So, the novel I've been working on isn't...working. I'm disappointed because I finally finished a novel and I thought this false-start thing wasn't going to happen anymore, but obviously it is, and ya know, that's okay, I've finished a novel and so now I know what the final product feels like.
I think the characters are gonna stick around for a while. I'm not giving up on them, by any means. It was the same before, where I had this character that would not get out of my head. This time its more of a family, seen from the perspective of the 13 year old daughter. I still want to discover there story. I just think I've been going in the wrong direction.
This has always been my problem. I start out with characters I adore. I put them in a situation or scenario that fascinates me. I have this like frame or scene in my mind. Then I get stuck. Like I have one or two still frames, but I need a feature length film. I thought I had it, but no.
I've talked about this lots here, about fleshing out a story from scenario to novel-length plot. This time is no exception, and as I've been thinking of a new place to take this family, I have this image in my head of all of them together, and this other character, and I kind of know where they're going and the sort of situation at that moment, but I always have a hard time going from that moment to a novel.
So now I get to ask you again: how do you do it? How do you flesh out your ideas? It will just take some thinking and research and time, but any advice would be fabulous.
Sarah Allen
7 comments:
I use two worksheets that kind of get me in the mind set. One is Connie Flynn's plot/character movement worksheet and the other is Blake Snyder's beat sheet (used for screen writing but works for novels). Happy writing!
It sounds like what you need is to have an interview with your main character. Set it up however you like. Sometimes my characters don't really want to talk about anything to me, even though I KNOW they want me to tell their story.
Sometimes it takes a therapist asking questions.
Maybe it's the manager at the cafe they're applying to.
Maybe it's a new friend getting to know them and asking things here and there.
The thing is, you've got to know your character before you can truly write their story. What are they most afraid of?
Wednesdays is going to be my writing exercise day...so, this week, I'll post something about character interviews. What to ask, what you need to know about your characters before you understand their story.
tademings.com
I never trust an idea that comes too easily. Usually means I'm being too obvious. I like to work out what the characters in a scene want, and then amusing ways they can mess with each other (even if they're on the same team).
mood
Moody Writing
Next time you see all your characters together, have one of them do something, then ask yourself, "and then what happened?", maybe followed by "why?". Follow whatever path you end up on until you decide if it's going somewhere interesting. If not, go back to the gathering and let someone else have the action.
Gaaaah... it's SO hard. And everything is such a balance. I think the best thing you can do is see it through. Finish your projects, revise the best you can, learn, and then repeat. We really do get better with each project!
Good question.
I think for me, it just comes automatically. I usually start with a basic idea for the story, then come up with the beginning and the ending (if there is one), and start writing.
Part of the time, the idea comes from some personal experience and/or observation, and so after talking to a few people who have a head for those things, I'll start fleshing out the story.
I consider my main character's interests and views. I ask myself why they do or think those things. What events shaped these quirks?
And then, is there any point in their life that these quirks change? At what point do they outgrow them, or realize them fully?
The reason they behave the way they do is their backstory. What makes their behavior change is the plot for my story.
Then I structure like a beast using both Joseph Campbell and Blake Snyder's approaches.
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