Dear Story Nurse,
I’m writing a fan fic as a low-key side project to keep writing fun, as opposed to the writing that I do professionally, which is of course work.
It’s a modern-day, angsty romance, where two people from totally different worlds fall for each other even though they don’t fit well into each other’s lives. They figure they can’t be together, but finally the tension gets too much and they have a wild night together. Then they spend some time angsting and avoiding each other. Your standard piece where the agonizing is part of the appeal.
But I can’t figure out where they go from there. Where should I take it next? I think I’d ultimately like them to get together (though I’m not married to it) but I can’t figure out what new element to introduce to change things. Any suggestions? Thanks so much!
—Beautiful Mistake (she/her)
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Dear Story Nurse,
I’m currently working on the third draft of the first novel I’m seriously thinking of seeking publication for, and it’s giving me no end of trouble. The characters have been in my head a lot lately, bugging me to finally get their story out the door, so I was wondering if you could help me out with at least one particular issue I keep running into again and again.
There are several scenes in the novel that I felt (and others agreed) didn’t quite work in previous drafts because of wonky character motivations, general lack of momentum, etc., and I’ve been finding that I’ll rewrite one of those scenes, feel much better about it, but then realize that I’ve messed with the continuity of the story (for example, by screwing up the timeline or eliminating a problematic/semi-useless character). Then when I’m patching up the continuity in another place something ELSE will change, and I end up caught in a seemingly endless cycle of narrative whack-a-mole. Do you have any suggestions for taming these pesky contradictory story elements?
—Revision Wrangler (he/him)
Dear Revision Wrangler,
This is a very common problem around draft three or four. You’re having a classic “can’t see the forest for the trees” moment, where the forest is an actual ecosystem; cutting down one tree turns out to disturb a vole habitat and fewer voles mean the owls go hungry and so on. But don’t panic! Just take a deep breath and step back. No, further back. Zoom all the way out. You want to see that forest as a forest, or maybe even as an irregular green shape on a map with lots of other shapes around it.
Dear Story Nurse,
My problem in a nutshell: I don’t know what kind of climax my story needs!
Details: I’m working on a fantasy novel, mostly secondary world with a little magic thrown in. It’s between 80k and 90k long. This is the first novel I’ve really plotted out seriously, and I can tell that it helped a lot in keeping track of the threads and in keeping the story moving when my tendency is to stop and gaze for way too long at the scenery.
A little bit about the story: There are four (thinking of cutting it down to three) POV characters whose plots intersect and come together toward the end of the story. There’s one character in particular who is sort of central to everything, and everybody else’s arc in the story is directly or indirectly pulled by her—some to help her and others to potentially harm her. Of all the characters, she probably has the most growth as a character.
So here’s a longer version of the nutshell:
I’ve reached the point just before the climax, which has all of the POV characters converging together, along with a detachment of soldiers who are in league with the antagonists. The characters who are not bad guys don’t have any such armed support on their side, although one of the POV characters has some experience in a fight.
I even have an ending in mind, which is mostly a happy one: the antagonists are defeated or at least prevented from maximum antagonizing. I just can’t figure out how the characters get from the climax set-up to the denouement! For some reason, the only options that come to mind are (1) a battle—which is not really in keeping with the rest of the novel, which is mostly women of various ages moving through the setting, doing what they do—or (2) an involved conversation, which seems a bit underwhelming.
One thing I’ve thought about is that, throughout the story, the central-most MC has been yanked this way and that by good guys and bad alike. I feel like the climax is her opportunity to assert herself somehow. All the other MCs have had to make choices throughout the story, but she’s been pretty passive.
So if you have any thoughts as to how I can think through this, what some options outside battle/conversation are, and what you’d want to see in this kind of scene, they would be most appreciated!
Thanks for writing in with such a classic concern! A lot of authors face similar problems. You are definitely not alone. And I’ve got a few different sets of suggestions for you to try on for size. Continue reading
Dear Story Nurse,
All my writer friends talk about plotters vs. pantsers. I seem to combine the worst of both worlds. Whenever I go to outline a large project (anything longer than a short story, even if it’s just a mid-length novelette—but most notably novels), there’s always a hole in the middle. It usually says something like “more plot here” or “book goes here.” I know what comes before it. I know what goes after it. But not only is there this hole, I almost always find that I have to write a bunch of prose and then put the file away for months before I find what goes in it.
How do I fill in the map sooner? What is my brain even doing here? This has been okay, if frustrating, when I was just writing for myself, but now that I’m facing actual deadlines it is terrifying. I can always finish things eventually, but eventually is not always soon enough! Do I just have to build “2–3 months fallow period” into every contract? If so, can I ever make anybody else understand that?
—Here There Be Dragons (they/them)
I’m going to get a little Freudian on your choice of pseudonym. When cartographers of yore wrote “Here There Be Dragons” on a map, what they meant was “DON’T GO IN THERE!” Whatever was in that place was so terrifying and fearsome that it couldn’t even be named. That region of the map was not for exploring; it was, to quote a very obscure Monty Python sketch, for lying down and avoiding.