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It’s too easy

I don’t mean writing is too easy, because it most certainly isn’t. Perhaps for others it is, though I don’t know if I’ve ever encountered a serious writer who has claimed it was. No, what’s too easy is the challenge facing my main character. Not in the overall quest, that’ll be hard enough, and long. It will take him to the very corners of the world. That conflict drives the story as a whole. What I’m referring to is the challenge facing the principle characters who must go from one place to another inside of a chapter.

The setting: A haunted road, seldom travelled in hundreds of years, over-grown and dangerous. This place should be filled with all manner of evil things. When I’d first written it, my characters simply left point A and made it, with little difficulty, to point B along this road. Only once they reach their destination do they encounter any sort of trouble, and it has nothing whatever to do with the haunted road. I didn’t start by thinking it was too easy. In fact, I started by thinking: ‘What purpose does any sort of encounter along this road serve? After all, one of these characters nearly died on the same road not three chapters back.‘

If it hadn’t been for such a big deal being made of the dangers along the road earlier in the book (there’s that word again – still feels like this story doesn’t deserve that label just yet), it might be that a brief account of getting from A to B might be adequate. However, that’s not the case, and even if I didn’t have this haunted road, I’d still have the threat of being caught by the ‘bad guy’. So, I really don’t have a choice but to add some sort of difficult situation along the road before they get to point B. It doesn’t matter that a major problem awaits the characters there. Having come to the conclusion I’ve got to add this bit anyhow, whatever I have these characters face needs to push the story forward in some way. I don’t think it should just be an interesting side-show (Although this can totally be done, and work well).

My approach, in this case, will aim to accomplish a few things. First off, the reader will be expecting the road to be bad, and when something horrible pops out of the woods, it’ll meet expectations. I will also be able to describe some seriously evil creatures, in action, which are referred to later. Meaning I don’t have to describe it in dialogue when I get to later, plus it will help with explanation of the difficulty the other character had, with less effort. The altercation should provide a platform for some explanation of history, though I’m going to limit this to prevent an information dump situation. Finally, I want it to help paint a picture for future events along the same road, especially if I’m in a position of describing any of those second hand.

Perhaps the main take-away for me in thinking about my current issue, and this rubber-ducking session to work it out, is every story has at least a few things along the path from A to B which weren’t essential to the telling. Those events exist because they happened along the way, and they’re interesting. After all, it’s a story good enough for the retelling because of the all of the crazy things that happened. Thinking about it from a purely story-teller perspective, the best stories you tell your friends always have something like: ‘And then J.D. got punched in the **** by a 10-year old right there in front of everyone.‘ Which may, or may not, be relevant to the key events of the story, but are present in the retelling just to illustrate the epic-ness of that story.

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Sometimes life gets in the way

As the chores of the day start of stack up against me, the one thing I realize I won’t be doing much of is writing, even though it’s Sunday, one of the best days for it. I’m sitting here at the kitchen table, drinking my coffee, and pondering the scene I’m working on just now. When that cup is empty, I’ll be off to what has to be done: Homework projects, ducks & chickens, clean up, run errands, set up the Christmas tree, cook, general decorating, baths, and of course, at some point, I’d like to get a shower. I try to make writing a habit, something I do every day even if the best I can accomplish in the time given is to rework a sentence or two, or even just open the file and stare at it. What’s clear for today is there won’t be a block of time where I can do more than just think about what I want to write, visualizing the scene and working through various permutations of action to come up with something I feel is believable and works well. Oh well, I guess life happens, and now my cup is empty and I’m off to find my boots and tend the ducks.

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It’s not working

The last couple of days, I’ve been plugging away at a chapter near the end of my current story. (No I’m not nearly that far yet, but I’m trying to give myself a road map so I stay on track and make sure I’m laying the foundation for the end I want.) After burning a couple of hours on it last night, I reached the conclusion it’s not working. The dialogue feels forced, it’s hard as hell to write and I can’t seem to transition from one part of the action to the next. Even though it’s not narrator heavy, it may as well be. In the same way you end up with problems when there aren’t enough characters to drive the action and dialogue, too many characters can result in having too much information come all at once. I should call the problem by it by it’s real name The dreaded information dump (sometimes these are necessary and, if done well, good).

Once again, I think back to my work-shopping days and how I was frequently told that I had an information dump problem, and I’m dead certain I told people that as well. It’s an excellent thing to help someone find, but saying “you have an information dump here” isn’t particularly helpful. From the reader’s perspective it’s an easy thing to identify. I feel like it can be harder to see from this side of the page. Even harder yet is finding a way to eliminate the problem, or find a way for it to work. In the situation I’m working through now, the solution is to simply break up the conversation. I’m going to remove a character or two from the problematic scene, and have them go away before bringing in the characters I had to remove. In this way, the dialogue will be split up according to the relevant character instead of trying to work it in naturally, after the fashion of a real conversation with a bunch of people.