I realize I should try to censor myself as much as possible with this entry, because I realize that a few of you might actually read my series, and I would hate to spoil anything for you.
That said, though...I've hit a creative brick wall, and sometimes writing it out is the best bet. For what it's worth, though, I will not name names here.
Okay, so here's the deal. I've planned for the killer to strike for the third time in the 25th chapter. I'm currently stuck on Chapter 23. The point of the next few chapters would, obviously, be setting up the third one and blah, blah. Well, here's my dilemma. Originally, the third victim was supposed to be someone else. I had it all planned out. Then, when I was writing something else, I had a flash and decided to make the third victim another person. I was really excited about this, because I thought it was incredibly powerful and I could make a lot of drama out of it. However, the closer I get to this, the more I begin to question it. Sure, there is a wealth of drama to be had at this person's expense, but in the end...if you're looking at the bigger picture, it just doesn't make that much sense. It's one of those things that I might have to go back and gloss over a bit, because while it might make perfect sense at the time, I don't know if I can justify it later on, given what happens next.
As for the original victim, I'm starting to consider if my gut was right the first time. There's a lot of drama to be had here too, and in the end, it would make a lot more sense...but to be honest here, I would rather not do that, because...oh this is silly.
I'd rather not do it because I am rather attached to the character, and I would view it as very cruel to do this to him now.
Aren't I a freak? I know I am.
So...that brings me to this: which one do I go for? The more drama and punch in the moment and the longer explanation later or the less drama, more cruel choice?
Neither option is appealing to me right now...and if Julia keeps up this incessant whining, I might just say screw it and kill her off. She's getting on my nerves. For real.
Thoughts? Suggestions? The number of a good shrink? All are appreciated and welcomed. Thanks.
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I'd go for the more drama and punch. That's what I would do, though, because as long as you can explain why it happened then it is still a logical step to take in the plot... Plus, you have the reader in a higher state of 'OMG but why?! I must read on!'
ReplyDeleteBut that's my view.
Your best bet is probably to go straight ahead with which scene you would feel most passionate about. That way you'll write it passionately and your readers will feel impassioned by it.
I hope that helps in some small way. =)
Hey Rebecca,
ReplyDeleteThanks. My 2nd choice, the one I would have to heavily explain later, has that sort of punch, I think. The "whoa, him?!" I think that would make a lot of people really think...and it tore my heart out to write that scene (I already wrote it, which shows how excited I was about that plot point).
My first choice seems more logical. In fact, it's been speculated on since the start that he would be one of the ones picked off. I think it does seem somewhat inevitable for him, but it's just so cruel. I can't see myself doing something that cruel, even to a fictional character.
Julia's looking better and better to me. She could trip over something and break her neck. All whilst lamenting her own poor choices, for the 300th time. I can totally get down with that. :)
Thanks again. I really need to think about this.
Well, I'm going to disagree with Rebecca here. I know we like to tell ourselves we should trust our instincts, but sometimes instincts don't lead us in wise directions.
ReplyDeleteAs a mystery fan, I can usually tell when an author's manufactured a plot event for maximum immediate 'dramatic punch', as opposed to longterm story goal, and it almost always shows. I've seen it even in some of the best-written serials, and it usually results in a diminution of reader trust, their willingness to suspend disbelief since they know you've got a Master Plan. I think an author doing something you can't immediately justify, but telling yourself "oh, I'll work it out later," risks looking desperate or cheap -- and your audience will recognize such improvisation, even subconsciously. A well thought out mystery is a tapestry that intricate weaving of multiple threads, and if you start pulling out individual ones randomly on an impulse, you're likely to get something that falls apart easily under scrutiny.
Now, a more melodrama-driven serial that pays less attention to character continuity and world-building (the type that lives or dies for Exciting! Thrilling! SHOCKS! each week) might pull it off. The audience isn't as concerned with the overall plan with such roller-coaster-ride-esque stories.
But I don't think such impetuousity will work in the long run in a delicately interwoven serial with more depth like Independence Day. I think your readers will be unsettled, and not in a good way, if you do something that departs from your serial's internal logic.
So nameless character #1, the original target, had a good reason for being killed off, one that makes sense in the overall scheme of things, whereas character #2, the new possible target, presumably had a reason for living in your plan. Well, my advice is that if you can't substitute character #3, i.e. a third party who makes as much sense for the murderer to have offed, then I'd say stick with poor #1.
Of course, if you can rework things so character #1's life is just as logical as his death, and vice versa for character #2... All bets are off and feel free to snuff out #2. Rub him out. Extinguish him. Terminate him. He's gone, baby. :)
(Actually... if you're really uncertain about ridding your serial of #1, how about just an attempt on his life, rather than a successful murder? This way you've got this apparently sympathetic character sticking around but the attack still causes an impact on the canvas.)
Sorry for all this. In summary: I think you should do whatever's best for the structural integrity of your work.
Right now, I'm working out the pros and cons of each potential victim. I must say, the first con of Victim #2 reads: "It doesn't make any damn sense."
ReplyDeleteI may just write two different versions of it, then evaluate how I feel after writing each, but my original choice is winning as far as the pros vs. cons go right now.
Thanks for the input. The last thing I want to do is insult the intelligence of the reader, and I know if I were to read this as an objective third party, I'd be like, "Dude, WTF?" It would make sense in the context of the past few chapters, but in the end, it would be like, "WHY was that necessary?" It's not holding up to me.
You've given me much to consider, thanks Kira.