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Ice it? Yeah, recommended.

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No, this isn’t a weather-related rant.

I gathered up my emergency writing kit and headed for the coffee shop today. I’ve been waiting to hear good news about a job I nearly have but might be miles away from actually landing.  I don’t do ‘patience’ very well sometimes.

My emergency writing kit is a large padded black fake-leather pad folio thingy with a zipper around lots of paper and two pens and two mechanical pencils.  I drink coffee and doodle, either trying to connect dots or create new dots. I doodle maps, I write character sketches. I draw character sketches. I throw down outrageous ideas for plot lines, or characters, or settings.

Sometimes I eavesdrop on other people in the restaurant. Sometimes I just let my Id off his leash to go see what’s in the neighborhood in my mind.  At least I wasn’t in the house, between snow storms, waiting for a phone call.

Among the populated pages was the ominous title, THE DEAD WAR.  I paused. It had a line through it where it had been retitled THE CONSPIRACY OF THE DEAD. There were a few hasty notes from my last session, which evidently had been some time ago.  I remembered the story arc, and I had finished some chapters and posted it online where it had received some pretty good comments by readers.  It seems like only yesterday that I stopped working on it. I guess in some part of my brain I keep going back there and noodling around with the odds and ends of where I left off.

So when I got back to broadband land, I went back to the site where I had posted my material.  It’s a high fantasy adventure tale that boils down to… well it’s a zombie story (without using that word in the narrative).  The last entry is dated 2006, and I was taken back by that.  It cannot have been four years? Okay, maybe it was then.  The site was still up anyway, and that was a relief. There had been some really major changes in the layout, and some welcome upgrades. But four years since I had really tackled a fiction project head on.  Ouch.  Six lonely chapters.

So I re-read what I had scribbled what seemed so long ago.  Yes, some of it was really quite interesting.  Some of it was dreadfully rushed.  Some of it was just a skeleton, lacking any thought but enough to get the reader from point A to point B.  But the characters were compelling, the plot was unexpected, and the comments were really good.

It shouldn’t take four years to go back around to revisit a project and evaluate if it is worth keeping around. The last four years have been fairly tough for me for many reasons, but that shouldn’t be an excuse.

Had I kept with it, I may have sold it.  But I can’t second guess myself on that now.  If I had kept with it, I also would not have the other projects going that I think may be of more long term value for readers.

So I’ll keep it around. Some day, when I get my legs back under myself, I just might move forward with it yet again.  I’ve done worse things with my time.  Those four years gave me enough distance from it to be truly objective about the content and a new perspective on where I had been wrestling pointlessly with plot devices that may or may not be useful.

The verb I don’t use

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He leaned over his unfinished dinner, and said, “You don’t love me. You never did really love me.”

She took a sip of wine, perhaps to have a moment to think, then she said, “Well, yes I did. I don’t know how it all ended, but I just don’t any longer.”

“I would say” he said, “it was about the time you met Roger on the trip to New York!”

He said. She said. I find the writing life is much breezier without ever using that verb.  If I find myself reading a section that is a verbal pingpong match with the verb “said” as the paddle, I just lose interest. It sits there like last week’s sudoku puzzle, that still somehow is missing some 7s.

And I go father than that. Many writers try to spice up their dialog by using different verbs.  I really wish they wouldn’t. Instead of a pingpong match with predictable rhythms, it becomes a tangled mass of fancier words that often just don’t fit.

  • Replied
  • Retorted
  • Rebuffed
  • Taunted
  • Spat

You get the idea.  Writing is always better when you show instead of tell.  In the admittedly poor sample I started this blog entry with, the characters are (undoubtedly) having a lively discussion, but it reads like a snip from a newscast or some dry experimental recipe.  Instead, please show me what the characters are doing, and how they are reacting. In the right context, I’ll know which character says what without the crutches of he said, or she said.

He leaned over his unfinished dinner, stabbing the dirty end of a fork out over the table. “You don’t love me. You never did really love me.”  John awkwardly stabbed the fork into the apple turnover that he wasn’t really eating anyway. The handle slowly sank to one side.

She took a sip of wine, perhaps to have a moment to think. She slowly nodded her head, letting her curls lightly bob along the sides of her face. “Well, yes I did. I don’t know how it all ended, but I just don’t any longer.”

John leaned back and jutted his chin out for a moment as if thinking.  ”I would say,” he leaned forward and pointed an accusing finger across the table. “It was about the time you met Roger on the trip to New York!”

It’s still some shabby dialog, and here it is without the context of any story. But at least I’ve dressed it up a little.  In my last several fiction projects, I’ve tried to remove all of the little helper verbs in dialog.

Characters or Plot – which is more important?

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I have to thank @kmweiland for getting me noodling along these lines again. Her tweet was asking just this question, as a question of the day.

My response (in more than 140 characters this time) is that a really well considered character study can still be a really fascinating read.  I love writing back stories for people I see randomly in restaurants or in the stores.

Why is he limping? Why does that kid seem sick?  Geez, how MANY bags of potato chips do you really need?   When you ask yourself those questions, there are two things to do – either ask them out loud (which may garner some funny looks) or write them down and come up with your own fictional rationale for what’s going on a little later.

A really good plot on the other hand, is really just an outline.  It might be a wonderful plot, never before seen by the mind of man, glistening with new promises of movies or maybe a broadway production.  But without characters to develop, the plot is just… a framework.  It’s the skeleton of the story without any of the meat.

So, I think it is sort of like a sandwich. The bread holds the good stuff inside.  That’s the plot.  It’s full of promise, but you really don’t want to taste just the bread.  Sure, there are different flavors of bread and I love them all – but that’s not enough to make me sit up and take notice.  Well, unless it’s fresh out of the oven, but that’s a different story.  The good stuff is inside. The characters.  And it is how those characters react to the plot (which must be somewhere in the mayo and mustard layers) that a really good sandwich is formed.

Yeah. I’m hungry. Sorry about that.  But I like my analogy. =D

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