- Finished a comprehensive edit of Genesis of Judgment for Adam, and on schedule. Now to put together the very late issue 6 of Laser & Sword #
- New: What’s the most common POV problem?: Picking a POV to begin with and showing the entire scene thr.. http://tinyurl.com/l74pea #
Picking a POV to begin with and showing the entire scene through that person’s eyes. I would suggest most issues can be cleared up if you “get into character” as a method actor would.
To do this, first establish who the POV is in the first paragraph–second if you open with a zinger line of dialogue. Go through your manuscript and make sure the POV character is the first person named in each new scene and that we have something internal from them as quickly as possible to ground us in that view.
Next, in each scene, with pretty much every word in each scene besides pronouns and said, ask yourself:
If you deviate, do so deliberately, for instance, calling your POV character by their full name when they first appear, for plot reasons. Or describing a complex emotional state the readers must understand for your plot to work even though the necessary words are beyond the character’s capabilities. Or writing an omniscient scene showing a plot-critical event none of your POV characters are present for.
If you are careful to use a standard, intimate POV the rest of the time, these moments will become effective tools wielded intentionally by expert hands rather than haphazard marks of laziness.
Now, since this topic includes description, I should note some authors like to do a description dump towards the beginning of each scene. Be aware some acquisitions editors prefer only describing scene elements as the characters interact with them in the course of the scene. Also be aware some acquisitions’ editors allow or even favor the description dump method.
So what’s an author to do? Certainly, it is unwise to introduce new scene elements near the end of a scene, after the reader’s already drawn his own picture. However, for repetition’s sake, I would at minimum suggest you save the description dump for new settings. It’s also most effective if you keep it to one paragraph, two at most.
Likewise, you can please both camps by providing your character an internal motivation to be paying that close attention to her surroundings. But do avoid using the same motive every time, lest you run into repetition again.
- New: Twitter Weekly Updates for 2009-07-05:
New: Twitter Weekly Updates for 2009-06-28:
New: Twitter Weekly.. http://tinyurl.com/ohnczx # - got back story? ask: at what point can the plot not go forward w/o this? Show the past where it intersects with the present and no sooner. #
- New: Where oh where has my little muse gone?: Dear Andrea,
Since I started writing fiction, there have been .. http://tinyurl.com/mgsjmm # - From Ask Andrea: Alas, where have all the men of honor gone?: Dear Andrea,
Since the start of th.. http://648h0.tk # - New: From Ask Andrea: Alas, where h…: From Ask Andrea: Alas, where have all the men of honor gone?: De.. http://tinyurl.com/nlcteu #
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- New: A tale of two questions: it was the best of orphans, and the worst of prologues: Dear Andrea,
Two quest.. http://tinyurl.com/mypnuc # - God is our refuge and strength, a very present help in trouble.–Ps 46:1
A writer is crippled unless relying on the author of our faith #
Dear Andrea,
Two questions for you.
1-I am having trouble formatting on the new computer system I have. I thought I set it up for regular ms formatting, but it looks like that isn’t the case yet. I am not familiar with the term: widow/orphan control? Can you explain a little further?
2-What do you think of prologues? Some love them, other editors, a real no no and put off?
Signed,
New Computer Owner
Dear New,
In Christ’s Service,
Andrea Graham
Dear Andrea,
Since I started writing fiction, there have been a few times when the words really flowed. I was bit by the writer’s “bug”, blessed by the “muse”. These exciting times have lasted months at a spell. It’s very much like obsession. Under the influence of this passion, I can hardly think about anything else. If I’m not actually writing (like because I have to make dinner or do laundry or whatever) then I’m thinking about what I will be writing the next time I get a chance or I’m thinking about how to arrange said writing opportunity.
When my first obsessive period ended, I had a few theories why. My best guess was that it had to do with the failure of the product of those muse-assisted labors (a novel) to find an audience. I tried for several years to figure out why my muse left and how to get it back. Without the passion, I can’t get far. I tried, but my fiction is not only painful to produce, but stinks without it. I prayed about this. I wrote nonfiction and I did proofreading, editing, and critiquing. I also read how-to books and well-written fiction which could serve as inspiration.
My muse had abandoned me and left no forwarding address. Until about a week ago. I was watching a defunct TV series on DVD and one particular episode just jumped out at me as being “unfinished”. Yes, the series had been canceled a decade ago and I knew anything I wrote was doomed as unpublishable fan-fic because I didn’t own the characters or the setting, but I couldn’t help myself. I knew no one would ever read it, but, shockingly, my muse didn’t care. I *had* to write a resolution of that episode. Five years without a muse and I had maybe 5000 (bad) words of fiction to show for it. One week with a muse and I have 8000 words and no sign of abatement.
I love this condition and I love the way it makes my fingers flow, but now I want to know WHY it happens so I can induce it at will (during NaNo would be a prime example of a good time). What can I do to lure the writing “bug”, capture it and get it to be my friend and not an elusive visitor?
Signed,
Museless in California
Dear Museless,
Honestly, we’d all love to know that, but you’ve stumbled onto one solution already. Take ownership of the plot. Remove from the novel anything under copyright: change the character’s names, and any too-unique identifiable character traits, or otherwise tweak them until they’re all yours. The same principle applies to setting. Change all place names and unique landmarks and make the place your own. It’ll take work and care to keep the plot intact, but it can be done. Ideas can’t be copyrighted, so, as long as you’re careful to remove in your rewrites the actual, specific characters and settings from the show, you should have a salable manuscript at the end.
Sounds like you’ve needed a writer’s spiritual retreat, to take time to pray and reflect, and rededicate your pen to the Lord. And lick your wounds, of course, to lament. I know it’s hard when things don’t turn out the way we hoped. I certainly have a hard time remembering myself that God isn’t looking for results, but obedience. So let’s repeat it together: “God wants obedience, not results. God wants obedience, not results . . . .”
We need to be faithful to write what the Lord calls us to write, no matter what the numbers tell us. We never know what He can accomplish, what lives He can touch, through our foolishness.
This idea might come as strange, but the best solution I’ve found for writer’s block is to surrender our pens to the Lord and see what He does with it. He might surprise you. I started my WIP, Daughter of Eve, with the roughest of outlines for character and setting, a borrowed plot, and a wing and a prayer I might make it to 50,000. It’s now 75,000 with a totally different plot drawn from fleshed-out characters with minds of their own and a world rich enough to tempt my writer husband to play in it. I literally did not know what was coming next until I wrote it for most of the novel. That’s not me; that’s the Lord. (Obviously, the mistakes are mine. We do still need to edit and revise.)
On a practical note, you can write your way out of writer’s block, and badly written sitcoms begging for rewrites is one possible starting place. It might well be garbage, but keep it up until you find your story. You can always delete what doesn’t work and change the copyrighted elements later.
In Christ’s Service,
Andrea Graham
- stuck on a mini-synopsis? remember your ws: describe who the main character is, what they’re doing, where, when and why (motive/conflict) #
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- I finished my edit of Daughter of Eve, yay! And it’s still roughly 75,000 words, yay, yay! Contact me if you’d be interested in beta reading #
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- I’m getting close to finished editing Daughter of Eve and starting to think about recruiting beta readers #
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- Completed MS, Daughter of Eve. 25 chapters, 75,000 words, 265 pages. Now I just need to edit it . . . #
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