One of the weirdest things I discovered early in my career was that a story I’ve been writing on a screen not only looks completely different on the page, it reads completely different on the page.
That’s why a paper edit is crucial. Continue reading
Mammon and Max are fun characters for me because they’re amoral (not because they’re demons, but because they’re just made that way) and not particularly venal. Mammon hangs out with those who should be stepped on like bugs, but he really only needs slapped down every now and then, or at least have somebody pull him to one side and say, “If you do that, that would be stupid,” to be a fun if occasionally treacherous person to know.
Enter Max. Continue reading
Part of the discovery process for me is finding images that evoke character. They don’t have to look like the character although that’s always helpful, but the pictures I use as placeholders have to capture the attitude and personality of that character. When I thought about the Demon Island Historical Society, I thought of this Grant Wood painting:
Thank god, the math is over.
Escalation is pretty simple: the stakes get higher in each section between the turning points of the act. So checking for escalation is just making sure the stakes increase at each turning point.. Easy
Unless you’re an idiot who lets huge plot points drop so your protagonist can go shopping.
Let’s look at how this truck draft escalates while I berate myself throughout this post.
And now we come to the math portion of our program.
I put all the pieces of the truck draft together in one file and checked the word count: 41,067. This is a fine word count for a book that’s 120,000 words long, but this one is aiming for 100,000. So I need to ax about 6,000 to 8000 words in the Paper Edit. And not just any words, I need to ax for pacing. Argh. Continue reading
Here’s the thing about first acts: they’re a bitch to write. They’re loaded with back story and infodump that you have to make into the now of the story, you have to twist your narrative into a pretzel to foreshadow any character you can’t get into a scene, you have to start not only your main conflict but any subplots you’ve got going, and you have to do it all while moving your plot from the beginning where the stability is shattered to the first turning point where things get much, much worse and the story hits a climactic turning point that swings the entire narrative in a new direction. And you have to do that in 33,000 words or less that are never boring and continually escalate as the stakes rise. Continue reading
Yes, I know, that last scene ended abruptly. Here’s the next part.
Remember how slow the first double scene sequence was? Yes, I’m cutting it, but now we have another one: After breakfast, Nita and Nick go to work because that’s logically where they’d go. Unfortunately that’s boring. The solution: Make sure there’s lots of conflict and cut as much as possible. Continue reading
Welcome to another installment of rewriting the breakfast scene. There’s a reason why this one is so difficult: It’s the central turning point in the first act, the place where Nita and Nick start seeing each other as human beings instead of puzzles to be solved.
No, not me, I’m pretty chipper here, getting plenty of sleep, beautiful day, everything’s fine.
I’m talking about exhausting my text by rewriting. Continue reading