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Archive for the tag “decisions”

Tricky choices for authors

otterThere are so many choices for an author to make when embarking on a novel. What time period? What setting? What structure? What genre? What characters? What events? How true should it be to real history? What is the time frame? What is it all really about?

Many of these need to be answered before even starting out. No wonder so many potential novelists are put off at the first hurdle.

And as soon as you’ve made those decisions, (assuming you haven’t given up in despair,) another wave of questions immediately comes hurtling towards you.

How are you going to tell the story? Whose point of view? First or third person? What tone? What voice? Where should it start? What is going to kick the whole thing off? Where is it going to end? How are you going to layer in the clues to make that ending satisfactory? And, horror of horrors, what are you going to put in the middle?

Obviously there are even more choices to be made further down the line, about style, dialogue, punctuation, action versus exposition, amount of description, and what actual words to use, but for now I am going to focus briefly on the question of what to put in the middle. Or, as it is more commonly called, the plot.

Plots are tricky things to get right. But when they work, they engross readers in your make-believe world so effectively that they keep turning the pages, even at chapter endings, and finish up by feeling that their lives have been enhanced in some way, and best of all, eager to start reading your next book.

There are lots of things that can go wrong with a plot. The basic premise might be too weak. The concept may lack believability. The story might be too yawn-makingly obvious. The inherent conflict set up by the opening may not be sufficiently escalated. Readers also lose interest when crucial bits of information are missing, key scenes avoided, or if there is too much repetition. On the other hand there may be too many red herrings, inconsistencies or loose ends. As Chekhov said: ‘One must not put a loaded rifle on stage if no-one is thinking of firing it.’ The ending should not appear random or insubstantial, or, as so often seems to happen nowadays, to have been plonked in by the author just to get the whole damn thing over with. In my view, the very best endings grow out of the story, giving the reader what they want, but not quite in the way they expected.

There is no magic formula for a great plot, and no quick fixes for a bad one. It is the individual decisions that writers make that are the key to success. So take time to ask yourself if your story is genuinely interesting. Are your characters’ quests worth pursuing?

 If the answer is yes, then I reckon you are well on the way to a bestseller!

 

 

Helen Carey’s latest novel LONDON CALLING is now out in paperback.

All her books are available from good booksellers, or on line.

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Too many choices?

There are so many choices involved in writing a novel. Too many for comfort. What time period? What setting? What structure? What genre? What characters? Where do they live? What is their past life? What motivates them? What events? How true should it be to real history? What is the time frame? What is it all really about?

All, or most, of these need to be answered before even starting out. No wonder wannabe writers are often put off at the first hurdle.smashing keyboard

And as soon as you’ve made those decisions, (assuming you haven’t given up in despair or put a hammer through your keyboard,) another wave of questions immediately comes hurtling towards you.

How are you going to tell the story? Whose point of view? First or third person? What tone? What voice? Where should it start? What is going to kick the whole thing off? Where is it going to end? How are you going to layer in the clues to make that ending satisfactory? And, horror of horrors, what are you going to put in the middle?

Obviously there are even more choices to be made further down the line. Choices about style, dialogue, punctuation, action versus exposition, amount of description and what words to use. But for now I am going to focus briefly on the question of what to put in the middle. Or, as it is more commonly called, the plot.

Plots are tricky things to get right. But when they work, they really work, engrossing your readers in your make-believe world so effectively that they keep turning the pages, even at chapter endings, and finish up by feeling that their lives have been enhanced in some way, their spirit lifted, and, best of all, eager to start reading your next book.

There are lots of things that can go wrong with a plot. The basic premise of the story might be too weak. The concept may lack believability. The story might be too predictable, too yawn-makingly obvious. The inherent conflict set up by the opening may not be sufficiently escalated. Readers also lose interest when crucial bits of information are missing, key scenes avoided, or if there is too much repetition. On the other hand there may be too many red herrings, inconsistencies or loose ends. As Chekhov said: ‘One must not put a loaded rifle on stage if no-one is thinking of firing it.’ The ending should not appear random or insubstantial, or, as so often seems to happen nowadays, to have been plonked in by the author just to get the whole damn thing over with.

There is no magic formula for a great plot. And no quick fixes for a bad one. It is the individual decisions that writers make that are the key to success. So take time to ask yourself if your story is genuinely interesting. Are your characters’ quests worth pursuing? Is there plenty of variety in your twists and turns? Is the writing crisp and focussed? Is the whole thing leading somewhere?

If the answer is yes, then you are well on the way to a bestseller.
If the answer is no, then I give you permission to go and get that hammer from your tool box!

Do you have a distracted writer in your life?

decisionsThere’s nothing worse than indecision. It is debilitating, frustrating and exhausting. All those ‘Should I/shouldn’t I’s, ‘But what if’s, ‘Which’s, ‘When’s and ‘How’s cause our little brains to work overtime, jumping from one option to another like demented fleas.

And those demented fleas are especially active at night, about 4 o’clock in the morning in my experience.

For any normal person that is bad enough, everyone has decisions to make, things to worry about. That is a fact of life. But it seems to me that writers have even more than most.

Not only do they have the usual day to day issues, like ‘Should I take Fido to the vet or will the bramble wound heal on its own?’, ‘Has Little Johnny got in with a bad set?’, ‘How can I get out of this awful job?’ or, (for the lucky few,) ‘Shall we join Mr and Mrs Moneybags on their yacht in Barbados at Christmas or would the Seychelles be nicer?’ Those are enough to keep anyone awake at night. But writers, especially novelists, also have another whole layer of decisions and anxieties to cope with, ranging from ‘Is this the right word?’, ‘Shouldn’t that be a semi colon?’, through ‘Is this scene (the one I’ve just spent two days writing) really necessary?’, ‘How much back story do I need?’ to ‘Oh no, I think I’ve lost track of the main theme,’ or ‘Should I just give up and get a job as a dog groomer?’ and so on and on and on …

Sometimes those decisions are easy to make and sometimes they niggle away for days (and nights) waiting for a flash of clarity, which normally comes just as you’re negotiating a contra-flow on the M4, or just as you are falling asleep with no pen or notebook on your bedside table.

And then, eventually, when all those decisions are made, new ones pop up, like what publisher, what cover, what promotion, what kind of launch party, will anyone buy it.

I’m not complaining. Far from it. Being a writer is a wonderful thing. But it’s not the stress free, soft option that some non-writers imagine.

All I can say is that if you are a writer then be sure to give yourself a complete break from time to time, and then go back and make those choices. Don’t give in to indecision. Work it out as best you can and press on. You can promise yourself time to improve it a few months later when you are doing your first edit. And don’t feel guilty for neglecting your friends and family – explain what’s going on, if necessary direct them to this article!

And if you are a non-writer with a writing friend, relation or partner, then be patient. Exhaustion, distraction, forgetfulness and grumpiness are normal, the writer in your life still loves you and they will rejoin you soon, but just now they have an awful lot on their mind.

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