Horror!
It churns in your head all day, 'til finally, you rush to write out the beginning of a wonderful story. But six chapters in, you blank out. What happened? Where are you going? What do your characters want? What do you want? What do you do?
I hate to be the bearer of bad news, but there's no one cure. Sometimes it's a story line better suited to a short story. Other times it's a feeling. You've come this far so quickly, you've not had a chance to really get to know your characters. Maybe you're plagued with doubts about your writing ability? You feel like your imagination has taken a holiday--for good! You're suffering a mental meltdown! Aaaaah! Take a deep breath and slowly exhale. There is hope.
Hope.
The plot line your characters have been walking is your story's path. If the beginning of the path and the end of the path are too close, you have two options. First, you may need to rethink your story. A novella maybe your answer or a short story. Second, you need trees. In other words, "trees" equate conflict. If there isn't conflict there's no way to keep the reader involved. In a good story, the trees should be so thick, they cover the path. The thicker the woods, the more involved the reader must get in order to navigate around the trees, get back on the path, and reach the end.
I think it's time to raid the squirrel's nest and begin scattering acorns. With a little miracle grow called ingenuity, the trees will begin popping out of the fertile soil of your mind and in no time, you'll have a forest.
Beginning writers tend to forget that the beginning of a story should hook the reader and the end of the story should satisfy the reader, but the middle should make the reader's journey worth their time--and money. A hardback novel sells for around $25.00 and a paperback sells for around $6.00. To an avid reader, that's a large chunk of outgoing cash. To build a good readership, it behooves you to make your story as inventive and involved as you can. So let's dispel the myth that the middle is an ugly, tedious job and look at it through the eyes of an artist.
How?
You've just painted a beautiful picture of a child, but it lacks the interest to pull the viewer over and gaze at it for any length of time. What's missing? Contrast. Detail. Objects. Scenery. Maybe another person in the background. How about a touch of whimsy? All these aspects bring a painting to life and all these aspects can do the same for your story.
Contrast: In painting, contrast is the play of shadow and light. In a story it can be a paradox. Your hero hates his drunken father, but drinks himself into a stupor one night to block out his troubles. It can be the difference between the hero and the heroine. He's a pacifist, she a Secret Service Agent. It can be the conflict between good and evil. A college professor plagiarizes a student's research paper and the student takes a stand against him. Contrast and how the author resolves it are what make a story worth reading.
Detail: A painting's detail makes the picture pop out at you. It's what makes it lifelike. It's the difference between Monet and da Vinci. A Monet is pleasing to look at, but its blurred colors only hint at the scene; da Vinci doesn't hint at anything, but brings the scene purposely into view. Strive to write like da Vinci paints. Strong character portrayals make for a strong story. Lavish backdrops bring the reader deeper into your world. Use your five senses to weave a thicker, more vivid story.
Objects: Sometimes in paintings, the masters will place focal points near the subject. Why? It creates interest. Looking at a painting you'll ask yourself questions. Why is the object there? What does that object say about the person? In writing the same is true. Objects your characters hold dear reflect on their personalities. An old ratty bathrobe may give a character comfort. A baseball cap can remind a man of his father. Symbolism is fun in this area. A talkative cockatoo could be linked to a woman who is the town gossip. A profusion of knickknacks could imply a cluttered life. Though objects need not relate to symbolism, if you do use them in that way, don't get carried away.
Scenery: A dark and foreboding painting preys upon your insecurities. A painting of a gentle waterfall makes you feel relaxed. Where you place your character is just as important. If you want a happy feeling, you're not going to get one if you insist on a backdrop of an inner-city housing development. If you're going for sinister, a sunny backyard filled with children laughing isn't going to conjure up that feeling for your readers. Unless you're going for a paradox, such as a woman feeling the renewal of the spring sun on her face as she contemplates her cancer- ravaged body, I suggest you keep it simple.
People: Artists know, groups of threes are more interesting than one or two. So too is a story where there is more than one person your reader can invest in emotionally. Whether the person is humorous, wise or irritating, they will act as a foil for your main characters. It's more interesting if two people have a conversation where a third gives advice, whether it's wanted or not. Sometimes it's just the fact there is a bystander witnessing a personal argument that gives the scene an added punch. Secondary characters are important. Don't overlook their use to foreshadow a coming event. They may know of hidden dangers your character doesn't know exist.
Whimsy: There's a dog chewing on a shoe in the background of a painting. Why not make the dog nobly sitting beside the child as if to protect it? "Where is the fun in that?" an artist would say in defense of his playful puppy. Sadly, most popular novelists have lost the sense of whimsy that can make reading a real pleasure. This is especially true in a dramatic story. If there aren't any light moments, the drama doesn't carry the weight it would otherwise. (You can't fully appreciate a hero's sadness unless you know of his prior happiness.) I believe authors are neglecting this aspect of writing because it is so difficult to do.
Paint a story.
Used in artful combination, these six elements will bring your story to life, much like they do a painting. Do you need all of them for a good story? No. But I honestly believe, to achieve a great story, the more depth you create, the more a reader won't want to put it down and will eventually mourn the end of your tale.
I look at it like this. A good story is like an old-time striptease. In the beginning it's just a woman dancing with a large feathered fan. But when that first glove comes off, you realize this is no ordinary dance. One by one, her clothing falls to the stage until the fan is the only thing separating you from seeing--well, a lot. We know when she separates herself from the fan the show is over, so as long as the fan flips and twirls, we've got something to look forward to. She has developed her craft of illusion to perfection. You just know any minute you'll see some flash of forbidden skin. When the song is nearly over, she ducks behind the curtain and with one arm exposed, waves the fan flirtatiously at the audience, and then drops it. She has successfully entertained us without exposing too much and ruining the climax of her act.
Exposing the story's elements bit by bit, teasing the reader, promising them if they read just a little further they'll know it all, that is your goal. The feathered fan should never drop to the stage until you reach the end of the story.
That's entertainment.
SARA Sherri Buerkle has been married to Bob for 16 years and has five daughters. She has taught basic fiction writing at CWG of Universal City (a writers group) and will have her latest article published this October by Decision Magazine. Presently, she has a long historical romance making the rounds and is halfway through a long contemporary romance.
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