I am keenly aware of how it feels to throw things out and start fresh. I actually published my book a few years ago and even as I hit upload I knew that I wasn't happy with the way things were (I took it down last year). What I didn't know what how entirely differently the story was going to take shape (eventually).
So because of your recent post about Setting a Trap for your Protagonist, I woke up the other day with a fresh (and I hope more engaging) way to start this story. I get really hung up on the first few chapters--always. It's hard for me to move past that until I thoroughly understand what is happening and why and I end up overediting those chapters. I like to call it wordsmithing, but really...it's spending time there when I should be moving through the subsequent acts of the story. And I think I'm understanding more why I do that. Because I need the trap. I need the reason for my protagonist to be in trouble so that I can get her out of trouble (or rather she'll get herself out...ha). Anyway. I have been writing furiously all week because of the idea of the Core Wound and the need to make my protagonist immediately come across as sympathetic and strong. Rather than someone who just lets things happen and waits to see what's next (nothing wrong with that...in fact, um, maybe there's a bit of me in there...ahem), but I'm working on the craft and it seems like a good thing to get her involved and get readers attached to her and care for her well-being early on. And I think I've finally uncovered how to do that. And it is not at allllll what I expected, but it just came to me and the flow is on, so I'm following it. Of course, now I need to spend some time reworking the outline, but I think this helps.
So long story long, aside from the fact that I completely started this book over, I have also re-started the the restart. I haven't thrown any words out (I might need them later!) but I was approaching the 2nd Act before this epiphany, and much of that writing is moot now. But it's all good! I'm excited.
So thank you for your clarity and for giving us space to talk about our writing and to come to understand how major changes don't have to be scary or daunting or off-putting, but can be just the thing to lead to a fresh start.
I love what you said about giving your protagonist more agency to get out of the trap in Act I.
I had a similar experience when I started over, too. The shape that my book ended up in wasn't at all what I was expecting, but it flowed so naturally when I was working on it that it felt inevitable almost. I think that's why I like outlining. It's hard in the beginning, but it can really create more space to play in the writing itself later on.
I'm so happy to hear that your first act is off to a strong start now. Looking forward to the next update on your work!
I’m tinkering right now with “what would happen if I cut this entire plot line that has become as unwieldy as a barge?” When I start something new, I most often begin with a what if (plot); then, who could learn an important thing in that situation (character); and then I figure out where the best location for this action would be. I have also started stories with a frustrated person (aka, angry dialogue) and an obstacle to overcome. And I’ve started with a place I love. Who lives there? What are the challenges?
These are great prompts to start a story! I love the question of what if. I usually start with character. The next time I start something new, I’ll be asking myself the what if [plot] question.
When I was trying to write during my lunch break, I discovered that it takes me about 45 minutes of writing to get into the groove.
But if I want to write during lunch, I have to go to a cafe far enough away from the office that my coworkers won’t see me and (kindly!) try to engage with me. By the time I get to that cafe, order, pick up my drink, and finally sit down and write it’s been about 15 minutes. 45 minutes when I’m just starting to get in the groove, it’s time for me to pack up and go back to work.
There are few things I hate more than being interrupted while writing and that felt like an interruption. It put me in a bad mood, and I wasn’t as cooperative and patient in the second half of my work day. I think generally prefer to write in long sessions so short bursts don’t work well for me.
What about you? Do you prefer long writing sessions or frequent short ones?
I love having three hours or so to immerse myself. After that, I lose momentum. But haven't seen very many three-hour blocks in the past few years. So what really happens is: I set a timer for 30 minutes early in the day. That gets me in the chair without being too anxious about all the other stuff I have to do. It takes about 10 minutes to get lost in the story. Sometimes I need [google youtube focus music] to shut out outside noise. After the 30-minute timer goes off, if I have the freedom, I can stay at the desk until thirst or other body signals make me get up. I rarely get more than 90 minutes in a single day. By this time of day (just returned from a night meeting; it's 9:30 Eastern DST) I am too tired to put out fresh words. However, I'm about to spend some time with Leonard Pitts's Grant Park. If you ever read thrillers by journalists, give this one a try!
Wow, I would be devastated to cut 200 pages at once. I've probably cut around 25-30,000 words from my memoir but a little bit at a time, so it felt okay. I actually didn't mind cutting most of it because I knew I was making the story stronger.
I've always written with plot in mind. I don't even understand how people just invent characters and develop books from that alone! I'm also confused when people say their characters talk to them. Do they mean that literally?
I almost always start a story with an idea for a character, which might be the reasons I struggle so much with plot.
I don’t think of my characters as talking to me (though I know some people who do!), but I like inhabiting one character’s mindset and observing the other characters through that lens.
For me it’s like a scene playing in my head. Like I have a vision or a glimpse. If it’s a voice per se, it’s my own, but I know the context for where the words would reside if that makes sense.
This story that I’m playing around with the female character beats up another one with a baseball bat to save her ex from being beaten to death. And it came to me with the ex somewhat sympathizing because he knows what it feels like to be at receiving end of her wrath (although not with a bat)
Similar to what Regine said. I talk to myself pretty constantly--I'm never alone! When I was little, I remember my mother saying, "Hush! I can't hear myself think!" She was never a writer, but she must have been working through something. And like she said, I have to get quiet before I can hear the voice. When my characters talk, it's still *me,* focusing on a story problem, but I'm coming at it from the perspective I've given them, and finding out what they might say.
Sorry for commenting almost a month on–but wondering what you mean by "construct a chess table"? I saved that bit to Readwise and have been staring at it in increasing consternation each time I see it.
It probably goes without saying that I have a very “left-brain” approach to writing. To me, writing a story is similar to how chess functions as a game. If I have a chess set and I lose the white knight, I can replace the knight with a quarter or a dice or a Monopoly piece and still play the game. But if I lose the board, it’s much more difficult to play. I basically have to buy a new board or make one from scratch. The chess pieces lose their utility without the board, but the board can still be used for chess if pieces are missing.
I see story structure (or plot) as a chess board and characters as the pieces. Characters can be developed and wholly fascinating to me as their writer. But without a well-structured story that pushes the characters to transform, they likely won’t be compelling to my (western) reader. It’s a huge generalization that may be unhelpful to some writers, but I believe that plot and story make characters compelling. Without plot/story, the characters have significantly less meaning for the reader.
What are your thoughts on this? If you had to pick one, do you think plot depends on character more? Or do you think character is more dependent on plot?
They’re both of course important and work together, but I’d love to hear your thoughts!
I am keenly aware of how it feels to throw things out and start fresh. I actually published my book a few years ago and even as I hit upload I knew that I wasn't happy with the way things were (I took it down last year). What I didn't know what how entirely differently the story was going to take shape (eventually).
So because of your recent post about Setting a Trap for your Protagonist, I woke up the other day with a fresh (and I hope more engaging) way to start this story. I get really hung up on the first few chapters--always. It's hard for me to move past that until I thoroughly understand what is happening and why and I end up overediting those chapters. I like to call it wordsmithing, but really...it's spending time there when I should be moving through the subsequent acts of the story. And I think I'm understanding more why I do that. Because I need the trap. I need the reason for my protagonist to be in trouble so that I can get her out of trouble (or rather she'll get herself out...ha). Anyway. I have been writing furiously all week because of the idea of the Core Wound and the need to make my protagonist immediately come across as sympathetic and strong. Rather than someone who just lets things happen and waits to see what's next (nothing wrong with that...in fact, um, maybe there's a bit of me in there...ahem), but I'm working on the craft and it seems like a good thing to get her involved and get readers attached to her and care for her well-being early on. And I think I've finally uncovered how to do that. And it is not at allllll what I expected, but it just came to me and the flow is on, so I'm following it. Of course, now I need to spend some time reworking the outline, but I think this helps.
So long story long, aside from the fact that I completely started this book over, I have also re-started the the restart. I haven't thrown any words out (I might need them later!) but I was approaching the 2nd Act before this epiphany, and much of that writing is moot now. But it's all good! I'm excited.
So thank you for your clarity and for giving us space to talk about our writing and to come to understand how major changes don't have to be scary or daunting or off-putting, but can be just the thing to lead to a fresh start.
I love what you said about giving your protagonist more agency to get out of the trap in Act I.
I had a similar experience when I started over, too. The shape that my book ended up in wasn't at all what I was expecting, but it flowed so naturally when I was working on it that it felt inevitable almost. I think that's why I like outlining. It's hard in the beginning, but it can really create more space to play in the writing itself later on.
I'm so happy to hear that your first act is off to a strong start now. Looking forward to the next update on your work!
I’m tinkering right now with “what would happen if I cut this entire plot line that has become as unwieldy as a barge?” When I start something new, I most often begin with a what if (plot); then, who could learn an important thing in that situation (character); and then I figure out where the best location for this action would be. I have also started stories with a frustrated person (aka, angry dialogue) and an obstacle to overcome. And I’ve started with a place I love. Who lives there? What are the challenges?
These are great prompts to start a story! I love the question of what if. I usually start with character. The next time I start something new, I’ll be asking myself the what if [plot] question.
Absolutely outstanding advice! I am so inspired.
Thanks for reading!
Curious, why not write on your lunch break? I think I will read the Story Solution, your recommendation is in my head now!
When I was trying to write during my lunch break, I discovered that it takes me about 45 minutes of writing to get into the groove.
But if I want to write during lunch, I have to go to a cafe far enough away from the office that my coworkers won’t see me and (kindly!) try to engage with me. By the time I get to that cafe, order, pick up my drink, and finally sit down and write it’s been about 15 minutes. 45 minutes when I’m just starting to get in the groove, it’s time for me to pack up and go back to work.
There are few things I hate more than being interrupted while writing and that felt like an interruption. It put me in a bad mood, and I wasn’t as cooperative and patient in the second half of my work day. I think generally prefer to write in long sessions so short bursts don’t work well for me.
What about you? Do you prefer long writing sessions or frequent short ones?
Makes sense. I'd much rather write for several hours than for a short period of time.
I've heard some people say they get their writing done in 15 minutes a day, and that would be impossible for me.
I had the same question!
Same question! Obviously, we were all lured in by a mysterious hook.
I put my comment under Krista’s question. But I wanna hear about your writing preferences. Do you prefer long writing sessions or frequent short ones?
I love having three hours or so to immerse myself. After that, I lose momentum. But haven't seen very many three-hour blocks in the past few years. So what really happens is: I set a timer for 30 minutes early in the day. That gets me in the chair without being too anxious about all the other stuff I have to do. It takes about 10 minutes to get lost in the story. Sometimes I need [google youtube focus music] to shut out outside noise. After the 30-minute timer goes off, if I have the freedom, I can stay at the desk until thirst or other body signals make me get up. I rarely get more than 90 minutes in a single day. By this time of day (just returned from a night meeting; it's 9:30 Eastern DST) I am too tired to put out fresh words. However, I'm about to spend some time with Leonard Pitts's Grant Park. If you ever read thrillers by journalists, give this one a try!
Left my answer under Krista’s comment. But I’m curious about your writing habits. Do you prefer long writing sessions or frequent short ones?
Wow, I would be devastated to cut 200 pages at once. I've probably cut around 25-30,000 words from my memoir but a little bit at a time, so it felt okay. I actually didn't mind cutting most of it because I knew I was making the story stronger.
I've always written with plot in mind. I don't even understand how people just invent characters and develop books from that alone! I'm also confused when people say their characters talk to them. Do they mean that literally?
I almost always start a story with an idea for a character, which might be the reasons I struggle so much with plot.
I don’t think of my characters as talking to me (though I know some people who do!), but I like inhabiting one character’s mindset and observing the other characters through that lens.
My characters don't talk to me, exactly--but they sometimes talk to each other. And I happen to be there.
: )
So how does that work exactly? I'm really curious to know. Like voices in your head that just start talking on their own?
For me it’s like a scene playing in my head. Like I have a vision or a glimpse. If it’s a voice per se, it’s my own, but I know the context for where the words would reside if that makes sense.
This story that I’m playing around with the female character beats up another one with a baseball bat to save her ex from being beaten to death. And it came to me with the ex somewhat sympathizing because he knows what it feels like to be at receiving end of her wrath (although not with a bat)
Interesting... thanks for explaining. Still hard for me to imagine, but I appreciate you elaborating.
I have a similar experience with this!
Similar to what Regine said. I talk to myself pretty constantly--I'm never alone! When I was little, I remember my mother saying, "Hush! I can't hear myself think!" She was never a writer, but she must have been working through something. And like she said, I have to get quiet before I can hear the voice. When my characters talk, it's still *me,* focusing on a story problem, but I'm coming at it from the perspective I've given them, and finding out what they might say.
aha...I don't even talk to myself really. I think in pictures!
Brains are fascinating. 🤓
I relate to this so much!
Sorry for commenting almost a month on–but wondering what you mean by "construct a chess table"? I saved that bit to Readwise and have been staring at it in increasing consternation each time I see it.
Happy to read comments any time!
It probably goes without saying that I have a very “left-brain” approach to writing. To me, writing a story is similar to how chess functions as a game. If I have a chess set and I lose the white knight, I can replace the knight with a quarter or a dice or a Monopoly piece and still play the game. But if I lose the board, it’s much more difficult to play. I basically have to buy a new board or make one from scratch. The chess pieces lose their utility without the board, but the board can still be used for chess if pieces are missing.
I see story structure (or plot) as a chess board and characters as the pieces. Characters can be developed and wholly fascinating to me as their writer. But without a well-structured story that pushes the characters to transform, they likely won’t be compelling to my (western) reader. It’s a huge generalization that may be unhelpful to some writers, but I believe that plot and story make characters compelling. Without plot/story, the characters have significantly less meaning for the reader.
What are your thoughts on this? If you had to pick one, do you think plot depends on character more? Or do you think character is more dependent on plot?
They’re both of course important and work together, but I’d love to hear your thoughts!