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Posts Tagged how to tell a cracking story
Does your plot have enough going on? I see a lot of manuscripts where the story seems to lack momentum, or the characters are spinning their wheels doing not very much of anything. But the funny thing is, the writer isn’t short of ideas. They’ve simply not realised where they are hiding.
Today I’m at KM Weiland’s blog, with 4 places to find the ideas that are right under your nose.
And while we’re at it, let’s discuss: have you discovered your plot ideas were hiding in plain sight?
Fix and Finish With Confidence, guest post, how to plot, how to tell a cracking story, how to tell a story, how to write a novel, how to write a plot, KM Weiland, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, plot ideas, Roz Morris, story, unblocking, writer's block, Writing Plots With Drama
I’m stuck. I outlined a setting, characters and events. But when it comes to put all together, they don’t fit. Every time I try to change something (aspects of the setting, adding or removing characters) things don’t work. I tried killing several darlings (and reviving them),but the plot is still not making sense. I feel like I’m forcing a cat to take a bath. I keep seeing logic holes. I rearrange and new holes appear. I tried a lot of things (including the card game from Nail Your Novel), but I feel there is something I can’t see, which is the piece I’m missing to put in (or take away) to make things work.
Oh my, what a familiar litany. You must have been eavesdropping chez Morris. My desk is currently littered with notes and scribbles about The Mountains Novel.
What stands out for me is this phrase:
‘I feel like there’s something I can’t see, the piece I’m missing to make things work.’
So there are two things you are looking for: coherence and clarity.
(And what’s that got to do with the title of this post? We’ll come to that. But first, let’s tackle coherence.)
Every time you try to streamline, your inner editor-fairy is telling you that’s not the way. Sometimes we’re like detectives following a hunch, and the only way is a 7% solution or strangle a violin. Just what is the connection that makes sense of all this sprawl?
Here’s what I do – and it’s not very different from what you’ve described. I muddle about with possibilities, subtract things, double them, make lists of pros and cons of a new idea, viewpoint or angle, let the idea settle and come back to it anew.
It particularly helps to return to your themes. Jot them down and consider how your plot events and character issues align with them. Perhaps your themes have changed and this is why the novel is looking too sprawling. Has it suddenly become a novel about ‘everything’?
Sometimes you get more coherence by diving into the first draft regardless. If you have a scene order that makes rough sense but isn’t perfect, start writing anyway. See what happens once you live as the characters and let them inhabit the book. You might find their experience fills those gaps and confirms your hunch on a level you couldn’t get by analysis. Or you might see modifications you can make – rewrite cards, shuffle them if necessary, adjust your map as you go.
With The Mountains Novel, I have two big ideas I’m putting together that don’t appear to naturally fit. That’s one reason I’m not going to tell you what they are in this post – but in my gut I always knew they belonged together. And the further in I write, the more resonance I see.
Which brings me to my more practical tip.
I’m currently rereading The English Patient. I love both novel and movie – but they are very different, even though they are made from the same characters, setting and story events. Reading the novel and noticing the differences is suggesting new ways I could use my own ideas – and they’re all the kind of changes we might make when refining a plot –
- characters in the novel have been spliced together to suit the leaner lines of a film
- scenes that happened in the back story of peripheral characters have been reworked as bonding moments for the main players
- the scenes featuring the English patient’s romance are very different and very much condensed, yet true to the spirit of the original novel
- the novel’s climax is not the same as the movie’s, where far more emphasis is on the English patient’s romance
- the novel’s events are more fragmented, less chronological
So find a novel that has been extensively reworked to make it into a movie, and notice how the demands of each medium – and audience – has reimagined common material.
Marco, you’re doing all the right things. You may feel lost, but sometimes this takes a long time (see this post about how I write and here’s the pics version) It’s often frustrating, and you might feel that all you achieve is a big list of duff stuff. But you might not realise how far you’ve come. Sometimes I look through old notes and smirk at the ideas I was trying to shoehorn in but am now wiser about. (My favourite bookseller, Peter Snell of Barton’s in Leatherhead, points out that I have been mentioning The Mountains Novel in enigmatic hints ever since I first walked into his shop in Christmas 2012 and I’m not nearly done with it yet.) But time and persistence will show you what belongs and what doesn’t.
What would you tell Marco? How have you found clarity in a muddled plot? And can you suggest any movie adaptations that depart interestingly from the original novel?
NEWSFLASH Sandy Spangler and I have finished the files for the audiobook of My Memories of a Future Life (here are the posts about our adventures) and I just noticed today on the ACX dashboard that it’s passed the technical vetting. If you’re signed up to my newsletter I’ll be sending an email as soon as it’s out – and I’ll have a limited number of review copies to offer. If you want the chance to get a free copy of the audiobook, sign up here!
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