The Long and the Short of It

Before I start the post, last week I was interviewed on the pretty new Good Story Podcast, mostly about my forthcoming A Ceiling Made of Eggshells but also about writing in general, because the podcast is for writers. My interview won’t be out until May, but another may interest blog people, the interview with Chris Baty, founder of NaNoWriMo. Here’s the link: https://goodstorypodcast.com/.

Onto the post.

On December 4, 2019, Kyryiann wrote concerning NaNoWriMo, I ended with 60,000 words, yet still didn’t finish my novel. The first draft was 76,000 words in the end.

Here’s a question: what about novel length? I like longer novels because I’m a fast reader, but I know that other people like shorter novels because they can finish them in a shorter amount of time. Does novel length have anything to do with genre or audience? I would imagine that middle grade novels are usually shorter.

Yay me on making it hard for myself.

Writing Ballerina wrote back: I’m of middle grade age, and I prefer longer novels, but I’m more of a bookworm than average. A long book like LOTR or things like that are my heaven!! As such, I try to write what I’d like to read and thus aim for longer word counts.

Yay me on making it hard for myself.

And future_famous_author wrote back, too: I have read Little Women (777 pages, but incredibly good for anyone middle grade and up), but I tend to stick to anything between 100 and 350. I know that’s a wide range, but a lot of middle grade books are written in that range. Also, there is information on the Internet about lengths for different genres. A trend I see right now though is that Harry Potter and Lord of the Rings are both really long and are both fantasies. I think (I may be wrong) that realistic fiction books are typically shorter than most.

I’m with future_famous_author that there’s a lot available on the subject online. I pulled this from this site: https://careerauthors.com/genre-book-length/. I picked it just because it popped up first:

Readers of individual genres anticipate certain book lengths, and so do publishers. What follows is a rough guide to book length expectations in certain genres.

Romance: 65,000–80,000 words (Most romance imprints have specific word count requirements that writers should know and observe before they submit.)

Mystery: 80,000 words (Subgenres like cozies tend to be a bit shorter, often coming in at 70,000–80,000 words.)
Science fiction: 100,000–120,000 words

Thriller: 90,000–100,000 words

True Crime: 90,000–100,000 words

Historical fiction: 100,000–150,000 words (This may depend on the topic and demands of the marketplace.)

Mainstream women’s fiction: 90,000–100,000 words

Memoir/Bio: 70,000–90,000 words

Literary fiction: 80,000–100,000 words

Young Adult: 70,000–80,000 words

Middle Grade: 40,000–50,000 words

Picture books: 500–700 words

Here’s another site with somewhat different advice: https://thewritelife.com/how-many-words-in-a-novel/.

I’m not endorsing either of these, and I’m not an expert.

A source I do endorse is Harold Underdown’s The Complete Idiot’s Guide to Publishing Children’s Books. I wrote a blurb for the book (see the back cover), and I know Harold, who is one of the most thoughtful people on the planet and a complete kidlit insider. (I don’t get paid when he has a sale–in case you were worrying.) I took this from page 70 of his book:

Young middle grade: 48 to 60 pages;
middle grade: 80 to 160 pages, occasionally more;
older middle grade: 128 to 200 pages or more;
YA (young adult): up to 300 pages.

A double-spaced page equals about 250 words. I tend to think in pages rather than word count, and a double-spaced page seems to come out roughly to a page in a published children’s novel.

There are many exceptions to the average. The Newbery winning middle grade novel Sarah, Plain and Tall is just 58 pages, roughly 8,377 words. Ernest Hemingway’s The Old Man and the Sea is very short, likewise Frank Baum’s The Wizard of Oz. At the other end of the scale, Margaret Mitchell’s Gone With the Wind weighs in at about 260,000 words–1,037 pages. When Harry Potter first came out, it was way longer than most kids’ books. Before Ella Enchanted was published, I brought the manuscript with me to a conference to be looked at by a published kidlit author, who told me that it had to be under 200 pages if it had a shot at being published. Hah! (It’s longer.)

The best writing teacher I ever had, the retired Bunny Gabel at The New School, was firmly opposed to worrying about length. She advised that a book should be no longer and no shorter than it needs to be to tell the story. I mostly agree with that, with the warning that today Margaret Mitchell would have a hard time finding an agent willing to read such a doorstopper of a manuscript–and I’ve read that it was much longer when she first turned it in. Publishing has changed and not always in a good way. I think publishers used to take more risks, and that attitude has been passed on to agents, who, unfortunately, are often the gate keepers.

My books keep getting longer without my meaning them to. I’m hoping that my current project, based on the Trojan War, won’t be much above 200 pages, but I’m on page 91 and I have a lot more to go.

While I don’t have an opinion about page count, I do have one about concision. I’m a fan. We don’t want flabby sentences. We want to watch our adjectives and adverbs, and we want to kill any we don’t need. We pay special attention to words that weaken, like slightly or almost, as in, She was slightly ticked off. If the emotion is worth mentioning, let her be ticked off. We want our writing to take a position, so that our readers will understand completely what’s going on.

And we want to keep an eye on our pacing. Are we doing anything to slow our story down, like introducing a fun incident just when things were getting exciting (as I think I just did in my manuscript)? We don’t have to do anything about it in our first draft when we’re spilling it out, because the fun incident may turn out to be important (pantser talk). But in revision, we should zap it if it doesn’t advance our plot.

Going the other way, we may be rushing our story and leaving out details that will bring it to life. Then we need more words to pick up the pace, even if that seems contradictory.

Here are three prompts:

∙ Write dialogue between Rumpelstiltskin and the miller’s daughter. He has a lot to say, but she just wants to know if he can turn straw to gold. Have her keep cutting him off.

∙ Tell a frame story and the story it’s framing. Your MC is babysitting and reading to two children while a flood is rising outside their house. Decide whether or not she knows the danger they’re in. Figure out a link between the frame story and the one that’s being read.

∙ Your MC gets lost on her way to visit her uncle, because he’s sent for her. Imagine her on a variety of kinds of transportation, which may include plane, boat, train, taxi, camel, foot, or anything else. If this is fantasy, she can ride a magic carpet, lace up seven-league boots, or anything else. Trouble erupts on each leg of the journey. Decide how long you want the story to be, and let that determine the number of stages and the problems that come along. But if, when you start writing, you get swept up and keep going, that’s fine. And if your story shape wants to be shorter, go with that.

Have fun, and save what you write!

First-draft Doldrums

With this post, I’m starting the thread of questions that came in after I appealed to you. Many, many thanks for the big response!

On December 4, 2019, Writing Ballerina wrote, How do you make yourself keep writing the first draft? I’m sure we can all agree that writing the first draft isn’t that pleasurable at times. How do you make yourself keep going when the story starts to drag? How do you make yourself write when you don’t want to?

Two of you chimed in, most helpfully.

Future_famous_author: If you write your first draft as some do, almost like you are just puking out ideas and writing stuff on the paper that isn’t really that good but still tells the story, try writing it like a real book. Sure, you can still leave out detail in some places, but you can also write with more detail.

Now, if you are like me and write the first draft well just because you write better that way or have more fun doing it that way, even though it takes more time, try going the other way. Write a “vomit draft” as I have heard it called. Just get your ideas on the page, and then save the character personalities and details and all that for the later drafts.

Raina: I struggle with this a lot too, but here are some methods I’ve worked out, both in regards to writing in general and writing the first draft specifically.

In general:
The biggest thing I used to struggle with was self-discipline. I’d always think “oh, I’ll write later when I feel like it or when inspiration strikes” and never do so, and when I did write, I’d frequently only get through a couple hundred words before getting distracted by other things. Then one evening in college I realized that I was never going to get anything done like this, so I told myself “Raina, you are going to go to the library and write, right now, and log the time to keep yourself accountable.” I created a time log spreadsheet with my beginning and ending times, beginning and ending word count, and time elapsed/words written, and I’ve been using it ever since. I think there’s something psychological about treating writing as a structured, scheduled event, like a class or job you have to show up to for x amount of time, even when you don’t want to, that really clicked for me. I used to write in bursts, with good days where I got a lot of writing done (usually during NaNoWriMo) and then long stretches of nothing at all, but having an accountability spreadsheet and set schedule was what made me settle down and be able to churn out words slowly but steadily. Of course, this is just my method and may not work for everyone, but it’s helped me a lot.

The first draft specifically:
It’s easy to get stuck on your first draft, and I’ve found that it helps to take a step back and ask yourself *why* you’re stuck, and then troubleshoot from there. Here are some common reasons that happen to me, and how I deal with them:

1. I don’t want to write right now – sometimes I’m legitimately tired from classes and real life and I don’t have the energy or brain capacity to write. In that case, I show up at the library anyways and make myself try to write for 15-30 minutes. Sometimes when I start writing, I’ll get into a scene and I’ll actually feel more energized and I’ll want to keep writing. But if after that time, I still can’t write, I’ll let myself take a rest and return the next day when I’m fresh.

2. I don’t know what to do next – this doesn’t happen that much to me since I’m a heavy plotter, but sometimes I’ll deviate from my outline and thus need to figure out where to go next from there. When this happens, I’ll always stop and re-plot, like a GPS recalculating its course. When I’m back on track and have a new outline, I’ll keep writing. This method might not work as well for pantsers, but others might have better suggestions.

3. I don’t want to write *this specific scene* – In this case, I’ll always ask myself *why* I don’t want to write the scene, and why I think I *need* to write it.
–> Is it boring? In which case, is it really necessary? If you don’t even want to write it, chances are readers won’t want to read it. Try to think of ways to make it something you’re excited about, or ways to get rid of it altogether.
–> Is it overly long/dragging? Sometimes I’ll start a scene that I’m excited about, and lose interest as the scene goes on because it starts to slog. (This is a problem for me especially because I have a problem with overwriting in general. I’ve written 5,000-word scenes that I later had to cut down to 3,000.) In this case, I’ll usually try to wrap things up as quickly as possible (usually by either cutting content or telling instead of showing) so I can move on, and then promise myself I’ll fix it in the next draft.
–> Does it “suck”? (Nobody’s writing actually sucks. Ever. But first drafts can be messy.) Sometimes I’ll have moments where everything just feels horrible and I don’t want to look at it. At times like this, I’ll usually try to get the scene done with as fast as possible (see the above point), remind myself that it’s okay if it’s not perfect in the first draft, and that I can always fix it later. (There have been times I’ve left comments to myself in the document that say “this needs to be completely rewritten but I don’t want to deal with it right now.”) The important thing is to get the story done. Sometimes in school I’ll turn in assignments that are not my best work because I just want to get them over with. That’s my mentality for first drafts. The only difference is, you get unlimited revisions until you’re happy with the end result.

4. Something is wrong with the story that I recognize on a gut level but don’t know how to fix – this one is more a feeling than anything, so it’s important to listen to your instincts. I still struggle with this a lot, but my advice is to stop, take a step back, and think about things. Make a list, take a walk, or whatever helps you make decisions. There have been times I’ve pushed on and dealt with things later. There have also been times I’ve backtracked and deleted entire scenes and started over from there. Usually, the deciding factor for me is when I ask myself: 1. Will doing this take the story down a path I don’t want? and 2. If I go down this path, will I be able to come back?
For an example from my work, I wrote a scene near the beginning of the book that was waaay too dark and completely wrecked the fun, lighthearted, satirical mood of the story. I had a bad feeling while writing the scene but I pushed through, but at the end of it, I looked at it again and realized that if I continued, I wouldn’t be able to get the story back on its happy original track without causing major mood whiplash. So I stopped and rewrote the scene to fit the tone better. Looking back, that was absolutely the right thing to do.

These are great!

I use Raina’s method of timekeeping, not on a spreadsheet, just a document. I record start and stop times, even when the stops are short, like just to let Reggie (dog) in from the backyard. My goal is at least two and a quarter hours a day. Usually I make it, but when I don’t, I forgive myself–or it’s harder to get started the next day. Forgiveness is part of the bargain.

I don’t have a page or word count goal, because I’m so slow, and I include research in my writing time. Right now, as I work on my novel about the Trojan prophetess Cassandra, I often google questions that come up, like How old was Agamemnon’s daughter Iphigenia when she died? (No one seems to know.)

So that’s a strategy: Set a daily time goal and keep track of how we’re doing as we go along.

For me, too, writing the first draft is the hardest. As a mostly pantser, I don’t know what I’m doing a lot of the time. But I love to revise when the worst is over!

One thing that helps me keep writing is to bar myself from thinking that my draft sucks, or to think anything globally negative about it. That kind of name-calling just makes writing harder. Better to imagine the first draft as a baby animal that has to be cuddled and coddled and soothed. Sure, it messes up, but it’s an infant!

(Even when I’m done–even when the manuscript has become an actual book, I refrain as much as I can from overall judgments, because they aren’t useful for the next project. There are enough critics who will, asked or unasked, offer opinions. I don’t want to pile on–on myself!)

Of course, I’m making specific judgments as I write, the sorts Raina mentions: Is a scene moving too slowly? Do I need it at all? Have I rushed it and left out the detail that will engage the reader? Even little things like, I have a string of sentences that start with I. I should break that up.

That’s a second strategy: We don’t judge our work in a global way.

I think it’s best to write the first draft straight through to the end, but sometimes, like Raina, I can’t. My story has turned to sludge, and words have stopped coming. Then I have to figure out what’s wrong and go back. Sadly, I’ve started this new project several times, though I think I have it now.

One of the main things that keeps me going is curiosity, and this, I think, is an advantage that pantsers have. It’s important to me to know, in at least a general way, the ending of my story, because that ending is what I’m writing toward, and lately I’ve been writing a very minimal outline. But I don’t know in any detail how I get to the end or what happens along the way, and I’m eager to find out, so I soldier on. Curiosity is, if not a strategy, a help. We won’t know how we solved the story problem if we don’t write it. And we won’t know what we’re capable of it we don’t write it.

Also, there are pleasures that I can give myself along the way. If I’m writing a funny book, I enjoy laying on the humor. Looking for places for humor, often humor that has a poignant side, helps me keep going. And you all know how much I love poetry. In the new book I’ve imagined a Greek chorus, spoken by crows (sacred to Apollo). The crows’ lines are short poems. Every five or so pages I have the crows caw about the action, and I look forward to those moments. To write their parts, I use some of what I learned in my class on The Iliad in poetry school.

So that’s a strategy: to build in bits we enjoy writing.

When we’re slogging through one part, we can always jump ahead to a scene we’re eager to write. Once that’s written, we can go back, and we may find that the dreaded one has become easier, informed by what’s ahead. Another strategy.

This one is probably ridiculous, but I’m including it because I do think it: If I weren’t going to write, what would I do, I mean, aside from distractions like the solitaire game I play on my cell phone? What other big thing would I do? (I don’t mean that spending time with friends and family, playing with pets, going for walks, etc. aren’t worthwhile, even essential–they are, and we should do them.) I can’t answer the question, so I get back to work.

Here’s another one: Not every one of my books has been pleasurable to write, and, surprisingly, the misery doesn’t matter in the outcome. The quality of the books I disliked writing the first drafts of (Fairest, Stolen Magic, The Two Princesses of Bamarre–you know I’m talking about you!) is the same as the ones I mostly enjoyed writing. If we don’t expect pleasure, we aren’t shocked when we’re not getting it.

I like trying new things. In the new project (I would call it something if it had a title), I’m writing two parts, a first part from one first-person POV, and a second part from another first-person POV. I’ve written alternating POVs, but never successive, but I’ve liked books that do that. So we can work in something new and challenging.

Since I keep worrying about my pacing, I’m exchanging pages with a writer friend who has also started a new project recently. Fresh eyes will help me see my own work. If she’s excited about the book, that will lift my excitement level, too. We can exchange work with a writing buddy or with critique group members, or we can involve beta readers or friends or family.

Here are three prompts:

∙ This one comes from Greek mythology. Annually, seven maidens and seven young men were sent from Athens to Crete as tribute–to their death, really, because they were forced into a labyrinth that was so complicated no one had ever managed to find a way out. What’s more, the Minotaur–half bull, half human–lived in there and eventually devoured the poor victims. Theseus later killed the monster and, with help, found his way out. But for your story, your MC and her friends are pushed in, and they have no help. If they are going to survive, they have to do it on their own. Write a scene or the whole story.

∙ Your MC is running an ultra marathon, a hundred-mile race. She is doing it just to see if she can–not a tension-charged reason. Your job is to bring in the tension. Pin your reader to his seat. Write the story.

∙ Hansel and Gretel are imprisoned in the witch’s cottage. As in the fairy tale, Gretel has figured out how to fool the near-blind witch into believing that Hansel isn’t plumping up. Days turn into weeks, and things are mighty dull. Liven them up with a scene and then keep going.

Have fun, and save what you write!

Tra la la

Happy new year! May we all have perfect vision, actually and metaphorically, in 2020! And may we have good writing!

A year or so ago I said here that I would occasionally write something about grammar and usage. Occasionally seemed to be never again, but I have a little rant before I launch the post. Many people misuse lie and lay, so many that eventually usage will probably change. But at this point the old way is still hanging on, and I came across a poem that may make lie easy to remember. It’s an unpleasant two-liner written hundreds of years ago by the English poet John Dryden (I don’t know if he was writing about his actual wife, which would be very sad.):

Here lies my wife: here let her lie.
Now she’s at rest, and so am I.

Lie is the present tense; lay is the past. I lie in bed now. I lay in bed last night. The usefulness of the poem is that if we’re confused, we can think of the poem and make sure our usage fits the rhyme.

What confuses everybody is that lay is present tense when it takes a direct object: The hen lays an egg today. (An egg is the direct object.) The hen laid an egg yesterday.

Onto the first post of the year!

On November 9, 2019, Erica wrote, I like to sing, and have a tendency to randomly start singing bits of songs as I feel like it. My question is, how do you include songs/poetry in a story and make it seem like a part of a character’s nature, rather than like it has to be significant to the plot?

And Sara wrote, My advice would be to have all the songs or poems be pretty different from each other, and pretty random (if that’s what your character is like). I think if your character repeated one song or poem the whole time, then people would expect it to be significant. If the songs or poems are well known in your world, maybe have other characters notice and point out when your character randomly brings them up. They can talk about it. I think if something is related to character bonding, then people will see it more in that way than in a plot way. If they’re making up their own little songs or poems, I would go for random, situation-specific ones, since doing that kind of thing is sorta unique and noticeable and cool. Another thing is to just have little snippets of different songs or poems, because when there’s some huge song or poem in a book, it really seems like it’s there for a huge plot thing. The most important thing, though, is to do it, however you’re going to do it, multiple times in different situations without exactly calling a bunch of attention to it. I think when you let the audience notice something, it comes off as really subtle and clever. And something can’t really be part of a character’s nature if they only do it once or twice.

Erica wrote back, Yes, what I was thinking of would just be snippets here and there. Part of the reason I want to include them is because the plot of the story itself is very serious and dense. Including songs helps keep it from seeming so overpowering.

I agree with Sara that, in general, if songs or poetry are in a story, they should appear more than once, and if they’re part of our MC’s character, they certainly should. They can be as short as a word or two, broken off when someone enters the room where she is. It’s terrific if singing helps define a character’s personality, and I think it can work well to lighten the mood of a book.

(My mother used to hum when she was angry. When my sister and I heard her hum, we would tread very carefully! If I made her into a character, the humming would help define her.)

I agree also that if there is only one song in a book, it will take on a lot of significance just by being the only one, which is fine if that’s what we want.

And I agree again that the selections should generally be short. Otherwise, they can stop the action, and some readers will jump over them.

Many of my books weave in songs or poetry: Ella Enchanted, Fairest, The Two Princesses of Bamarre, The Lost Kingdom of Bamarre, A Ceiling Made of Eggshells, Fairy Haven and the Quest for the Wand (though the poems are written in Mermish, the language of mermaids–with no consonants), Ever, Stolen Magic (limericks), The Fairy’s Return (in which the poems are entirely silly). Forgive Me, I Meant to Do It is a collection of humorous poems, and I offer advice on writing poems in Writer to Writer. And in the novel-without-a-title I’m working on now there’s a Greek chorus of crows, who comment and issue warnings in verse. (I love a good Greek chorus.) So I’ve used poems in lots of ways.

For me, writing them is slower than writing prose, because I’m thinking about elements I don’t pay a lot of attention to ordinarily, like assonance, alliteration, rhythm, and, once in a while, rhyme. A couple of editors have asked me to write a novel entirely in verse–until I’ve explained how long that would take.

Erica says that she sings song fragments when the mood strikes her. If we’re like Erica, we can pay attention to those moments when we sing and what gets us started, and we can give them to our MC.

We can think about what we know about our MC and how singing fits in. We can make a list!

∙ She sings when she’s nervous (or when she’s angry, like my mom).

∙ She sings to keep herself from stuttering.

∙ She sings when she’s happy and has to let out her joy, or to express any passing feeling.

∙ She sings because she knows it irritates a certain person.

∙ She sings to see how high or low a note she can hit.

∙ She sings the songs her dead mother loved.

As an early prompt, list at least three more possibilities.

We can also ask how and when she sings–loudly or almost inaudibly, in the presence of others or only when she’s alone or some combination of the two. Is she a good singer?

We can pick a few of these and they will become part of her. They’ll make the reader’s understanding of her more complex. We can create a secondary character who also sings, but at different times and for different reasons, and this will contribute to his character. We don’t have to have two singers, but if we do, we’ll even further solidify how singing can delineate character.

If she gives up singing or stops speaking and only sings, the reader will be affected, even worried, depending on what else is going on.

The singing might become integral to the plot, if we’re pantsers and our story isn’t entirely set. For example, suppose our MC is in a tight spot. Can we have her use song to improve her situation? Maybe she sings in her prison cell and gets better–or worse–treatment from the guards as a result. Or, since song carries better than speech, another prisoner may answer her in song. Their duets can remain defining character traits, or they can influence what happens (plot).

This is not the direction Erica wants to go in, but I–a pantser–love when things I toss in casually turn out to be useful for my plot. For example, when I made Addie talented at needlework in The Two Princesses of Bamarre, I had no idea that her skill would come in handy later on when she’s trapped in a dragon’s lair.

Here are three prompts. In them, there may be more song than Erica is going for:

∙ The two Disney versions and the Broadway show of “Cinderella” are musicals. They did it first, but you can, too. Your Cinderella loves to sing. Write a scene from the original fairy tale and include song snippets. Some may be in Cinderella’s thoughts rather than out loud. One may be sung softly, and one may be belted out. If you like, write your own “Cinderella.”

∙ “Lovely Ilonka,” which I’ve mentioned here at least once, is one of the weirdest fairy tales there is. You can read it for free online in Andrew Lang’s Crimson Fairy Book. (These adaptations are old enough to be in the public domain.) Here’s a link: http://www.gutenberg.org/files/2435/2435-h/2435-h.htm#link2H_4_0002. Part of the story involves three maidens, each trapped in her own (of all things) bulrush. Write the scene when the prince plucks the bulrushes. Give each hidden maiden her own song or song snippet, which reveals her character. Show that each character is different through her song.

∙ To satisfy my continuing fascination with Rumpelstiltskin, make him the character who loves to sing. Write a scene in which you reveal his motivation, whether fair or foul, in song.

Have fun, and save what you write!

Evolving

Many thanks to the many who sent in questions! My list is stocked full of thorny topics for months to come. And, of course, more thorns are always welcome.

On September 20, 2019, Katie W. wrote, I’m having a lot of trouble with one of my MC’s. In one of the character development posts, I don’t remember which, there’s a bit that describes him perfectly. “He develops strategies to distract from himself, becomes charming, a great talker, a reliable friend, but he never feels truly seen–because he doesn’t let anyone truly see him. Our plot needs to get him out of his isolation.”Problem is, I have no idea how to pull it off. How does he turn from a social chameleon to someone willing to stand up for an unpopular opinion? I have him doing it, but the transition seems too sudden, because he’s doing it for the sake of the plot and because I want him to, not because it fits with who he is. Although I have very little idea of who he is, as well, which might be part of the problem. Any suggestions?

Melissa Mead asked, Is there someone he cares about enough to want to earn their respect?

Katie W. answered, Not nearby. I really don’t like writing romance, so he doesn’t have a love interest, and until about two thirds of the way through the story, his family members are all at least a hundred miles away. He can talk with them, but they’re not physically there, plus he’s 27, so I don’t think he’d be in super close contact with them, anyway.

I’m noticing two threads in Katie W.’s question: How do we make our characters follow our plots? And how do we reveal the inner lives of our characters so that the reader (and the writer) understands why they do what they do?

I may not say often enough that the ideas I share here come out of experience and mistakes. The first thread make me think of my only novel in a drawer–deep in the recesses of my laptop, a book so problematic that I hate even to think about it, in which I made my character behave in a way that made even me loathe her.

It probably would fall into the young end of YA today. The title was My Future Biography, which, as you’ll see, says it all. I’ve buried the book so far in my subconscious that I don’t remember my MC’s name, so let’s call her X. X is a fifteen-year-old aspiring actor who believes she has more talent than anyone else in the universe. She lands a spot, through no accomplishment of her own, as an extra in a summer stock theater. (An extra, for people who don’t know, is on the lowest rung of the theatrical world–goes for coffee, paints sets, puts props away–whatever’s needed.) The first play of the season is Inge’s Playboy of the Western World.

As early as the first rehearsal, X begins to criticize the leading lady to anyone who will listen (no one). She also offers suggestions to said leading lady, truly meaning to be helpful.

My plot idea was that X would be taken down a peg or ten and wind up a humbler person. On the way there, frustrated that none of her ideas are taken seriously, she writes an anonymous bad review of the production for the local paper, which hurts the theater and the whole cast. This inconsiderate act makes her entirely unlikable. When the leading lady is injured, X gives a dreadful performance as her understudy, which even she recognizes. She finally gets her comeuppance, but it’s too late to save the book. (This is sad, because I still love the secondary characters I came up with. Also, at X’s age I was an extra in summer stock and I wanted to put some of the fun I had in a book. I was already humble–the theater did only musicals, and I’m not much of a singer.)

I think the problem here is my plot. The strategy for all of us would be to examine our plot as early as possible and think about what it will require of our MC. Can a consistent person do this? We usually want character growth, but it’s hard to make a character change completely and still be believable. I can’t imagine how I could have crafted a likable character who would do what I made X do, because if she was likable, she wouldn’t have written that review, but if she didn’t write the review, her comedown wouldn’t work.

What might I have done to the plot? Well, I might have introduced a villain, who, because he has it in for the leading lady or for some other nefarious reason, encourages X’s opinions and behavior, which are tentative at the beginning. It’s his influence that leads her to behave badly. She realizes her limitations as an actor at the same time she discovers that she’s been a pawn. Whew! thinks the reader. Now I can like her again. (But without trying it, I don’t know if that would fix the story, either.)

If we’re outliners, we can work this out as we’re planning our plot. If we’re pantsers, as I am (mostly), we should be considering character consistency as we write and adjusting as we go along.

If our plot is okay, then we think, again as early as possible, about what sort of character can carry it. The example I always use from my own work is my Princess Tale, The Princess Test, which is based on the fairy tale “The Princess and the Pea.” Who would have a terrible night’s sleep in the most luxurious bed in all of fairy tale land?

Let’s also consider Hamlet. What sort of character would be as indecisive as Hamlet is? Just saying, many characters, confronted by a ghost whose reality can’t be doubted, would decide in pretty short order whether or not vengeance is called for or what else should be done. Laertes would. But Hamlet waffles. Shakespeare figured out who would do that and what the result would be. That’s the character he wrote.

Onto how we reveal our characters, because if we know them, we can engineer their change, as in Katie W’s case from a chameleon to someone with permanent stripes or spots. We have available what our MC thinks, feels, and does. Plus the other stuff we can invent about him: what his hobbies are; where he lives (whether his home is furnished early-American style or modern, whether its neat or messy, like that); what his friends are like and how he behaves with them.

At first, we just have to make up stuff out nothing. All we have to go on is our plot idea and the kind of person who will conform to it.

Let’s suppose that our MC Charles works for a tech company, and the CEO, Jason, operates like a dictator. Jason has favorites who advance whether or not they’re competent. He also thinks ill of some of his employees. He doesn’t hold back from ridiculing them, and their stars do not rise. Flattery is the bitcoin of this realm.

Charles, as we write him in the beginning, is adept at the game, maybe more than anyone else. He flatters without fawning, and everyone likes him. His skillfulness wins him the job of director of HR (human resources), but in that position he has to enforce and even create policies that are in line with Jason’s practices. For example, he reassigns the talented technical writer Sarah, who has been a tad too outspoken, to an offsite location two hours from her home because Jason has said he can’t stand the sight of her.

How do we change him, grow him a spine?

Well, since we don’t know him well yet, what can we make up about him? We can make a list!

∙ He likes his salary and being able to buy whatever he wants, within reason.

∙ He doesn’t take his job very seriously, except for wanting to keep it.

∙ His main interest in life is stamp collecting.

∙ He has a stutter, which he controls very well, but when he becomes emotional it comes back.

∙ His apartment is full of houseplants, which he talks to. When he goes to work, he puts on music for them.

As an early prompt, add five more bullets to my list.

What can we pick to start him toward standing up to Jason? We can add some notes to our list.

∙ He likes his salary and being able to buy whatever he wants, within reason. As head of HR he sets up the pay scale for all the employees, which makes him uncomfortable.

∙ He doesn’t take his job very seriously, except for wanting to keep it. An employee who has been reassigned to a very unpleasant boss breaks down in his office, or, say, threatens him. He’s shaken.

∙ His main interest in life is stamp collecting. Someone he’s buying a stamp from emails him, and they start a correspondence.

∙ He has a stutter, which he controls very well, but when he becomes emotional it comes back. His stuttering starts to be a problem at unexpected times, once in front of Jason, who isn’t nice about it.

∙ His apartment is full of houseplants, which he talks to. When he goes to work, he puts on music for them. One of his plants starts drooping. He takes it to a plant nursery, where one of the workers treats him the way he treats people at work, in a false friendly way.

Not all of these will be useful, but one or two may be. The point is to create an imperative for him to change, which he will do through thoughts, feelings, dialogue, and actions.

Here are three more prompts:

∙ Using my list or your own, bring about Charles’s change. Write the scene in which he stands up to Jason. If you like, keep going. Charles will retaliate!

∙ Make Jason your MC and bring about change in him.

∙ Rewrite Hamlet. Your Hamlet can decide that his dad, the dead king, was a despot, a terrible husband and father, and the kingdom is better off without him, even though murder is an extreme way to achieve regime change. Or he can elope with Ophelia and head for Mantua. Or he can hire an assassin and ascend to the throne. Or something else that you decide. Write the story. If you’re ambitious, write it as a play in blank verse.

Have fun, and save what you write!

The Plots Beneath the Plot

Kudos and congrats to all of you who ran the NaNoWriMo course! Yay! Please let us know about your victory.

And if any questions came up in the process, please ask.

Actually, I’m pretty desperate for questions. Somehow, my list is almost dry. The kind of questions that get my blog-post mind going are ones related to the big writing issues: character, plot, setting, tension–you know. I’d also welcome some craft questions, too, like about flow or sentences. Also publishing questions, which I don’t generally get into much, like working with an editor or an agent. And poetry!

On September 20, 2019, Erica wrote, Does anyone have tips for writing subplots? I tend to write short stories, which don’t need subplots, but now that I’m trying to do something longer, I need more depth. Also, my sentences tend to feel incomplete if they don’t have at least one comma, leading to run-on sentences. Any tips there?

Melissa Mead wrote back, I could use some tips on subplots myself.

Pretend the commas are money, and spend them as effectively as you can.

Back to Erica: Good idea! I suspect part of this comes from doing so well on those “combine two sentences into one” sections on standardized tests. I like long strings of connected phrases, and that probably has not helped either.

Subplots first.

Erica, you might try–like the combining-two-sentences exercises–combining two of your short stories, which we can all use as a strategy and which will probably involve changes to both stories, especially to the characters. We’ll ask ourselves if our MC in one story can become a secondary character in another, if the plot lines can work together, and if the conflict is similar or can be made to be.

What’s a subplot anyway? I’d say it’s a little story that has its own conclusion while helping the main plot along to its bigger resolution.

Let’s look at some examples. With Wikipedia’s help, I just refreshed my memory about the movie Back to the Future (the first one). The main plot concerns Marty’s need to get back to his present time. The two subplots that jumped out at me were ensuring the success of the romance between his parents and keeping Doc from dying years later.

Both of these involve secondary characters: a younger Doc, and Marty’s parents when they were in high school. I won’t give away the resolution of Doc’s problem, but Marty’s parents have to fall in love or Marty won’t ever exist. Each one contributes to the ending of the movie.

Now let’s look at LOTR, which is loaded with subplots. The main plot centers around Frodo taking the ring to Mordor and saving the world. One subplot involves Aragorn becoming king. Another is Gandalf’s capture by Saruman. Yet another is Boromir’s tragedy. Each of these involves a secondary character. Except for Boromir’s subplot, they also take place away from Frodo, so a subplot can have a different setting from the main event. And they all contribute to Frodo’s quest.

A subplot can be separate in time as well as place. For instance, say there’s going to be a war, and our MC is going to lead one side, we could introduce subplots that take place even before our MC is born. But these subplots set up the conditions our MC faces.

To create our subplots, we can ask ourselves what our secondary characters want, just as we ask what our MC wants. Then we can give them desires that dovetail with our MC’s situation, by supporting or undermining it.

A great example of undermining comes in–you guessed it–Pride and Prejudice. I see three subplots here: Jane’s romance with Bingley, Charlotte Lucas’s urgent need to be married, and Lydia’s flirtation with Wickham. Lydia’s mess, a genuine subplot, causes the crisis that leads to the resolution of the main plot. If you haven’t read P&P, I haven’t given much away.

After we give our secondary characters desires, the next step is to develop incidents to bring the subplot to life. In P&P, Lydia’s subplot comes to fruition when she goes to Brighton, which the reader learns about through reports by other characters. At Bingley’s ball, which is important for Jane’s story, Elizabeth deals with happenings of her own.

To summarize:

∙ We can combine stories, subordinating one to another, to produce a subplot or more than one.

∙ Subplots can take place at different places or times from the main plot.

∙ Story arcs for secondary characters will produce subplots.

∙ Subplots need action and resolution, just like the main plot.

∙ Our subplots will intersect with the main plot, helping or hindering our MC from achieving her goals.

Onto commas and sentences.

Just saying, sentences with commas don’t have to be long: He ate, and she watched. Or, He ate, but she watched. These are two independent clauses connected by a conjunction. Five words. He ate is an independent clause, and so is she watched. Also, a list can produce a lot of commas, but the sentence can still be simple, as in: She ate a can of cranberry sauce, half a turkey, a mound of stuffing, a ladle of gravy, a big blob of mashed sweet potatoes, two brussel sprouts, one bite of salad, a quarter of a pumpkin pie, a wedge of apple crisp, and a handful of Tums. It’s all coming back to me.

On the subject of commas, I accuse Erica of being a comma-sentence-length hypochondriac. Let’s look again at her question and her response to Melissa Mead, with my notations:

Does anyone have tips for writing subplots? (No commas. Short sentence.) I tend to write short stories, which don’t need subplots, but now that I’m trying to do something longer, I need more depth. (Four commas. Long sentence.) Also, my sentences tend to feel incomplete if they don’t have at least one comma, leading to run-on sentences. (Three commas. Medium length.) Any tips there? (No commas. Short sentence.)

No run-on sentences.

And:

Good idea! (No commas. Short sentence.) I suspect part of this comes from doing so well on those “combine two sentences into one” sections on standardized tests. (No commas. Longish sentence.) I like long strings of connected phrases, and that probably has not helped either. (One comma. Medium length sentence.)

No run-on sentences.

There’s sentence variety in the sample. Most sentences begin differently. I see two questions and an exclamation. I conclude that the patient is healthy. Unless Erica writes differently in her fiction, I don’t see a problem.

Here are three prompts:

∙ Your MC and four other characters are traveling together–by train, spaceship, medieval caravan, horse, whatever. They’re all on a mission to warn their king or queen or democratically elected representative or benevolent dictator of a plot against the country’s independence. Their route is fraught with danger. Each of them has personal goals as well as the main mission. One wants to keep them from reaching their destination. Two fall in love. One is hiding an illness. Use these to create subplots. Write the story.

∙ At random, pick a few paragraphs from your WIP. Analyze them the way I just did. If a lot of sentences are short, combine them, not just by putting them together with and in between. Create dependent clauses. If too many start the same way, say with the or I, recast them. If many are long, cut them up. If many begin the same way, rearrange them. If the verb keeps being was or is, rewrite the sentence so that the verbs are more active.

∙ Mash together “Jack and the Beanstalk,” “The Princess and the Pea,” and “The Princess on the Glass Hill.” Pick one to be the main story and the others to be subplots. I don’t know if this will be helpful, but I just noticed that all three involve heights. Write the story.

Have fun, and save what you write!

Challenging Choices

First off, congrats to all of you who are starting the NaNoWriMo home stretch! How has it gone so far? How is it going now? If you like, post your answer in the voice of one of your characters and them paste it in your story, which will be fun for the rest of us. (I don’t want you to lose word count!)

On September 11, 2019, Writing Ballerina wrote, Question for you guys: When you have a lot of story ideas, how do you pick which one to develop?

As with the last post, a lot of discussion ensued.

Jenalyn Barton: Honestly, I pick whichever one excited me the most at the moment. Not the most sustainable approach (and likely the reason I have trouble finishing things), but it works for me.

Erica: Either all of them or none of them! Really, it depends on the time of year. I’ve been writing short stories to give my family as presents for a while now, so I often consider who would like what story. You might try something similar. (Also makes sure that I don’t just forget about it.)

future_famous_author: My friends, who read my stories, but have trouble keeping up, get really mad at me for starting a story and stopping only a couple pages in. I start a new story almost every day now. It’s a problem. I think that if you can find a story that you actually enjoy writing, then just force yourself to stick with it. It’s not everyday you find an idea that really holds your interest, and so you have to stick with them. It can be hard, and my brother and I have had many arguments about which is harder, basketball or writing, but you just have to remind yourself that it’s fun. I really struggle with this, too, and have yet to finish a novel in my six years of writing.

Writing Ballerina: I like the idea of giving them as presents! Thank you! Tell your brother that writing’s definitely harder.

Kit Kat Kitty: This is something I’ve struggled with for a long time. My best advice would be to write everything down as soon as possible. Usually, what happens to me is that I’ll get an idea, think about it for a day, write a paragraph or two, and then start from scratch with another idea the next day. I think it’s because I don’t develop my ideas, so I don’t get really invested in them. If I had characters, names, faces, and some fragments of a world, it gives me something to focus on and be interested in.

So I’d recommend developing the first idea that comes to mind, and seeing where it takes you. If the idea is “What if people were once dragons?” Then write that down, and branch off from that. Stories are really just multiple ideas combined into one. (Though it’s a lot more complicated than that) So it could be, “What if some humans knew this, and wanted to become dragons again for evil purposes.” Then, it could turn into, “What if the hero had to figure out how to become a dragon first to stop them, but if they became a dragon, they wouldn’t know how to become human again, so they might have to leave their family and X love interest behind, even though their family means everything to them.”

Just stick with it, and try to focus on one thing. Write things down, and don’t be afraid to say: “This isn’t working for me.” and move onto another idea.

It’s also okay to be developing an idea and to write down as many ideas that come during that time. It’s about not letting the ideas float away, and really making them more than just a sentence or two. Ideas are, in a lot of cases, a dime a dozen. And if one doesn’t work (after you develop it, of course) then it’s okay to move on. Besides, if you at least write things down, you can come back to them later.

future_famous_author: A lot of times I end up writing down a page or two of a story and then starting a different one. I wish I would do that and then go back to the one I had before that. But, then, it’s better than having no ideas.

I love, love, love Kit Kat Kitty’s “what if people were once dragons” idea, whether or not it ever becomes a story. It’s so much fun to contemplate what that might have been like, the literal fire in the belly, the joy in flaming. And flying! The pleasure in terrifying other creatures who aren’t dragons.

And fun is wonderful. If it’s fun to try out lots of ideas, then that’s a fine thing to do. Relaxing and waiting for the one that will sustain us is okay. I think that one will come.

Early twentieth century novelist Thomas Mann once said, “A writer is someone for whom writing is more difficult than it is for other people.” If I were to try basketball, it would have to be in the under-five-feet-tall league, so I can’t compare the two, but for me (and for many but I don’t think all) writing a novel is super hard. I don’t know why that is–we know how to form words and sentences, and we know hundreds of good stories, and we understand story shape, but yowser!

So we can take comfort in the absolute fact that we’re rising to a challenge when we write.

As you know, I’ve recently started my next novel, which is based on Greek mythology, the prophetess Cassandra, the Trojan War, and the fall of Troy, plus the warlike Amazons who come to Troy’s aid. Before I started, I went through a process of considering which of my ideas to work on. Here’s what happened, which may help with your own process, too:

I’d like to write more books about the Middle Ages and the Renaissance, and I continue to read on the subject, but I haven’t yet found the right story thread.

The fairy tale “Aladdin” has interested me for years, and I wrote pages of notes about how I might approach it, but what stymied me is that Aladdin and the princess are married for most of the tale, which I think lessens the story’s appeal for young readers. I hope to figure out how to deal with that, but so far I haven’t. Maybe Disney has solved this, but I stay away from Disney movies because I don’t want their solutions to get into my consciousness and make me, unintentionally, use something of theirs.

The myth “Cupid and Psyche” and the related fairy tale “East of the Sun, West of the Moon” fascinate and irritate me, which is usually a combination that gets me writing, but in this case, I’m stuck. In both, the heroine is made to think the owner of the castle is a monster, and her sisters and mother are made to appear jealous when they warn her against him. One source of irritation is because I think the sisters and mother are probably genuinely alarmed for her. They have every reason to believe she’s in danger, and they’ve gotten a bum rap for centuries!

The other source comes from the hero, and this is the one that has me stumped. The hero, who’s either in monster shape or is pretending to be a monster, is deliberately causing the girl he loves to be frightened, to make a choice for the sake of her family that she wouldn’t make otherwise, and even to see them let her make it. In my opinion, this guy is seriously flawed, and I haven’t yet figured out a way to forgive him and make him likable.

What I love about these stories is the wind that our heroine flies on, and the love story aspect.

As for, Cassandra and Troy, I hope I’ve thought of ways to work out the kinks, but I’m worried that I’ve chosen wrong. The fall of Troy and all that happens before it falls is tragic, and I have to thread my story through the misery.

The point of all this is that, even as a pantser, I think a lot about what I’m going to write before I jump in. I always fail to catch everything, but I try to anticipate the problems that will pop up along the way. So that’s the first strategy: even if we don’t outline, we think deeply about our story before we jump in–which may be hard. If you’re like me, you enjoy the writing, and planning is as unpleasant as standing on a mile-long line at the supermarket.

I wrote up to here on the train to New York City, and while I was walking in Central Park, this post walked with me, and I came up with the steps that I seem to follow from idea to story.

First, boing! the idea. Excitement about the idea, and turning it over and upside down and inside out in my mind. This is the necessary first step. The others can arrange themselves in whatever order works best for you.

Second, notes in the what-if stage that Kit Kat Kitty describes. More boing! moments as we discover what delights us and where our story might go.

Third, notes about characters who can carry our story, who will take it in the direction we want it to go. Like, with the dragon idea, would we want an arsonist as an MC? Maybe, maybe not. Do we want someone who’s afraid of heights? Afraid of getting angry? Angry all the time? The answer will depend somewhat on where the story is going.

Four (not everyone needs this one, but I do), a tentative ending, which involves knowing what the major story problem is and how it might be resolved, happily or not.

Last, notes about where to start.

Begin!

Going through these steps, I think, will get us to a story we can stick with, at least for a while.

After that comes patience, the virtue writers need most. Do basketball players need patience? Just wondering.

Here are four prompts:

∙ Let’s suppose the humans in a story used to be fairies, but somehow their wands were taken from them, and they need them again, or the MC does. Try the steps above and begin the story. If you like, keep going.

∙ Find a fairy tale or myth that both fascinates and annoys you. Follow the steps. If the first fairy tale turns out not to be story material, try another one. Keep going until you find one that leads you on to a beginning. Write the story.

∙ Using Erica’s method, think of a friend or a family member and the kind of story he would like. Follow the steps and write the story.

∙ Think of someone you know–friend, frenemy, or villain–and build your story about aspects of that person. Write the story.

The Beat Goes On

To all of you who are writing madly for NaNoWriMo, this post will keep! No need to interrupt your headlong rush. But if you do pause, I hope it’s helpful. May you fulfill your ambitions. May the wind be at your back.

Writing Cat Lover’s question below called forth a lot of discussion. I’m including all the comments, because, basically, they’re so good and useful. As you’ll see, Writing Ballerina asked for this post, and I have a little to add but not a whole lot.

On July 22, 2019, Writing Cat Lover wrote: I need help with my pace of my WIP. It’s always either too slow or too fast, and I never can seem to get it just right.

Here’s the discussion:

Future Famous Author: I have left this same comment (the one I am about to write) many times, and every time I sigh and think, “That’s not very helpful!” But it is, because some things just can’t be perfect–actually nothing can be–in the first draft.

So, my advice is to save things like pace for the second, third, or even fifteenth draft (does anyone ever get to the fifteenth draft? ) and fix it then. Are you the one who had the trouble with writing things that had no importance to the plot whatsoever? If not, I told her that it’s okay to write things that don’t need to be written, because they may end up important. And it’s okay to leave out description, because you can add and/or take anything away in later drafts!

Song4myKing: I agree with Future Famous Author that you shouldn’t worry too much in the first draft. But if you’re revising, there might be a few things you can do.

If a section feels too fast, like you’re clipping along, touching only the points of action without a breath, you might want to slow down to increase tension, or to savor the action. Sit back and imagine the whole scene, like a movie. Who all is around? Is it just the ones you’re concerned with at the moment, or are there others in the room? Where is the scene taking place? Indoors, outdoors? Can you see it in your mind’s eye? Will your readers see it? Can you feel it, smell it, hear it? Not just the words people are saying but the other sounds around them. Don’t include everything, of course, but picture it in your mind, so you can show a little of the richness of the scene to your readers. Choose details that will add to the feeling or action of the scene.

If a piece feels too slow, you’ll have to do the opposite. Cut out what isn’t necessary. If it’s a paragraph that’s necessary but slow, check every sentence to see if it’s needed or if it could be shortened. If it’s a chapter that’s slow, check every paragraph. If it’s a bigger section of the story, see if each scene is necessary. If each scene has something important, see if you can take what’s important from several and put all that punch into one scene.

Writing Ballerina: I think all these pacing comments in this and the last post’s comments warrant a post, Mrs. Levine.

Writing Ballerina: BTW, sorry if that sounded rude.

Not rude; helpful.

Erica: Does anyone else have problems changing the “magnification” of a story, so to speak? I tend to either try to show everything or tell everything, but I have trouble switching between the two. Any advice?

I just get tired of writing the story when nothing much is happening, but when I pick it back up, I feel compelled to keep writing about nothing. Neither I nor my readers particularly care about the plot of the (completely made-up) movie my character is watching, and yet I describe it. Time in my stories tends to pass slowly when nothing is happening, and way too fast when things are.

Writing Cat Lover: My story is waaayyy too slow, as in I focus too much on the details and no matter how hard I try I can’t seem to get the plot going. Well, with the last paragraph I actually tried to speed things up a bit but now it looks waaayyy too choppy and fast paced so that you can’t really catch whats happening.

Katie W.: Basically, I have the big, important stuff written, but I don’t have anything building up and down from them. It’s boring life, boring life, EXCITING PART, boring life, boring life, EXCITING PART, etc. They don’t lurch from disaster to disaster, but there’s really nothing to hold the tension between the major plot points.” Not exactly pacing, but similar. You know those tension graphs teachers use to show the five parts of a plot, with the smooth rise and fall? If I drew one of those for my story, it would look like a comb. Up and down and up and down and up and down instead of that smooth, gradual curve.

Writing Ballerina: I think I’ve mentioned this book before (and maybe this particular section) but STORY TRUMPS STRUCTURE by Steven James has a great take on building tension:

“A story isn’t about something ELSE going wrong, it’s about something WORSE going wrong…. We intensify the struggles rather than just compounding them. [There are] three struggles — internal, external, and interpersonal [conflict with other people.] — [they] will all continue to deepen as the story progresses. Typically, they’ll reach their darkest moments right before the climactic encounter with the… forces that are hindering the protagonist from getting what he desires most.”

I like this point: “Since things must continually get worse for the protagonist, characters actually descend through difficulties and pain into transformation. They don’t slowly ascend into change.”

Back to the graph (paraphrasing here), all that stuff about rising action is baloney. At least most of it. Rather than rising ACTION, you need rising TENSION. “Action does not equal tension…. Simply making more things happen doesn’t ensure the readers will be interested, but tightening the tension from unmet desire does….

“Think of the climax of a suspense novel. Flashlight in hand, the detective slowly descends the stairs into the serial killer’s basement lair. Readers know what the detective does not — the killer is lying in wait for him deep in the recessed shadows of the next room. The author milks the scene: Step by step the detective slowly and cautiously makes his way down the stairs as readers’ hearts pound in anticipation of the climactic encounter that’s about to ensue. He angles the narrow flashlight beam into the darkness. Reaches the last step. And begins to search for the killer.

“Is this rising action? Hardly. In fact, a man walking slowly down a set of stairs might be the least amount of action for the last fifty pages — but it can be part of the climactic scene of a book because of escalating tension.”

Before I write the whole book down in this comment (it’s that good — go borrow it from your library!!) I would like to mention another very important and (I think) profound observation he made:

“Repetition undermines escalation.

“Every murder you include decreases the impact that each subsequent murder will have on readers. Every explosion, shootout, [and] argument… means less and less to readers because repetition short-circuits that crucial escalation that moves stories forward. The value something has is directly proportional to the amount of pain it causes when it’s lost.”

I agree with Future Famous Author and Song4MyKing that a lot of our pacing problems can be cleaned up in revision. Throughout, though, whether in revision or in writing our first draft, our guiding principal should be our MC. Everything–everything!–should impact her. Fundamentally, our pacing hangs on this, and, in my opinion, if we keep it in mind, our pacing problems will ease up. Something–major or minor–should always be at stake for her.

She doesn’t have to suffer every second. We can give her breaks, for which our readers will thank us, but the main problem still has to loom.

We may have skipped our MC’s experience in the rush of events. To take the example of the detective descending the stairs to the villain’s lair while she’s blissfully unaware that he’s there. What’s going through her head? She’s relaxed because she thinks she’s safe. Maybe we show her thinking that she needs to buy milk on her way home. Maybe she clunks down the stairs because she believes she can. Maybe she whistles or sings a song her daughter loves. The reader is twisting in agony, mentally screaming, Wake up! Be alert, you fool! We can even throw in a clue about the villain’s presence and have her fail to notice it. These are all extra words, but–Aaa!

As we revise and as we write our first draft, we should be aware of the inner life of our MC. Whether we’re writing in first person or third, even omniscient third, the reader needs to know what our MC is thinking and feeling as events occur–and almost nothing should happen in our story that she doesn’t care about, that doesn’t affect her in some way. If it doesn’t and we’re revising, we have to consider the dustbin.

I don’t mean things can’t happen to secondary characters or that we can’t have subplots, but everything needs to fold back in. The secondary characters have to be important to our MC. Their success or failure will be significant for her.

In the subplot, if she’s absent from the scene, the main secondary will stand in for her, and everything has to affect him–a miniature version of the approach we take to the overarching plot.

If, as we’re revising, we think, Huh, how did she get there? or, Why or how did that happen?, we can assume that we skipped some steps, and we can consider what’s needed to fill in. A critique group or beta readers can help identify these gaps.

I don’t think I’ve ever written a novel that I haven’t cut at least a hundred pages from, more for most. In fact, chopping is what I do most in revision.

We can tighten with tiny changes that have a cumulative effect as we keep going. Need that clause, really? Cut! I’m saying this twice in different ways? One has to go. Cut! Very is a very (hah!) suspect word. If unnecessary, cut! Our adjectives and adverbs should always be scrutinized, especially ones that minimize, like slightly and a little. And we want to use the most powerful verbs we can find. Race is generally better than walk fast. When we snip and snip, our pace will pick up, and, as an added benefit, our prose will become more elegant. We’ll be worshiped by our copy editors. Strunk & White (you should all know Strunk & White!) will smile in their graves.

We ask ourselves if the reader already knows this about this character. If yes, cut! Is this entire plot twist necessary? If no, cut!

I do most of the trimming myself and cut much more than my editor asks me to, but she’s ruthless, too. Fairest in particular would have been a much longer, slower, more meandering book if she hadn’t come in brandishing her butcher’s knife. I don’t mean she did the carving herself, but she wasn’t shy about saying that this chapter and that should go.

Sometimes it hurts to excise bits I love, and in the process I eliminate what took months to write, but the result is a better book, and I have to do it. And I save everything I cut.

Here are three prompts:

∙ I may have used a prompt like this before. You may ardently disagree with me on this, but I’m not a fan of Alice in Wonderland or Through the Looking Glass, because I don’t think Alice is invested enough in what happens to her. She grows. Oh, she thinks, that’s interesting. She shrinks. Interesting, too. She may not like the changes or the things she witnesses, but she never suffers deeply. Nothing threatens her at her core. Let’s change that. Let’s say her beloved older brother disappears. Last seen, he was tying a note to the White Rabbit’s left back leg. Alice is convinced that finding him depends on the contents of that note. She has to reach the White Rabbit. Use events in Alice in Wonderland as plot points in her effort to save her brother. Write a scene or the whole story.

∙ As an experiment, put a movie in your story, as Erica does. If there are no movies in your world, make it a book or a saga in an oral tradition. Describe the plot. Link it very subtly to your plot, a discovery for readers to make or not make. When you finish your current draft, you’ll know whether to toss it, keep it, expand or condense it.

∙ The eensy-weensy spider has it tough, climbing the waterspout. Give him a reason to need to get up there. Make him a thinking and feeling being, and write his story. Introduce other characters, spider or otherwise, including a villain. Make it a cliff–or waterspout–hanger.

Have fun, and save what you write!

Happy Birthday, Blog!

In case you guys are interested, it’s roughly the tenth anniversary of the blog. My first post is dated May 13, 2009, so I’m off by a few months. Happy birthday, blog! You’re a tween! Today’s question appears on single-spaced page 227 of my list, which is long enough to be a novel of about 400 pages. Pretty cool. Yay, us!

Before I start, I want to let you know that, here on the website, way in advance of publication, I’ve posted the first chapter of A Ceiling Made of Eggshells, a description, the flap copy, and a bibliography of the books that were most important in my research. Please take a look!

Now, here we go.

On June 19, 2019, Writing Ballerina wrote, I do need suggestions on how to write an army attack.

Two of you weighed in.

Emma: I’m going to have to write one of those eventually as well, and I have no idea how. I think the battle scenes in the Chronicles of Narnia are really interesting to think about from a writer’s standpoint, because C. S. Lewis never really explained them in much detail; while in the Lord of the Rings, armies and battles seemed to be more of the highlights of the books. I suppose that’s mostly the age difference in the audiences, but still, it’s interesting how different they are.

Ainsley: Another book series with great battle scenes is The Chronicles of Prydain by Lloyd Alexander, the last book especially. They’re also really good books in general.

These suggestions are great. I agree about reading books with battle scenes, not just fantasy books but also literary fiction. The two that come to my mind are classics: All Quiet on the Western Front by Erich Maria Remarque about World War I, and Catch 22 by Joseph Heller about World War II.

On the nonfiction side, an interesting book is War Is a Force That Gives Us Meaning by Chris Hedges (high school and up).

Some of you may know veterans who are willing to describe their experiences. Even if you’re writing fantasy or historical fiction, they can tell you how it felt to be fighting.

And some of you may be vets, so you know.

I had to think about battles and war when I wrote The Lost Kingdom of Bamarre, and I was worried. How could I show the movement of large forces when I was writing in first person?

I haven’t read any Lloyd Alexander, and I don’t remember much of The Chronicles of Narnia, but I do remember LOTR pretty well, and my recollection is that the many battles and skirmishes in the trilogy are told from a limited third-person POV, generally in the voice of the least elevated character present, so that if, for example, both Frodo and Aragorn are there, Frodo tells what’s going on. If only Samwise and Frodo are in the scene, the POV belongs to Sam. The wide perspective is sacrificed for the particular, but it works, and readers like me care more about the POV character than we do about battalions of anonymous combatants. I don’t know how I would have coped if Sam in particular had bit the dust!

So that was the approach I took in Lost Kingdom. Everything is seen and related through the eyes of MC Perry, though sometimes she gets reports from other characters, who also can tell only what they’ve experienced or have been told. Willem, her romantic interest, describes his first engagement in detail. At one point she and Willem climb a sentry tower and oversee the massing of two armies, which is the closest I come to movements of large forces. Later, Perry travels across the kingdom and glimpses conflict along the way.

In my opinion, the up-close perspective is the way to go for most battles. The reader will enter the scene better through a character he cares about. That way we can bring in detail–the sounds, the smells, the sights–that will infuse it with life. If our POV character is in the thick of it, we may have to bring in serious elements–screams, blood, injury, death, loss of a loved one–so we need to be prepared to deal with all that. We also have to experience it all through our MCs. How do they experience war? Are they entirely taken over by adrenaline? Or ruled by a strange calm? Does it seem like a dream? Or something else.

But there may be moments when we want to pull back and see a bigger picture. We can write from an omniscient third-person POV for this. Then we can zoom into a character to show the fight close up and then out again for the larger perspective. Omniscient third, in my opinion, is the most powerful perspective.

If we’re writing fantasy, our MC can fly over the war on a dragon’s back. She can have magical help, like a magic spyglass that can see the distant battle. She can speak the language of animals, who can be her scouts and spies.

If our story is modern, we can use technology. Our MC can be communicating with a command center. Or she may be able to fly above the fray–or drones with cameras can reveal what’s going on. In breaks in the fighting, she can get reports from the news online. She can interview eyewitnesses.

If we’re writing medieval’ish fantasy, we can find tons online: fencing lessons; ancient weapons; war machines and how they worked; analyses of historic battles and sieges–battles on land and battles at sea. These are fascinating.

We have to decide how gory we want to be, how close up we want to get. I’d suggest that we be sparing. There can be tragedy and horror overload. By even the third terrible injury or death, the reader may be dulled.

Here are three prompts:

∙ Your MC Samara is in the infantry, marching to war in the middle of a battalion of six hundred foot soldiers. The battle will begin at any moment. Somewhere in the horde is her sister, also a soldier. Her sister has an enchanted sword, and she has an enchanted shield, but neither one has power without the other. Write her attempt to find her sister just as fighting breaks out.

∙ This time Samara is in a tent. Imagine mid-19th century warfare with or without magic. She commands an army that’s outnumbered on the field. Scouts bring her reports; maps are spread across a table; she hasn’t slept in days. Her trusted assistant stands at her side–except that her trust in him is misplaced, because he’s sold his country out to the enemy. Write the scene, and clue the reader in that he’s a villain. Decide whether or not Samara sniffs out his treachery.

∙ In her first battle, Samara’s best friend, who’s fighting next to her, is seriously wounded. Samara wants to help her friend, but she’s beset on every side and her squadron is falling back. Write the scene and don’t skimp on the gore.

Have fun, and save what you write!

Actions Speak Louder Than Anything Else

On June 8, 2019, Hazel B. wrote, How do you make a character feel believable? Once you know how to make a person likable or unlikable, how do you make her real? When I’m writing, I usually pick an outward trait to start out with, such as shy or bossy. But not everyone is always bossy, and not everyone is always shy. I’m actually a combination of both. How do you make the character consistent, relatable, and believable?

Writing Ballerina and Christie V Powell responded.

Writing Ballerina: I usually don’t worry about that too much until I’m done the first draft. Then I take one character, comb through, and make everything consistent. I also like to run my characters through personality tests so I can get a better feel for them.
https://www.16personalities.com/free-personality-test is my favourite — free and very in-depth.

Keep in mind that the characters your MC (I’m assuming you’re talking about the MC, but this will work for any character) is around will affect how they act. When I’m with my closest friends I can be super hyper and silly but when I’m with other people I’m usually more reserved.

Christie V Powell: Enneagram is my favorite system, similar to 16 personalities. The free test is here: https://www.eclecticenergies.com/enneagram/test.

One thing I’ve been doing lately with a couple of writing friends is role-play. We take turns asking a question each week, and choose which characters will answer. Then we answer as if we were the characters. It can be a lot of fun, as well as good practice to get inside the characters’ heads. Recent questions we’ve done include: What do you do to relax? Are you a night owl or early bird? What’s a skill you don’t have but would like to learn? Some of the questions also are addressed to certain characters. We might say: To the main character’s best friend, or To the character last in alphabetical order, or To the youngest main character.

I agree with Writing Ballerina that consistency is paramount. I hate it when a character who, say, is edgy and irritable inexplicably turns calm and jovial. Character growth has to be earned, and the reader needs to understand it.

Having said that, I also agree that characters, like people, are different in different environments. Our edgy dude can be relaxed in the company of his great-aunt Susie, as long as the reader understands that she has this effect on him.

I love the role-play idea! What fun! I love it both for the writing assist and for the comradeship. Writing is lonely and hard. Writer friends understand like nobody else. And what a great way to bring in the unexpected, and the unexpected and surprising are a terrific way to create layered characters who feel real.

I’m thinking a lot about this right now, as I write the beginning of my next book, based on Greek mythology, specifically Cassandra and the fall of Troy. Cassandra, daughter of King Priam, is given the gift of prophecy by Apollo, but he curses it soon after by making no one believe her. After the curse, people, especially her father, consider her prophecies rants and believe she’s mad. I’m thinking about what it would be like both to see the future and to be considered crazy. What’s the thought process of someone who can look ahead? Who can see her own death? Does she look ahead constantly, compulsively, or does she avoid it? Does she keep trying to convince people, or does she give up? Turn inward?

I ask these questions because I find my characters in their actions. She’s a different character if she keeps returning to what brings her pain than if she distracts herself. I don’t think she’s going to be my major MC, but she’s going to be second in importance.

Characters’ characters affect our plot. An extrovert named Margie, for example, may make different decisions from a shy person, named Violet, nicknamed Shrinking. For example, Shrinking may stay home instead of going to the castle ball and may therefore be present when an intruder comes through a window. Margie goes to the party and witnesses the prime minister tip a vial of liquid into the king’s cream of mushroom soup. Each spins the plot in a different direction.

Our characters become increasingly real and layered as they make more and more decisions. Does Shrinking hide in the cellar, or run to the gallery where armor and swords are kept, or run to the head housekeeper for assistance, or appeal to her fairy godmother? Depending on her choice, other decisions have to follow, decisions that use other of her qualities, which we discover as we go along.

For example, suppose Shrinking is, to take another of Hazel B.’s examples, also bossy, so she runs to the head housekeeper and, in a trembling voice, orders her to deal with the intruder. But the head housekeeper says police actions aren’t in her job description and refuses. Well, what does Shrinking do next? We can make a list!

∙ Fires the housekeeper.

∙ Grabs the housekeeper’s hand and says, “Then we have to get to safety. Come!” (She’s still bossy.)

∙ Shrinking is shy, but she’s brave. It dawns on her that the intruder doesn’t expect terrifying small talk, and introversion doesn’t come into this. She takes a poker from the fireplace and a carving knife from the kitchen and starts searching.

∙ Sits on a stool and weeps uncontrollably. Her birthday is in a week, and her beloved father always gives the best presents, and now the intruder is going to kill her and she’ll never find out what the gifts are.

And so on. With each decision and action, we learn more about Shrinking and she becomes more real. We haven’t made her less believable–though not everything on our list has to be believable. In lists we’re encouraged to get wild.

Option two and three will contribute to her likability and relatability, because both combine two factors: Shrinking is behaving admirably, and she’s flawed, being both shy and bossy. Most readers want a flawed MC, because we’re all flawed ourselves.

Options one and four will make her harder to relate to without other factors. In them, on the face of it, she’s flawed and not admirable. We can deal with this, of course, in lots of ways. Here’s one: We may have set up the story so that the housekeeper is the real villain, and she’s drawn Shrinking into her orbit for just this moment, because she’s in cahoots with the intruder. Readers who already feel connected to Shrinking will be on her side and scared for her. Or we can make her behave well with other characters, but the housekeeper just pushes all her buttons, and they’re alone together in the mansion.

I generally don’t know my characters well when I start writing. They reveal themselves as I cook up actions for them. When I start a book I don’t generally use a character questionnaire, but I may fill one out as I keep going, to generate ideas for my list about what one of them should do next.

Here are four prompts:

∙ Add six more possibilities to my list above for a grand total of ten.

∙ Pick one of mine or one of yours and write the story.

∙ List what extrovert Margie might do when she sees the prime minister mess with the king’s soup.

∙ Pick one option and write Margie’s story.

Have fun, and save what you write!

The End of Everything

First off, a bookseller who’s a friend just sent me this link, which I believe most of you are too old for, but you may know kids who qualify and would do a bang-up job on:
https://www.penguinrandomhouse.ca/tundra-true-story-contest?ref=PRH997D100A32&utm_source=Tundra_Books&utm_medium=Advertising&utm_content=Email&utm_term=&utm_campaign=Based_on_a_True_Story_Contest_Tundra_Books_-_PW

On May 23, 2019, Writing Ballerina wrote, I’m almost done with the first draft of my story!! This is really exciting, but it’s going kinda slow because I don’t know how to end it. Eventually, I’ll run out of plot points and not know what to do so I’ll abruptly stop and leave it for days trying to come up with how to resolve it in a smooth transition.
Does anyone have any tips on how to transition out?

Three of you weighed in.

Melissa Mead: Congratulations!

Transition, or ending? Transition implies that you’re going on to something else.

Some of the most effective endings tie back to the beginning somehow. Ex, Lord of the Rings takes us back to the Shire. Camelot ends with King Arthur giving hope to a young boy as idealistic as he once was, even though up to that point, his own hope had been fading, and restoring some of his own hope in the process.

Christie V Powell: Have you looked at plot structure? Studying the “beats” that make up a story might help you. I like K. M. Weiland’s (her blog is called Helping Writers Become Authors), or you can see if your library has the book Save the Cat or the book by Lisa Cron (Story Genius? Is that the title?). All three have a similar system for breaking a story down into parts, including the ending.

Writing Ballerina: Okay, so my brain was dead when I asked this question and I worded it terribly so here we go again.

How do you end something satisfactorily? I want the reader to turn the last page, thump the book closed, sigh, and say, “That was a good book. I loved the ending.”

I want to do this right, so I’m not going to rush the ending like I’ve done so many times, but it’s not as easy as it seems. I’ve basically run out of plot points now, but it seems too abrupt to end here. Plus, one of the characters is really not pleased with a new outcome, even though it solved one of his biggest problems, so I need to fix that somehow so everyone’s happy when I end it.

What I meant by “transition” is a smooth ending with pacing that makes sense. Not just like “oh look no more plot points the end bye all thanks for reading.” I don’t want it to be like I slammed a wall in front of the characters with THE END spray-painted on it.

Katie W.: I can’t help, but I have EXACTLY the same problem. The only advice I can give is: give it AN ending, then let it sit until you find the right one. And, lest you think I’m oversimplifying here, it took me about nine months to find the right final line for one of my stories. (And that was after I spent three months cutting it from seventeen pages to ten.) Sometimes I find the right ending immediately, other times, like I said, it takes a while.

One of the first things I was told when I started my long apprenticeship to become a kids’ book writer was: Get out quick once my story’s main problem is resolved, because the reader will become bored as soon as there’s nothing left to worry about. I keep that advice in mind even when I write epilogues, as I often do. Readers sometimes ask me about the future of this character or that, and generally I don’t know the answer. After I type The End, they’re on their own.

So I’m not opposed to an abrupt ending, as long as the main conflict feels complete–

–which suggests what may (or may not) be Writing Ballerina’s difficulty. Possibly the conflicts in her story–or in ours–are too even, and the reader doesn’t know which one to care most about.

If so, when we revise, we can focus on that. We can make some of the other conflicts contingent on the main one–when it’s resolved, the others will become more manageable. Or we can resolve the lesser issues earlier in our story. We can increase the other characters’ emotional investment in our MC. We can expand and intensify our MC’s thoughts, feelings, and voice in our narrative, to make our readers care about her far more than about the others. When she’s settled, they’ll be satisfied. Then, if we’re me, we can write an epilogue to mop up the loose ends. An example of this approach is my beloved Pride and Prejudice. In the last chapter, Austen delivers the fate of all the minor characters, which is nice, but I don’t really care. I’m ecstatic that Elizabeth Bennett and Fitzwilliam Darcy are together at last. Sorry, Jane and Bingley, it doesn’t matter to me if you have an ugly divorce in a year. Sorry, Jane Austen!

But this may not be the problem. If not, one approach is Melissa Mead’s suggestion of a circular story shape in which the location of the beginning and the end are the same. I find this shape cozy and comforting, if the ending is happy. If the ending is tragic, a circular story can punch up the bleakness, another desirable result. A long time ago in the life of the blog, I wrote a post on circular stories. If you’re interested, you can look it up.

Along the same lines, if we focus on what our MC wants, we’ll achieve a satisfying ending when she gets it for a happy ending, or when she irrevocably fails to get it, for a sad one. Our MC and our readers don’t even have to know what the MC wants; only we have to know, and the reader will be satisfied. In my first historical novel, Dave at Night, Dave doesn’t know that he wants safety and a home most, and I don’t think the reader does, either. He believes he wants something returned to him, but that’s just a side issue. When I make him safe and contented in his sub-optimal-but-adequate home, he and the reader are happy.

I’m a pantser, so I don’t use a beat system, but I have nothing against it. I’d recommend following Christie V Powell’s suggestions to see if they work for you.

I’m thinking of books (that I remember well enough to discuss) with successful endings, and sometimes two themes need to be tied together to make the ending work. I’d say that both Anne of Green Gables by L. M. Montgomery and Rebecca by Daphne DuMaurier fall into this category. Anne of Green Gables ends satisfyingly when both her relationship with Gilbert is straightened out and her near-term future is decided. Rebecca ends in its bittersweet way when the mystery is resolved and the MC finally understands herself and her relationship with her husband.

I love the shape of a quest. If I can frame my story as a quest, whether my MC or my reader sees it that way, I have an easier time with the ending when I get there. Obviously, Ella is on a quest to overcome her curse, and Addie of The Two Princesses of Bamarre is on a quest to cure her sister of the Gray Death, but less obviously, Aza in Fairest is questing to feel comfortable about herself, or Wilma in The Wish is questing for acceptance just as she is. If we can see our story as a quest, the ending is likely to fall into place.

Greek myths often conclude only at the end of the MC’s life or her ascent into immortality, and that strategy, too, provides a sense of completion, although often not a happy one. A modern example of this that works beautifully is– *spoiler alert*–the TV series Six Feet Under (high school and up).

Fairy tales generally end with the vanquishing of the villain even more than with the success of the romance. Think of “Snow White,” “Cinderella,” and “Rumpelstiltskin.” In “Snow White” the prince kisses her before the evil queen gets her just desserts, and the classic Grimm tale ends with the queen dancing to death. We can adapt this destroy-the-villain approach for our purposes if everything else is resolved before then, but no one will be safe until the villain croaks or is permanently put away.

Mysteries, by contrast, often continue beyond the solution of the puzzle, with a beat about the detective and the state of her life going forward. In a series that state may not be happy, which leaves the reader both satisfied and wanting more.

The big takeaway is to be absolutely solid about what our story’s problem is, because in it is our satisfying ending.

Here are three prompts:

∙ I’m not sure how satisfying the ending of “Little Red Riding Hood” is, in the version in which Red and Grandma are saved by the hunter. What lesson has Red learned? Is it the right lesson? That she needs to be cautious, and if she isn’t, she has to wait to be rescued? Write the scenes that follow the rescue and give a fuller and better resolution to the three of them.

∙ In Pride and Prejudice, headstrong and flighty Lydia marries unprincipled Wickham. Write a sequel about their daughter, whose immediate family is penniless and whose more distant relatives have the money to help, but their help comes with conditions. You may have to read or reread P&P to do this, but what’s wrong with that? Extra credit if you recreate Austen’s voice and world.

∙ In Greek mythology, Helen is as passive as any fairy tale heroine. She’s married, and Paris carries her off. Eventually, he dies, and Helen is given to someone else. Troy falls, and her husband takes her back. Really! If you don’t know the story, you can read summaries online, starting with the Judgment of Paris, continuing with the Iliad, and ending with the fall of Troy. Write Helen’s story, and give her agency, which will probably mean changing the story.

Have fun, and save what you write!