Dear Characters: Now What?

It’s been two and a half months since I last posted here. Eek. It’s not because I’ve had nothing to say about “writing, editing, and how to keep going” — it’s more that I’ve had too much. At some point “too much” became overwhelming because I didn’t know where to start.

Sound familiar? You’ve been there before and so have I, so I’m doing the only thing that’s worked in the past: Start somewhere.

Travvy, on whom the title character of Wolfie is based

So I’m closing in on the end of draft #3 of Wolfie, my novel in progress, The writing of draft #3 has deepened the characters, enriched the story, and surprised me quite a few times. I just arrived at the key scene where draft #2 stopped. It’s not the end of the novel, but by the time I got here last time around, I knew I had to let both the characters and the plot develop further before I could see my way forward.

In the eternal debate between “planners” and “pantsers” — those who map out their plots before they even start writing, and those who plot “by the seat of their pants” — I’m somewhere in the middle. I have a general idea of where I’m going. Almost from the beginning I’ve had a final, or near-final, scene in mind. The trick is figuring out how to get there.

Characters are key for me. They drive the plot, but sometimes I have to get to know them better and even nudge them along. When I was doing a lot of community theater, one director repeatedly urged his actors to “make interesting choices.” An interesting choice leads to more interesting choices — the way one billiard ball bumps another and makes it move? Less interesting choices lead to dwindling energy or even dead ends.

In real life I’ll usually choose to avoid conflict. Onstage or in fiction, this can be an interesting choice, but not if you have a whole cast of characters choosing to play it safe.

Is it a selfie when one hand takes a picture of the other hand?

So I’ve arrived again at my key scene. It’s the scene that nearly all the characters have been moving toward through the entire novel. It’s as if the logs and kindling have been laid for a bonfire — but who’s going to strike the match?

As usual at such crossroads, I’ve turned to my fountain pens and started writing in longhand. I’m playing with possibilities. It’s almost like conducting an audition: which character is the most interesting choice, and what interesting choice will that character come up with?

Watch this space!

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