On December 13, 2013, this came into the website from Alyssa: I reached a point in my book where I needed an explanation for something, but I couldn’t think of one, so I just put something down so I could keep going. I don’t really like the explanation, but it was the best thing I could come up with. Do you have any advice for moments like that?
Also, I feel like there are large parts of my book where I am just making things up as I go along. Is this normal for you, or do you have a general idea of how your story is going to end when you finish your book?
My third question was, when you create a villain, how much cruelty do you consider enough to convince your reader that the character is no good? Because in my story, the main character’s mother is the main villain in my main character Lara’s life, so I want to convince the reader that the mom is awful and cruel, but Lara still loves her mom, I just don’t know how to show that. I want her to seem evil, but Lara sticks around for about 18 years, so I can’t make her that bad. Do you have any advice for this kind of problem?
Eliza responded with these ideas: I’ve heard lots of writers describe themselves as pantsers, meaning they go off the seat of their pants and just make stuff up. Almost as if they’re reading it instead of writing. For me, I need to have at least a general idea of how it will end. “Villain gets killed. Heroine is reunited with her boyfriend. Character breaks out of prison.” But I don’t know who will kill the villain or how the character escapes. It helps if I know the next five events. By the time I’ve written those I’ve come up with something else. If you feel lost you may need an outline. But if you’re comfortable making stuff up? Go ahead.
On villainy: It’s remarkable-and more than a little sad-how people stay loyal to real life villains. Lara’s grown up with her mother. She’s seen her good side too. But show her doing something awful and cruel and readers will recognize her as a villain. I wrote a story where my character’s parents were mean, though not the main villains. It helped to have her brother call out the parents for being cruel when she’s too afraid to stand up to them.
And Elisa weighed in with, On the out-of-the-blue-temporarily-staying-like-this-fix-later thing: Write something that makes sense, sort of, then leave it like that, then come back and elaborate on it. Change some things earlier on and later on to fit with this scene, (Such as Q: How does the MC escape prison? A: He has a file and a parachute. Now you figure out WHY he has a file and a parachute. Add them into the parts of the story you’ve already written.)
A lot of my writing comes from my subconscious. I toss things into my stories without any idea of where they emerged from. In The Two Princesses of Bamarre, for example, I made Addie skillful at embroidery, probably because I wanted her to be good at something, and embroidery seemed like a hobby that a shy person might take up. Basically, I was just rounding out her character. I didn’t know what I’d do with this accomplishment, but I kept it in mind, and it came in mighty handy when she was captured by the dragon Vollys.
So that would be my suggestion. We come up with an explanation, the best we can think of, and soldier on, remembering the explanation as we go and looking for spots where it will support our plot. Maybe it will create tension, make our MC unhappy, or get her out of a jam.
I also like Elisa’s idea and her example. When we throw in that parachute and file, we create interest and stimulate our ingenuity. We can also make the reader worry. She knows about the parachute and the file. What if a guard finds them? What if another prisoner steals them for his escape?
In Two Princesses, the embroidery might not have turned out to be useful. Addie may have needed something else. As my plot revealed itself, I could have gone back and exchanged embroidery for pottery, or I could have revised her into a supremely strong swimmer. I may have wasted pages and time with the embroidery, but lost time and words for me are just the price of being a writer. And, often, I have fun writing the parts I wind up not needing.
Generally, before I introduce anything into a story, I make a list of possibilities, and the element I bring in isn’t the first one I thought of. So there’s another suggestion. We can make a list of explanations, five at least, and then choose the one we like best. If that one doesn’t work out in the end, we can go back to our list and add to it or see if one of the rejects really fits the bill.
Like Eliza, I, too, usually know in a general way where my story is going. If a plot seems to be meandering or lurching from crisis to crisis, it’s time to stop to consider what the main problem is. To figure that out, we can ask ourselves some questions: What’s most important to our MC? What problem resonates with her personality? Which challenges those aspects of her character that most need to grow?
When we know the main problem, we can list ways to resolve it. We don’t have to work out the resolution in detail, and our decision can be tentative; we’ll know better if the ending is right as we approach it. Once we have an inkling of the ending, we can craft our crises to jibe with it. We can make achievement of our MC’s goal harder even while giving her the tools that will eventually enable her to get there.
Now for the villainous mother. I have just one suggestion: Be subtle. Mrs. McMeanie doesn’t have to beat her daughter. The havoc she wreaks can be psychological, and the reader will still recognize the misery she’s inflicting. She can make her daughter feel inferior with constant put-downs. She can persuade her child to fear the world outside her family. Going the other way she can even cripple her daughter by giving her the idea that she’s better than everyone else. Or she can burden her daughter with impossible expectations. I’ve mentioned on the blog before that I once knew a man whose mother persuaded him that he was unlucky, and he played that belief out in his adult life. That mother, probably unintentionally, became the villain in her son’s story.
Here are four prompts:
• Your MC sets off on a new endeavor, which could be a new school, a battle, camp, a job as unicorn trainer in a zoo. Before she leaves, her mother gives her a few words of advice, which make everything harder. Write the advice and the scene that follows. If you like, continue and write the story.
• A good friend of mine believes that moms have gotten a bad rap in literature for children. In this scene, your MC is spending the day alone with her father. She’s thrilled because he rarely has time to dedicate to her. Make it all go wrong and reveal the dad as less than a great guy.
• Along the same lines, retell “Hansel and Gretel,” and make the father the major baddie instead of the mother–or the witch!
• Our MC, who’s been captured by the enemy, is held in a stone fortress. She has a candle and a lady’s fan. Have her escape using one or both of these.
Have fun, and save what you write!