Up · From · Slush

Some writing advice I’ve seen on the OWW mailing list says that each scene needs to advance either plot or character development. (There’s also a third thing that a scene can do to earn its place, but I can’t remember what it is right now.) I see that as only a minimum, however; otherwise, you could just as well read a synopsis of the story and have the same experience. For me, a synopsis is like a skeleton. For metaphor’s sake, let’s say it’s a dog skeleton, and you’re a judge being asked to evaluate how well this dog meets (or met) the breed standard. There’s just not enough information in the bones to tell.

Plot and character are like the bones of a story; they’re the building blocks, the foundation that the story needs to move. But in order to come alive, a story needs much more than plot and character. Setting and description give it the muscle it needs to move. A particular style or POV can make the story distinctive, like a fur coat. Themes and symbols also give deeper meaning to the story. All of these elements work together to create a champion story. It may be necessary to separate them to analyze the story and learn how to write, but ultimately they all have to work together. If one element is lacking, the story as a whole suffers. It may be difficult for the writer to keep all of these things in mind during the writing process; for instance, I might focus more on plot and dialogue during the first draft. But at some point, everything needs to come together so the book can earn a Best in Show--I mean, a sale.

Catalyst in the Crucible Update: I finally got past the block I had for a few days and figured out why Paul does something. Currently I'm on Chapter Seven. I know what happens in the overall story, but I'm not always sure where to place particular scenes. I suppose at this point I could just list them all and then sort them out. Unfortunately, I'm too anal for such a simple solution. (grins)