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.
Category Archives: writing process
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.
Thinking about the hook
I’m not spending much time on the beginning of my story just now, but I was thinking about this thing called ‘the hook’. It’s that bit of the story near the beginning, let’s say the first chapter, that draws the reader in and could make the difference between a sale and being dropped into the slush pile. When I hear other writers talk about it (or see them write about it), it puts me in mind of some epic event like those stupid extreme marriage proposals where a guy is arrested whilst jumping from a space-plane tied in chains or something. I’ve come to the conclusion, as a thoroughly amateur writer, that the typical advice falls ludicrously short of the mark. The typical advice being: “You need a good hook, it really needs to grab the reader.”
Here’s what I think: The beginning of the story just needs to to have enough conflict to be interesting, that is, pose some problem for the character that makes the reader wonder what happens next. I don’t think it even matters what that conflict is, though it should probably be relevant to the story as a whole. What’s really important in the hook is having something that is instantly engaging. A lot of the most enjoyable books I’ve read start with something like a conversational tone. It’s light and feels vaguely like those times when you’re having a few drinks with friends and telling stories. The sort of thing where you might say: “Oh, man, there was this time we were out hiking, and Steve saw this squirrel, and you wouldn’t believe what it was dragging around…” There’s always a lead-up in those stories, often heading to a punchline, but I would argue it’s the same for a book, except that you’re aiming for a climax, not a punchline. The point here is that it’s more in the telling than the actual events, though those are important too.
On Writing Dragons 