Category Archives: rubber-ducking

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Just another domestic sunday

Today was a woefully unproductive writing day. I think I managed to get down two lines of poem before once again becoming distracted by the celestial scope of housework that needed my attention. If all goes well, the kids will go down in half an hour, and I’ll be able to focus. It’s not that I’m not thinking about my story, I’m just not able to put in the concentration necessary to work through my current issue.

Last night, after I got back from what can only be described as an epic alpine adventure, I opened my laptop and stared blankly at the chapter I have been working on in my story. The three main characters of this plot-line (I do have a single sub-plot for this book that follows different characters) were essentially sitting around a fire, staring at one another and asking what next? Unfortunately, I was right there with them, blank stare and all. Part of the reason for this is that the explanation of events and character motivation leading to the end of the story, as it stands, is flimsy. If my characters launched off in the planned direction, some pretty important pieces of the story wouldn’t make sense (I could make it work, probably, but I’d hate it). My solution? Well, this is one of the reasons concentration is essential to fixing things. I am going to change the timeline a bit by going back in time a couple of chapters, where I will add in one long or two shortish chapters. If done properly, it will give my main character the motivation he needs in order to head off in the direction he was already going, and also beyond. If I remain focused, I’ll also be able to write those new chapters in such a way that following chapters should only require moderate revision. Not only that, the more I consider this solution, I realize it’s not just a good idea for plotting, it’s going to be an essential element to the development of the character. So, here I go…

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Ripples in the space time continuum

So, I got all my stuff together reasonably early this morning, so I got to go to the coffee shop and spend a few quality hours getting all jittered up and and writing. Except for the fact that I can hardly sit still just now, I feel good about the progress I’ve made so far. Tonight looks good to make quite a bit more progress as well. Of course, I haven’t checked my work e-mail, so all that could change.

Sometime this past week, I was thinking hard about one of my main characters, and realized the voice I’d tried to give him wasn’t working. It didn’t make for consistent reactions through different parts of the story. It took a bit more character history writing to figure out what voice would work, but I think I got there. So, my task today was to go back through and revise three or four chapters, hitting all of the spots where one of these characters appears, in order to work on giving him that new voice.

After bopping around for a while, updating dialogue, and feeling super good about myself, I hit a point where one of the characters had been written to react in exactly the opposite manner than he had done in an earlier chapter. I wouldn’t have even thought about it except that I was reviewing all of the conversations for consistency of voice, and this one was obvious. It wasn’t a major problem, I don’t think, I just went back and added a few sentences to explain the change his position on the matter, the circumstances already set it up for him to change his position anyhow. Unfortunately, this edit brought my attention to other issues of consistency. Mostly stuff about who said what and when.

Needless to say, this became an exercise in flipping around through all of the chapters to make sure everyone was reacting to situations in a consistent manner, as I progressed through the dialogue re-writing. For the most part, I was looking for instances where new information was being presented as known, or known information was being presented as new. Nothing seemed to require major changes, just a few well-placed sentences, and in a couple instances a paragraph or two. A lot of the inconsistencies appear to have come from earlier revisions where I was smoothing out dialogue so it felt more natural, and less like an information dump. Based on the issues, it appears that I had moved a bit of explanation, then removed it later because I think I thought it had been addressed somewhere else. I’m nearly to the point where I’m back to working on new material, and so it should be easier to prevent those inconsistencies.

I don’t know what the point of this post is, except that I’m making progress. I suppose this is also a note to be careful when you’re revising, even small details, because they can have a way of rippling outward in your story from the point the change was made, even if it’s a tiny change. The longer you let those go, the bigger they’re going to seem to the reader.

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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.