
For example, in Pride and Prejudice we’re talking about Elizabeth Bennet and Mr. Darcy. Elizabeth wants a partner she can love and respect. Darcy thinks he wants a partner he can respect – she must be pretty, witty, kind, cultured and above all, a book reader who has shaped her mind into intelligent channels. Initially, Elizabeth sees a proud man who has no real reason, and Darcy sees a country bumpkin.
The subplots promote these initial views. Mrs. Bennet’s actions when searching for husbands for her daughters reinforce Darcy’s ideas that the neighborhood is provincial and not up to his standards. Darcy’s snubs of Mr. Wickham reinforce Continue reading
Sometimes basic is best. Getting back to basics. Basic black. Basic humanity.
And so it is with writing. Every now and then, often in one of the revision stages of a story, it’s time to get back to the basics – the point, the goal, and the conflict of a story. That means it’s time to reach into the writer’s basic toolbox and pull out some old favorites to identify festering plot holes, shore up weak conflicts, and fix leaky sinks. Okay, maybe not that last one.
This lesson presented itself to me when I recently found my Harrow’s Finest Five book 1 revision slowly circling the drain (what is it with me and sinks today?). I was dissatisfied with the story stakes. As I read the manuscript, they didn’t seem to be escalating, further complicating heroine Emme’s life, and leading her to an inevitable clash with consequences of her own making.
An author has options at such times. Crying. Chocolate. Booze. Cyring into chocolate and booze. But I’ve heard it can actually be more empowering to use TOOLS. Powerful, writerly tools. In this case, I opted for the tools and pulled the conflict box out of my toolbox to see why my revision had gotten stuck and my story felt flat. Continue reading
Can you spot the monster in this picture?
Image via Wikimedia Commons
Time for a true confession on this October 31st. I’m not a big fan of Halloween. Never have been. Even as a kid, I wasn’t very motivated to go collect candy if it meant having to dress in a costume to do so. And while, like Michaeline, I do enjoy the occasional monster story, in my case stories like Bram Stoker’s Dracula, Mary Shelley’s Frankenstein, and some of the really clever iterations of vampires and zombies that have come out in recent years, I’m not into the non-stop gore fests that crop up on cable TV at this time of year. Other turnoffs: crazed clowns, possessed dolls, and anthropomorphic killer cars.
For me, the best scary stories are the ones where the monsters aren’t so obvious, the ones where they hide behind very human masks, when they look like clean-cut college kids, a worried husband, or the neighbor across the street whom you’ve never met. If any of these ‘monsters’ sound familiar to you, then you, too, might be a fan of Alfred Hitchcock movies. While Psycho is more likely to get airtime at this time of year, if I had to pick my three favorite Hitchcock films, I’d say Rope, Rear Window, and Vertigo. Continue reading
In Pride and Prejudice, secrets are kept from the readers, but we have a friend and guide as Elizabeth Bennet discovers the secrets and weighs the characters of Mr. Darcy and Mr. Wickham. (Image via Wikimedia Commons)
I’m not sure why, but my mind is still on secrets this week. Last week, we expressed indignation in the comments about writers who keep secrets from the readers, but I’ve been thinking about it a little more, and . . . isn’t that precisely what writers are supposed to do? The writer, by the third or fifth or fiftieth draft, knows exactly what’s going on and all the secrets in the book (in theory). The writer could reveal everything in the first paragraph and be done with it. The art and the skill comes in revealing the secrets bit by bit.
I think what we protest against is clumsiness in handling secrets. As Nancy mentioned, one way of handling it is that there must be clues, they have to make sense, and the reader shouldn’t feel duped when they discover what’s going on.
I’m re-reading Pride and Prejudice by Jane Austen for the umpteenth time this week, and you’d think by now, I know all the secrets in that book so thoroughly that the story would fail to entertain. But it doesn’t . . . I still find it very hard to put the book down.
The big secret is Mr. Wickham’s true character. Continue reading
This past Sunday, Jilly brought up a “blunder” with her recent contest entry. She’s writing a romance, but the relationship between her H&H is a slow burn. However, she got dinged by a few of the judges because there was little evidence of romance in her story (at least the first 50 or so pages) and none in her synopsis, yet this was a contest for romance writers.
I find it coincidental that Jilly got this feedback recently, because I’ve just read two books by Sarah MacLean (in her new Scandal and Scoundrel series) and one by Lenora Bell where there isn’t much evidence of romance right off the bat, either. Yet Continue reading
Like the other 8Ladies, I have big plans for this fall which I hope will set me up to submit to the Golden Heart contest. I have two completed manuscripts and two partials in a four-book series. The first two, which are the completed, were written before I took the McD craft classes. The third is a partial and written during the classes and the fourth is a partial and is my MLA project. Without digging too deeply, I think the two partials are a result of craft paralysis. I can still get some great stuff on the page, but when it’s time to go back and flesh out and edit, I get bogged down in craft and don’t get any further. Continue reading
I am trying to plot out the remainder of the book I started last year. For my previous manuscripts, I was more of a pantser than I have been on this one. That worked fine for the first two, but my current WIP is based on an older story so the parts that I have down follow that. And now it is dragging on and on. I know one problem with writing is a result of the Romance Writing Masters Certificate program. It was so craft intensive that I let myself get bogged down when writing with all that craft instead of just getting words on the page and crafting later. For example, I find myself getting bogged down with craft before and during writing sessions when I realize the scene I am writing is missing something important. And this long stretch of writing one manuscript has the characters featured in the next one banging on my brain and screaming to get out. Continue reading