8

Stories: Great Beginnings and Endings – but what about the bit in the Middle?!

This week I am back to our Round Robin blog post with themes explored by a series of different writers. We have been given the following challenge:

How do you ensure a story has a good beginning, a satisfying ending, and good continuity in between?

I realize that this could be the shortest Round Robin in history, because the truthful answer is: I haven’t a clue!!!

My problem, as I have written about before, is that my books all tend to start with themes rather than stories. So, for instance, I might want to explore how someone copes with the loss of a baby, or with a long-term progressive illness and having to accept carers in their life, or how some who must – in Quaker speak – have ‘that of God’ in them can come to a point where they can kill people. I may know the ‘journey’ a character will take emotionally from ‘a’ to ‘b’, but the bit in the middle starts off as a mystery.

These themes obviously need characters and a storyline in order to explore them fully and to hold readers’ interest, but I find it really difficult to create enough ‘narrative drive’ – the peaks and troughs of what is happening, the key goal that takes you to the end. So, there I am with some ideas and relationships between characters in my head but how on earth do these become a proper ‘story’?

With my first (learning-curve) book I plotted the whole thing carefully in advance. There was a beginning (a trigger point where my main character lost her job due to her depression), a middle of sorts (where she travelled around Scotland with a complete stranger) and an ending (where she returns home changed and has to make a decision about the key relationship in her life). As you can see, it is not especially action-packed – definitely more of a reflective book with the landscape as an influencing and descriptive factor.

In the next book that I wrote I tried to ‘cure’ the lack of drama by having a lot more actually happening with the plot. The result was that I had to completely rewrite the book at a later stage because it set off like a steam train, then eventually ran out of puff! Around this time I went to some workshops about ‘pitching’ books and this really helped me, because it taught me to look at the emotional and psychological happenings in a different light – as things that provide their own stories and goals for the characters.

A common criticism of my work when I share my writing with my local critique group is that there are a lot of dramatic things happening but it doesn’t feel dramatic to read. My agent describes the current novel that she is sending out on my behalf as a ‘quiet book’, and I totally get that this is how my writing feels, however busy the plotlines. I like exploring people’s psychology, and how different events shape them as a human being. I like description, and a sense of the underlying current that moves things along.

Having said that, this current novel is the one that I am really proud of and that I feels ‘works’. I think it is successful because I really got under the characters’ skin – or they got under mine. It became important what happened to them, and although their stories are explored in a gentle way, they nevertheless have impact. The landscape, too, became a character, and the sequential plotting of the story to mirror the fall in the Garden of Eden seemed to work. My problem now is how do I follow this? I am currently in the middle of editing the first draft of the next book and although the characters are speaking to me I just can’t seem to get the middle section right.

I have just got to watch out that I don’t end up with a filling-less sandwich – all front and back and nothing in the middle at all!!

See how other writers sort out their beginnings, endings and the stuff inbetween at:

Skye Taylor http://www.skye-writer.com/blogging_by_the_sea
Marci Baun http://www.marcibaun.com/blog/
Judith Copek http://lynx-sis.blogspot.com/
Margaret Fieland http://margaretfieland.wordpress.com
A.J. Maguire http://ajmaguire.wordpress.com/
Beverley Bateman http://beverleybateman.blogspot.ca/
Rhobin L Courtright http://www.rhobinleecourtright.com
Bob Rich https://wp.me/p3Xihq-1fk

© Anne de Gruchy

Advertisements
9

Story Ideas and the Benefits of Bedside Stories

This month the Round Robiners have been asked to ponder where our story ideas come from. At this point I have a confession to make – I am simply rubbish at stories and in no way would I consider myself a storyteller.

Collective gasp!

Well, you may ask, what the hell are you doing calling yourself a writer then? And a writer of fiction to boot.

The truth is, I’m an ideas person. I love concepts, and science, and the way the truths of previous generations are overturned. I love that this inherently means that many of the ‘truths’ of our generation are likely to be overturned too. We live with uncertainty every day and one moment’s event – a car crash, the death of a husband and breadwinner, the onset of a disease, coming into money suddenly – can change how we see the world forever. I also love to explore psychologies and how these kinds of event affect people – how different people react to different situations.

So I suppose I often start back to front. For instance the book I am working on now started from the idea of exploring how a person’s world contracts when they are living with a progressive illness. There was a concrete beginning to this when a close friend was diagnosed with Parkinson’s and suddenly his world was turned upside down. Mix this in with my interest in the role of caring for someone – something that has been close to my heart since my mother died and left my father struggling with dementia, poor sight and cancer – and there was the germ of a story theme, but definitely not yet a story.

Other aspects of my stories might come from real events. The day before I went down to London to meet with my new agent was the day of the Westminster Bridge terror attack. As I travelled down on the train, the events of the day before stayed in my mind. I walked through the streets to the agency’s office and was really struck by how calm London felt just 24 hours later. Cue the invention of another character who had been caught up in the attack – and the exploration of how this impacted on his family.

Combining my themes and ideas into proper stories is the big problem I have. My very first novel, which I now see as a training ground for my writing, took two autobiographical events and framed them into a story. One event was a holiday travelling round Scotland by train – the landscape really spoke to me and it felt healing in a powerful way. So I combined this with a character who was grieving the loss of her baby and threw in a stranger for her to travel with. I still love aspects of this story but it fell down because I hadn’t got to know my characters and their motivations properly – there wasn’t enough of a goal or driver to the story and the characters were not engaging enough. Maybe one day I’ll return to the basics of this story because I still love the premise and it also seemed to appeal to the agents that I sent it to.

I suppose one of my problems is that I am very much a literary reader and writer. A lot of my favourite books do not have the normal hooks and peaks and troughs of the page-turners that publishers are looking for. I admire prose that is dense and poetic – that appeals to the senses and the intellect at the same time. Yes, you need to ground it in stories and characters that we care about, but the atmosphere of a book is really important to me. That’s why, in the novel that my agent is currently seeking a home for, the landscape of the Lincolnshire Fens became a character in its own right – I even plotted it a ‘storyline’ for it within the book.

I love history, too. My current book takes a character who has Multiple Sclerosis and sends her travelling to the places she had previous worked during an acclaimed photojournalist career. I was delving into the history of Bosnia and the conflicts of that region, looking at the events that brought down the Berlin Wall. My agent warned me of the dangers of getting too distracted from the narrative drive of the book, and I think she probably caught my writing-weakness head on – I can get too absorbed in the detail and forget the real goal of my protagonist and the need to keep a momentum leading towards this.

So, maybe I need to go back to the simpler stories that my mother told me as a child. The ones she would invent as she went along to the light of my favourite bedside bunny lamp. She certainly held my attention, and I remember some of the tales she invented to this day.

Find out how other writers get their story ideas at these blog sites:

Skye Taylor http://www.skye-writer.com/blogging_by_the_sea
A.J. Maguire http://ajmaguire.wordpress.com/
Marci Baun http://www.marcibaun.com/blog/
Connie Vines http://mizging.blogspot.com/
Helena Fairfax http://www.helenafairfax.com/blog
Margaret Fieland http://margaretfieland.wordpress.com
Dr. Bob Rich https://wp.me/p3Xihq-1dm
Fiona McGier http://www.fionamcgier.com/
Rhobin L Courtright http://www.rhobinleecourtright.com

© Anne de Gruchy