Spectacular
spectacular!
What I’m
going to do this week is run through a few questions and requests that have
shown up here this summer. A few of them
I can do a full post on, but some of them are things I’ve touched on before
(or, at least, I think I have) so I think I can answer them with a few paragraphs and
links.
So... let’s
get to it.
How similar are your drafts in terms of character arcs
and overall plot?
Tricky
question that’s going to be a little different for every writer and for every
project. For me, once I get a pretty solid draft, it’s really rare for things to change that much. It happens sometimes, but not often. I think once the plot and story are
solid, for most writers, there won’t be any real changes to them.
Please
note, though, that I didn’t say no changes. Every draft is going to be a little different
as I tweak and cut and make other adjustments.
But all of these adjustments serve the plot and the characters. Things are just getting tighter and
clearer. Maybe it means omitting a few
story beats or changing someone’s second language from French to Spanish. But these changes aren’t changing the bigger
picture, they’re enhancing it.
It’s probably worth mentioning that if I’m making changes that do radically
alter my plot or characters, what it really means is that I don’t have a solid
draft yet. Yeah, even if I’ve done six
drafts before this. If I suddenly
realize Yakko should be my main character while Dot’s the
supporting character who dies in the second act... that’s a big change. That’s a lot of changes. It means different interactions between
different characters, new motivations, possibly a whole new linear structure. And it also means I’m kind of
going back to square one. Now I need to
tweak and cut and make adjustments to this plot and story.
Do you
have any thoughts on working on multiple projects at once? Like editing one,
drafting another, plotting a third? Is that something you do?
Yeah, I do
this, but in a bit more limited sense.
When I’m working on a first draft of something, I focus pretty much
exclusively on that. Once I’m out of
that, though, and into the editing, I’m always jotting down character ideas,
lines, beats—all sorts of elements—for whatever I’m going to be working on
next. So while I’m doing drafts on one
I’m setting all the groundwork for another.
I’ve also found this helps me as
far as any kind of block goes—being able to dip my toes into something
else helps keep my brain from getting stuck on a project.
Overall,
though, this is one of those things that’s definitely more advice than rules,
because it’s all going to come down to the individual. Am I someone who can split their attention or
not? And to what extent? Some folks can do it (to different degrees),
some folks can’t. Unfortunately, the
only way to find out is to try it once or thrice. I’m comfortable at the level I just
described. You might be able to do two
or three things side by side. Someone else might need to focus on one thing
at a time.
I do think
it’s worth noting that “another project” can easily be a distraction, too. Sort of like eating
when you’re bored. I’ve also seen some
folks use multiple projects (consciously or not) as an excuse to never finish anything. Sooooo... something to keep in mind.
I'm still struggling with how writers develop an interesting narrative voice - character voice I think I'm getting the hang of, but the narrative bits still sound like me reading a grocery list.
I'm still struggling with how writers develop an interesting narrative voice - character voice I think I'm getting the hang of, but the narrative bits still sound like me reading a grocery list.
Narrative
voice can be tough. Part of it depends
on how much I want to insert myself as the author. Some folks do this extremely
well, others... not so much.
As far
developing a narrative voice goes, think of it like a narrator. Who’s actually
telling this story to the reader? I’m
not saying my book or short story has to be in first person, or that a narrator
even has to exist, but in my perfect world, who’s reading this aloud? Christopher Lee? Felicia Day?
Doug, the guy down at the garage?
Ms. Phoebe, my college English professor? Knowing the narrator tells me how they talk
and what kind of words my narrative voice will use.
So, from a
certain point of view, the narrative voice is another character. Even if it’s
me, it’s the version of me I’m choosing to project through my writing (a friendly
me who wants you to enjoy the story and is going to tell it in fun, simple
terms, and who also has much better abs...).
So narrative voice is a lot like character voice, which is something I
mentioned here just a few months back. Well, okay, a year and a half ago...
It’s
probably worth mentioning that if there isn’t some kind of narrative voice in
my head to start with, that might be a sign of a bigger problem. If I have no sense of how my story should be
told—how my audience should be hearing the words in their heads—I may need to
stop and think about things some more.
Maybe the plot or the story aren’t as solid as I thought, and if
they’re not clicking with me, there’s a good chance they won’t click with anyone
else.
Do you
feel an author should stick to one genre for the most part? I want to go write something as far from my
current genre as possible. Will that throw my fans for a loop? I notice that you and most other authors
pretty much stick to one thing.
Well, I’d argue not much
of my work falls in the same genre, unless we’re talking in broad, sweeping
terms. I’ve got a superheroes vs.
zombies series (sci-fi fantasy with some soft horror), a
suspense-mystery-horror novel, a sci-fi thriller, a classic mash-up where I
share credit with Daniel Defoe, and I just started work on a historical
time-travel road trip story. I’ve also
got some short stories out there that are straight horror, some that are
straight sci-fi, and even a pulp action war story.
And I’m not
alone. The majority of writers work in a bunch of genres. They may be known for
one thing, but they’ve usually got a lot of other stuff past that. Jonathan Maberry, Seanan McGuire, Scott Sigler, Craig DiLouie, Eloise Knapp, Timothy Long—and these are just the ones I
know personally. All of them have written in at least two or three genres.
Heck, look
at Stephen King. He’s known as a horror
writer, but Firestarter and The Dead Zone, two of his earliest
works, are pretty much straight sci-fi when you really look at them (there’s a
post in that alone). Under the Dome
and 11/22/63 are both pretty solidly sci-fi, too. The Dark Tower series is an epic
fantasy. Eyes of the Dragon is a
young adult novel. And then there’s
“Rita Hayworth and Shawshank Redemption,” a
prison drama/character study that was adapted into a wildly popular film
by Frank Darabont.
So,
no. I don’t think an author needs to
stick to one genre. Yeah, there are some
fans who might get upset I’ve moved away from their particular interest, but
there’ll be just as many who’ll be intrigued to see how I deal with something
else, and new ones who’ll come to me because of that something else. And it’s my opinion that flexing those other
muscles, so to speak, usually makes someone a better writer overall.
I will say,
though (there’s a “however...” on almost all of these, isn’t there?), that I
don’t recommend chasing the popular trend. It’s tempting to jump on the
nymphomaniac-android-biker-school-romance bandwagon, I know. But it rarely works out well in the long run.
And I think
that’s everything for now, yes? Okay, I
went over three or four paragraphs for some of them, but if you’re going to
complain about that... Also, if I misread your question somehow, or if my
answer just wasn’t complete enough, please say so down in the comments and I’ll
try to answer there. Or maybe bump it up
to a full post.
Next time, I’m
going to answer one of those larger questions I mentioned up at the top.
Until
then... go write.
re:Hulk gif
ReplyDeleteI'd sit through the new F4 movie -twice- if it meant getting that caliber of a shot in the last minute of the movie.
In fact, if you were to distill all of the awesomeness in F4* into it's purest form, that Hulk scene alone is still about 1,987,249,817 times more awesome.
* I mean, there has to be some awesomeness in there, right? I assume I missed it and a more experienced and talented movie goer would be able to perceive it.
I didn't bother to see the new FF movie, so I couldn't say.
ReplyDeleteBut I do agree, that shot of Banner changing into the Hulk is one of the most fantastic moments of The Avengers (which has a a lot of fantastic moments).