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J. J. Brown, Wordslinger

"I Sling Words As I Go Along."

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narrative

So, I’m about thirty chapters into Novel Now Finished revision…..

……and it’s going.  I’ve finally worked out the timeline of the novel from beginning to end and it comes out to about a week.  While there’s a lot going on, the bulk of the action seems to be happening on the weekend, beginning on Friday and ending on Monday.

A lot always seems to happen on the weekend.

Had I thought about it a little more, I would have set up Novel Now Finished much in the same way that I had set up Secrets & Howls.  In that book, I had designed it to take place over the course of a week.  To clarify this point, I placed an independent page stating the day of the week, followed by the chapters that took place over the course of that day and then ended the day with a segment of a letter from 1852.  Then it would start all over again, until the novel ended with the final fragment from 1852.

But it was also a different kind of story than Novel Now Finished, which had always felt more fluid with its time than structured.  This is in part due to the fact that Secrets & Howls is told primarily in third person, with the ability to dip into the lives of various other characters and places without breaking the narrative.  Novel Now Finished is told in first person and, with very few exceptions, remains that way throughout.

Still, in keeping a timeline for any novel, it helps to keep the story’s continuity flowing and if you’re really on top of it, you’ll catch errors before it goes into print.  Whether it’s in third, first or second Point of View, it’s a helpful aid in keeping track of your characters and their actions within the story.

All I can say now is, whew!

The Manuscript in Question.

 

So, my Novel in Progress is coming along……

…….and I’m starting to feel energized by writing again.

One of the notes I was given was to not summarize parts of my story – that if it was going to be mentioned, it deserved a scene of its own, in the present, as an action. So, I broke a chapter in half and created not just two, but three, chapters out of one. This includes the active version of what was a summarized scene.

The new scene, the one that breaks the former single chapter in half, takes place in 1924. An incident occurs in that year that is continually referred to throughout the story. It’s a pivotal moment in the story, as it affects several lives over the course of several decades leading up to the present. It may also be key to how the Narrator resolves the story and put an end to the danger that began even before 1924.

So it made sense to bring this moment out into the open.

And now I’m getting ideas on how to add some necessary details of the Narrator’s past into the main frame of the story.

And I’m beginning to feel excited by my work again.

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So, I’m re-writing my Ancient Greek comedy……

……and I kept coming back to a quote regarding writing and editing. It was made by Arthur Quiller-Couch in his 1914 Cambridge lecture “On Style” and it has been widely popularized by the likes of William Faulkner, Alan Ginsberg and Stephen King, to name a few – “Murder your darlings”.

In other words, be as verbose as you want in your writing, but cut the unnecessary fluff when going back to editing, revision, and re-writes.

As I began working on revising and re-writing my play, I noticed that some of the dialogue as it stood was far better suited to the narrative form, rather than script-form. ‘Wordy’ would be a better description, actually, and I was able to cut down on the number of words while keeping the integrity of the line intact.

In some cases, this was fairly easy. In others, not so much.

I’m eleven pages into this re-write of the original script, which topped out at fifty-plus pages. I’m also re-formatting it, to script guidelines, so the structure is also different. There are the requisite stop-starts as I come to scenes that require a bit more creative thinking before weaving the new changes into what’s already there.

An example of this is giving one character his voice back. As written originally, his dialogue was sound and light cues, so I’ve paused there to really look at another character’s reactions to him. I have to ask myself what was said to make the second character react in outrage or frustration and the more specific I am, the funnier the scene will be. Changes will occur, as it always does, but it’s an interesting process to see what chaos might ensue.

(Then again, considering that this play is about the gods and goddesses of ancient mythologies, chaos might be an understatement.)

So, when writing your tales of wonder, be as wordy, as verbose, as flowery as you like. Just remember that, when editing and revising, wordy is not always better, so trim the fat, weed out the excess.

Murder your darlings.

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