Grim and the Girl

So I'm rereading James Scott Bell's Super Structure: The Key to Unleashing the Power of Story because I read that and Writing the Breakout Novel by Maass EVERY TIME I begin a new project. I even have a Maass List where I check off elements of my story and the 14 Sign Posts list to make sure I'm hitting every beat of my novel.

I know...I'm a total Planner. My slightly OCD tendencies have been well noted and commented on by my crit partner, the illustrious Erin Kane Spock over at Spock Writes Romance. She is a Pantser through-and-through so you can imagine our conversations.

Something that really hit me this time though, while going over my notes, is the whole FACING DEATH thing that each character has to endure.  Whether it is actual physical death, career death, or even psychological death...the lead in your book faces some permutation of it.

I mean, my main character stares down actual, grueling, torturous death in my series, but the death of her dream...her hope...that hits me harder. It changes her more than toughening to survive does. It steers her choices in a far greater way than just trying to stay alive.

Her character arc just got a new dimension and I hope to really explore that. This got me thinking about an idea for book journaling that I came across a while ago. I think its from Bell, but I can't be sure. Its a way to keep your character from sounding like a mini-you -- you write in their voice, the reasons why they do not want to take part in your story.

I was using it as an exercise to isolate the "argument against transformation" without knowing I'd have an epiphany about my main character.  I had no idea that Charlotte was so broken over what she gives up that it was far worse for her than the prospect of death itself.

I encourage all of you authors out there to try a Character Journal and see what insights, if any, come out of it. I'd love to hear.

Until next time...Go Write!

+Raquel Byrnes 

Corralling Creativity for Cohesion

I've written about my "Cool Stuff That Never Happens" notebook where I keep all the strange scenarios that pop into my head when I should be doing something responsible. Its a creative boosting device I picked up years ago at a writing workshop.  If you're interested in the whole explanation including my reason behind "Killer Geisha's with Knife Fans," then take a look at the original post here.

So anyway, this notebook I have is chock full of the most outlandish plot twist, fight scenarios, and action sequence ideas I've ever had...and it keeps growing.  I don't edit my thoughts in this notebook. I don't talk myself out of things cause they're "too crazy" or "might have been done before." I give myself a TOTAL PASS in terms of what I write down. This is good. This is being creative.

The problem is that creativity has to be corralled in order to have cohesion.

Let me be clear here. I am not advocating stifling your creative juices. Not at all. What I am suggesting is once you have all these awesome ideas flitting around your noggin you have to actually pare them down to those that fit your story.

And that is why story blocking is so important.

I would love to have dirigible fights, killer automaton canines, and a spectacular fight atop a speeding train whilst dodging lighting whips...who wouldn't?

In fact, it is quite enticing to throw in everything just because I liked writing the scene and it turned out really, really cool. But you have to ask yourself a question...

Does it move the plot forward? Does it serve the reader to better immerse in the plot or character?

Blocking out your story, however you choose to go about it, is an essential tool in helping you tell the story you want to tell without going off in random directions and losing the reader's interest. Whether you are a Discovery writer or an Architect writer (Planner or Pantser) there has to be some sort of forethought and framework in order for your novel to have a clear sense of moving forward.

Make an outline of the basic points of your plot. Does your sequence serve the story or do you just like it?  How about you notecard/corkboard authors? Does your idea fit in the flow of your book?

From Snowflake method to good old scribbles in a notebook, have a planned plot. 

You can deviate from it if need be, just have a general idea.  I guarantee you will spend less time in frustrated editing at the back end if you keep yourself on track.

Until next time...Go Write! 
+Raquel Byrnes