Wednesday, October 14, 2009
Tuesday, October 13, 2009
To plot or not to plot
I've figured out why I was having such a hard time getting into my 3rd MS.
See, my third MS is a straight crime narrative (titled 'Next of Kin') and I was treating it like a psychological thriller. The former requires heavy plotting in order to keep the narrative coherent, whereas the latter - I've found - works much better when plotting is minimal and the narrative is allowed to evolve naturally.
Let me explain:
My first MS is titled 'Goodnight Angel' and it's about a retired private eye who's dragged back into investigation when a mobster's daughter is killed. It was a straight narrative with flashbacks drizzled throughout the plot and it took forever to get it right. I'm thinking of re-writing it now, actually, because I think the tone could be improved now that I've had a few more years to practice and mull it over. But that's not the point.
The point is: my first MS was heavily plotted because it was a straight crime novel. No real psychology (although I put as much depth into the motive of the killer as I possibly could without making it cheesy) and because of that, I'd worked out everything that was going to happen in the story before it actually happened. I didn't stifle the plot, like I thought I might by setting it down so early. I simply guided it.
My second MS is titled 'Tell No Tales' and it's about a playwright who kills people to describe their deaths in his plays. It's very twisty and turny and it was the most fun I've had writing because I had no idea what that bastard was going to do next! I went in completely blind, with no plot or ending in mind. There were even a couple of times where I had to flip a coin to decide how the plot would move after certain developments. The result was a psychological thriller that was heaps of fun and over before I realised it.
This latest MS is more similar to the 'Goodnight Angel'. It needs a concrete plot, or else I have real trouble figuring out what's going to happen next, or how to make my characters act in one scene since I don't know how it will affect the next. In 'Tell No Tales' this uncertainty was a thrill. In 'Next of Kin' it was a huge problem that's given me three false starts already.
So, I now have a plot set in stone. With any luck, I'll have a first draft done by the end of the month. Wish me luck!
TTFN
See, my third MS is a straight crime narrative (titled 'Next of Kin') and I was treating it like a psychological thriller. The former requires heavy plotting in order to keep the narrative coherent, whereas the latter - I've found - works much better when plotting is minimal and the narrative is allowed to evolve naturally.
Let me explain:
My first MS is titled 'Goodnight Angel' and it's about a retired private eye who's dragged back into investigation when a mobster's daughter is killed. It was a straight narrative with flashbacks drizzled throughout the plot and it took forever to get it right. I'm thinking of re-writing it now, actually, because I think the tone could be improved now that I've had a few more years to practice and mull it over. But that's not the point.
The point is: my first MS was heavily plotted because it was a straight crime novel. No real psychology (although I put as much depth into the motive of the killer as I possibly could without making it cheesy) and because of that, I'd worked out everything that was going to happen in the story before it actually happened. I didn't stifle the plot, like I thought I might by setting it down so early. I simply guided it.
My second MS is titled 'Tell No Tales' and it's about a playwright who kills people to describe their deaths in his plays. It's very twisty and turny and it was the most fun I've had writing because I had no idea what that bastard was going to do next! I went in completely blind, with no plot or ending in mind. There were even a couple of times where I had to flip a coin to decide how the plot would move after certain developments. The result was a psychological thriller that was heaps of fun and over before I realised it.
This latest MS is more similar to the 'Goodnight Angel'. It needs a concrete plot, or else I have real trouble figuring out what's going to happen next, or how to make my characters act in one scene since I don't know how it will affect the next. In 'Tell No Tales' this uncertainty was a thrill. In 'Next of Kin' it was a huge problem that's given me three false starts already.
So, I now have a plot set in stone. With any luck, I'll have a first draft done by the end of the month. Wish me luck!
TTFN
Sunday, October 11, 2009
So, I realised something last night while I was plotting my latest MS. In order for the thing to work, I'm going to have to kill of one of my favourite recurring characters.
I'm working on a trilogy of sorts - I believe I've told you - about a private investigator named Robin Lacey. Her friend on the police force is Lieutenant Collins, a guy who spends most of his time wishing he could be like Humphrey Bogart. He has a voice that he practices so he sounds like Marlowe and he tries to teach his young nephew how to turn up his cap to trick bookstore workers into helping him.
The premise of the MS I'm working on is that Collins' nephew is kidnapped because his sister-in-law has turned state's evidence for the cops.
But now I'm stuck with a dilemma. I've realised that the ending I've been working towards will need to result in the death of one of two characters. Basically, I need to fix it so Robin saves one of them, but not the other. I've got a toss-up between two endings: Either Collins dies and his nephew is spared, or his nephew dies but Collins is spared. Collins, who I've gotten to know over two and a half manuscripts, isn't (I think) one of those people who would choose themselves over their family, especially since he and his nephew are so close.
I remember when I read Misery by Stephen King. The main character is a writer who, in one of the chapters, tries to convince a psycho fan that he'd had no choice but to kill off his main character because that was simply the way the book ended.
It's sad, but it's true. If I have to kill Collins because that's the way the book pans out, then that's what I'm going to have to do. I've never been in a situation like this before, where I literally have no idea who's going to survive the book!
In the mean time, I guess I'll just write two endings. Then, when I've finished the rest of the MS, I'll decide which fits best overall. I don't want to get too emotional, because then I might make the wrong decision and the book will suffer.
Bah! Bloody choices...
TTFN
I'm working on a trilogy of sorts - I believe I've told you - about a private investigator named Robin Lacey. Her friend on the police force is Lieutenant Collins, a guy who spends most of his time wishing he could be like Humphrey Bogart. He has a voice that he practices so he sounds like Marlowe and he tries to teach his young nephew how to turn up his cap to trick bookstore workers into helping him.
The premise of the MS I'm working on is that Collins' nephew is kidnapped because his sister-in-law has turned state's evidence for the cops.
But now I'm stuck with a dilemma. I've realised that the ending I've been working towards will need to result in the death of one of two characters. Basically, I need to fix it so Robin saves one of them, but not the other. I've got a toss-up between two endings: Either Collins dies and his nephew is spared, or his nephew dies but Collins is spared. Collins, who I've gotten to know over two and a half manuscripts, isn't (I think) one of those people who would choose themselves over their family, especially since he and his nephew are so close.
I remember when I read Misery by Stephen King. The main character is a writer who, in one of the chapters, tries to convince a psycho fan that he'd had no choice but to kill off his main character because that was simply the way the book ended.
It's sad, but it's true. If I have to kill Collins because that's the way the book pans out, then that's what I'm going to have to do. I've never been in a situation like this before, where I literally have no idea who's going to survive the book!
In the mean time, I guess I'll just write two endings. Then, when I've finished the rest of the MS, I'll decide which fits best overall. I don't want to get too emotional, because then I might make the wrong decision and the book will suffer.
Bah! Bloody choices...
TTFN
Friday, October 9, 2009
You know it's funny. Once I set my mind to keeping a blog, I immediately neglect it! It's like I just can't help myself.
So, let me apologise for leaving this second post for so long. I was stressed over my university studies because I've managed to make my lecturer hate me. I called her out on the timetabling of the unit - which effectively meant we, as students, weren't taught what we needed to know for our exams until after the exams took place - and apparently she took offence.
Huh.
Anyways, school's out for the summer. At least, for most students. I've got summer school because I want to speed up my degree and get out of here as fast as I can! So I'm covering three extra units this Christmas.
I've put writing on hold for the last couple of weeks. When I'm busy trying very hard not to scream at old has-been lecturers I tend to get blocked up, re: writing. I'm going to work really hard over the next few weeks though, before the Christmas session starts, so I have something to show for the year. I'm also thinking about pulling out the first manuscript I ever wrote and tweaking it so it resembles something worthwhile.
TTFN
So, let me apologise for leaving this second post for so long. I was stressed over my university studies because I've managed to make my lecturer hate me. I called her out on the timetabling of the unit - which effectively meant we, as students, weren't taught what we needed to know for our exams until after the exams took place - and apparently she took offence.
Huh.
Anyways, school's out for the summer. At least, for most students. I've got summer school because I want to speed up my degree and get out of here as fast as I can! So I'm covering three extra units this Christmas.
I've put writing on hold for the last couple of weeks. When I'm busy trying very hard not to scream at old has-been lecturers I tend to get blocked up, re: writing. I'm going to work really hard over the next few weeks though, before the Christmas session starts, so I have something to show for the year. I'm also thinking about pulling out the first manuscript I ever wrote and tweaking it so it resembles something worthwhile.
TTFN
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