27 Comments
Apr 2, 2023Liked by Kat Lewis

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?

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Apr 2, 2023Liked by Kat Lewis

Absolutely outstanding advice! I am so inspired.

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Curious, why not write on your lunch break? I think I will read the Story Solution, your recommendation is in my head now!

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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.

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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?

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Apr 28, 2023Liked by Kat Lewis

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.

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