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Cut, Paste, Sigh. And, Repeat.

Since last Friday, I’ve done a lot of reading and reflecting on the novel that I am trying to write. This novel writing business isn’t easy.

During the last week, I flipped through – and clicked through – several great articles on theme and irony, character goals, and ways to breathe life into your story. My recent post on theme and irony stirred up a flurry of comments and more great information from Lydia Sharp. As well, the March issue of The Writer has turned out to be a wealth of information for a fledgling novelist like myself.

I say “fledgling,” because I wavered back and forth between thoughts that “this thing will never fly” to the word that pops up almost every other day in conversations on writing: persistence.

I highlighted the title of my novel and marked it as “temporary.” And (almost kicking and screaming), I went back to the beginning of the draft. I dropped in a brand new opening scene. Then, today, instead of diving into a rewrite of the next chapter, I took out chunks of the story that suddenly switched up the plot (like when the main character’s mom died, no she didn’t, yes she did…CUT). And, I started making an outline.

Starting with an outline would likely make for a smoother rewrite in the future. Now, I know. As a writer, I feel myself growing in all directions. I am reminded again of a quote from one of my favorite writers, Margaret Atwood:

A lot of people do have a book in them – that is, they have had an experience that other people might want to read about. But this is not the same as “being a writer.” Or, to put it in a more sinister way: everyone can dig a hole in a cemetery, but not everyone is a grave-digger. The latter takes a good deal more stamina and persistence (26).

There’s that word again. Anyone can find inspiration for a story, but it takes perseverance (and a willingness to go back to the beginning) for that story to take root and flourish.

This novel continues to be my exercise in developing plot, character, and structure, as well as in sticking with a project until the end. Even if the story never gets published, I will be a different writer once I put the manuscript down for good.

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Atwood, Margaret. Negotiating with the Dead: A Writer on Writing. New York: Anchor Books, 2002. Print.

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Theme and Irony Working Together

This week I read two articles that touch on two different concepts; however, both articles offer guidance on how to trim and focus my work in progress.

In the March issue of The Writer, author Terry Bain* discusses a step by step approach to finding the theme in your story. He mirrors my past (green writer) inclinations, when he says he thought his stories were finished and ready for publication, because they sounded good. For me, I always thought a story that flowed well and told a good tale was good enough. But, like Terry Bain, no one was falling over anyone else to publish my early works.

Terry Bain suggests, maybe those stories were missing a central focus, a theme. He says a writer can start a story with a theme in mind, but the writer may do better to let the story unfold and discover the theme later.

I’m a writer; I know about theme. But, it is a piece of the puzzle I tend to ignore. Typically, theme isn’t the spark that ignites my stories (except if I’m writing on Wednesdays), but it is one concept I should hold onto right now as I rework my novel.

Theme is not to be confused with plot, which moves a story forward. Terry Bain says, theme can “shine [a] flashlight on some aspect of life.” A theme doesn’t give the reader answers to world-wide problems, but it does provide another way for the reader to connect with the story.

He also says, “…knowing your theme…helps you make key decisions about what to keep and what not to keep,” and he offers some questions and suggestions to help an author clarify the theme and refine the story:

  • “Do the characters’ actions imply any universal truths?”
  • “What made you write this story in the first place?”
  • “Watch for repeated words or images. Or words and passages that strike you as particularly poignant.”
  • “Try to simplify your ideas into a few simple words.”

His last suggestion leads me straight into the next great article I read this week on The Sharp Angle.

Lydia Sharp wrote a post on Irony that complements much of what I read from Terry Bain. Lydia Sharp, however, suggests finding focus in your story via a one sentence pitch, a sentence that incorporates irony.

“[I]rony,” she says, “is a writer’s best friend.” If a well-crafted sentence contains irony, the writer can reveal the complete story and hook the reader at the same time. And, that well-crafted sentence becomes crucial when the author approaches an agent.

“The irony shows the potential for an engaging story, no matter what the story is about. Without that clear potential, good luck finding someone to take an interest in your work, let alone represent it or publish it.”

I’m not ready to pitch my story. But, I want this rewrite to move along with a little more ease. Theme and Irony might be two key concepts to keep in my mind’s forefront.

If you haven’t read Terry Bain’s article, pick it up. And, if you haven’t seen Lydia Sharp’s post, click on over. I’d love to know your thoughts and hear about your experiences. Do you start your stories with a theme and a one-sentence pitch? Or do you write the story first, then flesh out the point?

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* Bain, Terry. “Theme is What Unifies Your Story.” The Writer. Mar. 2010: 21-23, 55 . Print.

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The Driving Force

About every other day, I open up my novel manuscript, tinker away on my laptop and try to mold “draft one” into a much better “draft two.”

The rewrite has been slow. On the days I ignore it, I wonder if my refusal to open the file reflects my lack of faith in the story or my lack of faith in my writing.

Some days it’s the story, other days it’s my writing, on a bad day it’s both.

Recently, however, I sat down with my ego and explained in no uncertain terms that finishing the novel can be as rewarding as having it published. Amazing things happen when you let go of expectations. The story starts to flow again. I wrote over 1,400 words today, finished chapter three, and rekindled my love for the characters.

In between rewrites this week, I published a post that I consider an exercise in character development – the main character in my novel, not my personal character (unless you count that chat with my ego as “development”). I also found a great article on character-driven stories versus plot-driven stories, something I understood but needed to see again more clearly.

Elana Johnson breaks down plot versus character in an essay she posted on QueryTracker.net (you can read her post here). She says, “[t]he main focus in a plot-driven novel [is]: get out of danger. Stay alive. Accomplish something.” In a character-driven story, the protagonist – how she sees the world or how her perceptions change – is more important than the action:

“In a character-driven story, the author builds the plot around the character.”

Both character and plot interact, but one of them takes the lead. Elana Johnson ends with several questions to help determine which one the writer puts first. Question number one speaks directly to me:

“What is the force propelling your story from beginning to end? Is it the characters or what they’re going through?”

My answer to that question (the characters) sealed my understanding about the story I am writing. And, I learned that even if my fingers aren’t typing in draft changes, I am still developing the story: every article I read on the craft of writing adds meaning to my work in progress.