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Posts Tagged Buffy
Usually I write from beginning to end with no gaps. This time, I’m writing the characters’ final scenes and retracing.
I usually can’t do this. I need the continuity from one scene to the next, so that I know what each character feels about their mounting troubles as the screws tighten. Indeed I was writing in this orderly way until I hit the half-way point, when a sudden epiphany left everything spinning. By three-quarters, the end was suddenly indubitable, and I was quite unable to concentrate until I’d written it. So I’m finishing the draft by mining my way backwards. The impulse is discharged, and now I can be logical and fill the holes.
Joss Whedon would agree with the new, impulsive me. I recently read an interview where he explained how he assembles his scripts from a series of ‘cool bits’, then gradually fills in where necessary. He says it helps him because he knows he has material he likes, and that keeps him enthusiastic to stitch it together properly. As most of us go through phases where we despair of our manuscripts, this sounds like a good way to keep positive.
On the other hand, the British scriptwriter Robert Holmes would agree with the old me. (We just bought a biography of him because we are devoted fans of original Doctor Who). Robert Holmes hated to plan or write outlines. One producer asked him to write a presentation with ‘a few key scenes’ and he replied: ‘I can’t write a scene before I get to it. I know some writers hop around like this. They’re probably the same people who turn cherry cake into something resembling Gruyere.’
Certainly when I was ghostwriting I was dogged about writing each scene in order. This was partly a discipline to make sure I didn’t avoid scenes I was finding difficult, or where I found a problem I hadn’t solved. And I still find that many good discoveries have come of forcing myself to find a solution on the hoof. But The Mountains Novel has required more discovery (see here and here about my writing methods). It also has more main characters than my other novels. Perhaps it is an ensemble piece, and so an organic assembly seems to suit.
Another reason this hopscotch back and forth feels right is because I know what my characters need. I wrote far enough in formal order to know how they are changing, what will be triumph for them and what will be tragedy. And in the revisions I’ll do more infilling, understanding and reordering.
Anyway, all this means The Mountains Novel is nearly an orderly draft from start to finish. I’ve been incubating it for years, referring to it by this working title, because I was nervous it wouldn’t mature. Its proper name is Ever Rest. I’m sure you’ll probably shrug and say ‘so what’, or wonder why I made an issue of hiding it. Maybe you’ll tell me you like the old title; some people already have. But this is a landmark for me. I now feel secure to declare it: my next novel is called Ever Rest.
Diversion over – do you write your scenes in order? Has any book you’ve written made you revise your working methods? Let’s discuss in the comments!
authors, Buffy, characters, deepen your story, Doctor Who, Ever Rest, fiction, final scenes, having ideas, how to draft a novel, how to write a book, how to write a novel, Joss Whedon, literary fiction, literature, Mountains Novel, My Memories of a Future Life, novels, Planning, publishing, Robert Holmes, Roz Morris, The Mountain Novel, The Mountains Novel, writing, writing a novel - Nail Your Novel, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, writing life, Writing Plots With Drama, Depth & Heart, writing routine
The warm heart is the bond we feel with the central characters. It is the pleasure of spending time in their company. I hesitate to call it liking; it may not be so simple. Our attachment may be to just one person and their flaws and troubles, or it may be to a web of relationships. It is affection, but rough-edged. It is warm, but it might not be cuddly. It’s push and pull, trouble and strife, idiocies and idiosyncrasies. But it is where the reader feels at home.
And then there is the dark heart. The dark heart is jeopardy. The shadow at the end of the alleyway. The characters may have other problems in the story. They may fight miscellaneous foes. But the dark heart is an ultimate disturbance that will demand a day of reckoning.
Two long-running TV shows illustrate this in action. Fringe has both hearts. The central characters form a story family. Some of them are bonded by filial ties: the father, Walter; the son, Peter. There’s Olivia, the FBI agent who becomes Peter’s lover. There’s Astrid, a lab assistant sidekick who becomes a close friend. They are the warm heart of the show; the humans who have real and complex relationships and sally forth to do battle. And Fringe has its dark heart. The characters are on borrowed time; every day brings them closer to a confrontation they cannot escape.
One heart down
By contrast, Doctor Who, whose title character actually has two hearts, only has one of them working.
The story’s warm heart is in good shape. The Doctor and his TARDIS companion always have a vibrant relationship that brings us back week after week. We also get drop-ins from the extended story family: the Doctor’s wife; the occasional friendly alien he befriended while saving them. Previous companions are also available. This creates a galaxy family bonded by experience and affection.
The warm heart beats strongly. But the dark heart does not.
Now that might seem like nonsense. Doctor Who is all about getting into danger and fighting monsters, right? But they don’t treat these as seriously as they treat the character universe.
The threats are often negligible. Too often, the Doctor wins with a gadget, some fast-talking, an asspull or a vague wave of the omnitalented sonic screwdriver. He never has to raise his game to win. And the scriptwriters frequently bend the rules of their own show – thus disrespecting their own universe.
Although each series has an overall arc, which is where the dark heart should be beating its dreadful rhythm, it is false. It never produces a confrontation that will really put the Doctor on his mettle, or that could credibly destroy him. Even if the writers trick it up to look like that, he’s usually freed in one bound, and does not have to go through the wringer.
Because the writers don’t make us believe in the dark heart, the warm heart loses some of its power. You could say this demonstrates that we need the story to be taken as seriously as the characters are. Controversial.
Fringe goes one step further to genius. Here is why: the warm heart created the dark heart. Walter Bishop committed a crime that started an epic war. His son died, and so he opened a wormhole to a parallel universe and stole him back. The flawed warm heart let the dark heart in.
In a great story, the warm heart and the dark heart pump each other with life. The dark heart makes the warm heart more precious. And the warm heart makes the dark heart more terrible.
Let’s discuss some stories – film, TV or prose – with warm and dark hearts. Buffy, anyone?
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