Writing is tough. I spend hours writing a page or two, which will have to be edited and reworded in the future.
Writing is exhilarating. The feeling of freedom when my hands are almost moving as quick as my brain is fleeting, but so worth working toward.
The “fast draft” that I completed last month was a compilation of many of both types of moments. (Reminder: fast for me is six months, from conception to finished first draft. I’ve tried NaNoWriMo many times, but it’s not for me.) Upon beginning my edits, I notice I’m still making a lot of the same mistakes that have plagued me for decades.
Prime example: My main character is flat, and suffering from perfection syndrome, while my secondary characters are multi-faceted and promote more emotional attachment from early readers. The initial analysis for doing this is that I think of myself as a secondary character in life and relate better to those not in the spotlight, so I naturally attach myself as a writer to those on the sidelines. From a craft standpoint, I’m wondering if I have the story wrong. Maybe I need to switch my point-of-view (POV) character.
This happened with CORRODED. My main character, Mary, didn’t evoke a connection to many beta readers (and was even annoying to some) while every reader loved her sidekick Ben. (Yes, there’s a group of “Team Ben” readers out there.) What resulted, during something like the twentieth draft, CORRODED became a dual POV story, with alternating Ben and Mary chapters. And I have a sneaking suspicion that if I look at the manuscript again, it might become all about Ben. (Go ahead and squeal, ladies!)
Rather than freezing while I berate myself for fouling up yet another story, I remind myself of this quote by William Faulkner, “Get it down. Take chances. It may be bad, but it’s the only way you can do anything really good.” So, back to the drawing board with THE UNRAVELING THREADS OF KYNDRA FIELDS.
In the meantime, do you think character POV issues are more often emotional or craft related?
Leave a Reply