Full Stop

I write chronologically by nature. I always start at the beginning and work my way towards to the end. It makes me really uncomfortable to write scenes out of order. I don’t like going into a situation without knowing all the subtle nuances and decisions that got my characters to that point, so whatever I end up writing feels hollow to me. Even those big, shiny set pieces I know are going to be in there and I’m super excited about, I still can’t write them out of order. I’ll get there when I get there.

The only way I can write unconnected scenes is once I’ve finished the manuscript. With the story told, it’s much easier for me to see, “Oh, I’m missing this scene here,” or whatever, and then go back and write it. Doing it that way removes my earlier hang ups and it’s not much of a problem.

I bring all of this up because I ran into a brick wall in my current manuscript. There’s a particular battle that I’ve known about since the outlining phase. A small force has to win against insurmountable odds. I knew it was coming. I knew I should prepare for it. But Past Dan decided I’ll figure it out when I get there.

Past Dan is an idiot.

I have no idea what to do. It’s not exactly writer’s block because I know what needs to happen and the big turning points in the sequence. What I don’t know is how to bring those about in a logical manner. I mean, this rag tag group of heroes has to win, yes, but win in a believable way.

The diligent writer in me knows I won’t be getting my words in for the day while I sit and noodle this one out. That Dan wants me to pick a point after the battle and just continue since I know how it’s going to end anyway. But I just can’t. It feels wrong. I guess I can massage in continuity edits later, but it’s hard to get going. Unless I figure this out soon, I may not have a choice.

It’ll be an interesting exercise for me for sure if I just breeze past this pivotal scene. I know other writers who don’t have the reservations that I do and can write whatever scene they need in whatever order that strikes them. Not me, friends.

So maybe you can help me out. Besides a small group winning against a large one, how does said small group win if they’ve already given up the high ground? Seems impossible, right?

Now I’m mad at Past Dan for two reasons.

  1. Why didn’t he figure this out earlier?
  2. I control the narrative. Why are we even in this mess?

Oh well. Instead of my daily word count, I think it’s off to read some history forums and learn as much as I can about underdog battles. If any of you have any insight or advice, Present Dan is much more receptive than Past Dan. He’s all ears.

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Down the Rabbit Hole

Ever notice how authors know so many random things about a lot of stuff? That’s because in order to create conceivable worlds, we need to know how those worlds work. That’s where the whole an author only writes 10 percent of the iceberg thing comes from. You need to know so much on the back end in order to write a realistic setting. Learning all that can inform other stories down the line and even if it doesn’t, it makes for a bunch of random facts for the back pocket.

For instance, did you know that after the passing of the Metropolitan Police act in 1829, constables’ uniforms had stiff collars to avoid strangulation as they were definitely not a welcome sight around the city? Because thanks my research for The Red Door, I do.

To help put this in perspective, you’ve probably heard stories about getting lost in Wikipedia or falling down rabbit holes on the internet. One search leads to another leads to another and so on …

Story creation works that way too. Let me give you an example.

I’ve talked a little about this before, but my new story all started because I wanted to do something with a deep sea diver. OK, when did they do hardhat diving with a breath line? Well, the Navy still used the Mark V helmet up through WWII (I had to learn that …).

Well, I don’t want to use that time period, but I like the idea of a soldier, so how about after WWI?

OK. It ended in 1918.

Well, I don’t want it to be RIGHT after, so let’s push it back to 1919.

Great. Where?

Well, my protagonist has seen enough battle. He wants to settle somewhere idyllic for a while. Oh and there needs to be water.

How about the Mediterranean Sea?

That sounds good. Lots of history there. I can base him in Greece.

What was Greece’s role in WWI? How would the react to an American fisherman living there now? If he’s a diver, he’ll need a tender, probably a local, so was this guy in WWI as well? Also, in 1919, Greece was gearing up to fight another war against he Turks and his tender would be involved with national sympathies and …

See what I mean? You make a couple of decisions and the threads just start appearing. Do I need to explain all of this in my own work then? Absolutely no, but I need to understand the interplay and relationships because its all going to inform what I write.

It’s been fun doing the research. I was just reading something about sunken treasure ships which lead me to Egyptian ports which lead me to trade routes and the list goes on.

I may have directed this journey, but remember it all started with me wanting to do something with deep sea diving and it spun out from there.

To me, that’s what makes storytelling so much fun. Yeah, it’s a lot of work putting all these pieces together, but change just one facet and the entire story changes. That’s why, the last time I tried this, I got from the Marianas Trench to spaceships.

Flat Stanley

While working on the outline for “Of the Blood” (working title for my new fantasy book), I ran into a character problem. I had this POV character that I needed. Well, I wanted her to exist too. I realized I’d been counting on her more for what she represented to the story and not actually for who she was. She had all the warning signs of being a flat character, but it was worse because I realized I knew nothing about her. She wasn’t even an actual character yet.

This gave me pause. There are plenty more detailed outliners that myself, but I can’t write anything without knowing where I’m going. Or in this case, who I’m writing about. So, I needed to find a way to make her more than a character serving the plot.

How to do it?

Talk to a hundred writers and you’ll get a hundred answers. For me, I first looked at her world. Who is she in relation to her family? Her hierarchy in the clan?

This book has a pseudo matriarchal society at its core so mothers and their daughters are pretty important. Well, my character was the fifth daughter, so how important is she really? Close to power, but not really holding any. I can run with that.

Then it was asking myself what does she want? I couldn’t answer the grander question of what is her purpose in relation to overcoming personal flaw and all that, but how about on a smaller scale. Okay, she’s the fifth daughter of a royal house, what does somebody do with that?

Respect. I’m running with the theme of her wanting the respect of those around her. She feels like she has to live up to this shadow and is going out of her way to do it.

It’s a little cliché, but the fun part about being a writer is recognizing that. She wants respect, but me, Writer Dan, knows she needs something else. I’m not entirely sure what that is yet, but I know it’ll tie into her purpose. It’s the thing that’ll make her feel whole.

So the beginning of her arc will be chasing artificial situations and trying too hard to win the respect of others. That’s also something I can work with. It gives me a nice foundation for her character to build from. As the story progresses, I’ll start massaging that into better growth.

Coming up with that was about an afternoon’s worth of thoughtful reflection. Just writing down some questions and answers and seeing what made sense. I wasn’t focusing on the plot or anything else to do with the book. I was just trying to figure out who was this person I was creating in a realistic fashion. Doing it that way is a much more organic approach to the eventual conflicts.

There’s still a long road to go, but for now, though, it’s a heck of a lot better than a character whose only function is serving plot POV.

Passion

As any good writer knows, you can’t wait for inspiration to write. Not if you want to write for a living. It’s a muscle that needs to be trained. You can write without the muse and can still end up writing good material. There are better posts than this one all about art versus the craft of writing, but I can condense it all down for you. Spoiler alert, it usually boils down to discipline.

No. For today, I want to talk about Inspiration’s sister, passion.

Yes, it’s possible to write without passion, but your readers will feel it. Passion for what you’re working on infuses every word on the page. It’s what keeps that excitement and energy going through the marathon slog from that first blank page to writing “The End” thousands upon thousands of words later.

I’m not a full time writer. I have a day job I need to balance with my (hopefully) burgeoning writing career. So that means, I can only really work on one project at a time. I’m trying to be better about that, though. The best I can do right now is while I wait for edits on one book, I’m doing the research, brainstorming, and worldbuilding for the next one so by the time I’m completely finished Book A, I’m all set for Book B.

I had the kernel of an idea: scientists discover a beacon from the deep and go down to investigate. I worked and worked on it until it became this story about a crashed spaceship and extraterrestrial cover ups. Hence, my last post about the research I was doing. But then something happened. The story became more about the government conspiracy than what originally got me excited about the project in the first place: exploring the deep, dark ocean.

Ideas change. Concepts evolve as you work on them. Your end result rarely looks like what you originally thought it would be. These things tend to happen. But somewhere along the way, I’d completely lost the passion I once held for the project. It started feeling like something I had to do and not something I wanted to do. I’m not going to lie, I actually got pretty depressed about it.

Here I’d spent all this time working on an outline and characters and concept for something that was going to make me miserable to work on it. Or I could throw it all away and start fresh, wasting all of that development time making me miserable for squandering resources.

It was a hard decision, but ultimately, I decided to start something new. Well, new-ish. I’ve been cooking up a fantasy setting for quite some time and while I was waiting for reader feedback from my last novel, I wrote a “practice” short story in that world to test the worldbuilding waters so to speak. Turns out I love it. So much so, that I’m working on selling that piece and I now want write an entire novel in that setting.

I wanted someone to tell me it was okay to abandon the other work and switch to something else. Once I made that decision for myself, though, I knew it was the right one. I’m not one to give up or chase flights of fancy. I like to think I have pretty good work ethic – hence why I was feeling bad about the situation. But this has already proven to be the right decision.

I have passion for this new story. My initial concept for it morphed and changed and grew from that tiny kernel just the like the other one did, but I didn’t lose the spark this time. I’m excited to get started. Excited to work on these characters. Excited to see this world. It’s my most ambitious novel yet and I should be quaking in my boots. Honestly, the spaceship one might be easier. But go big or go home, right?

That’s not to say that all the research and work I’ve done on the other story is totally wasted. Who knows? Maybe I’ll come back to it one day and resurrect it in some form or another. Or maybe I’ll pick at its corpse for the stuff I still like. I really do plan on writing a novel about a discovery at the bottom of the ocean. But for right now, it looks like I’ll be writing something else.

So while you can’t wait for inspiration to strike, you can at least lean into the work you enjoy doing. Your enthusiasm will help carry you through. If you’re not excited about the book, why would your readers be?