Two weekends ago, I finished the first draft of the Aanora novella. I printed it out, tucked it into the working file, and there it has remained and will remain for at least another 2 weeks. Last weekend, I worked on my short story “Light the Way,” tweaking certain parts and checking on the use of language in it. I think this story is about ready for submission, and my next task for it is to develop a list of publications for it. This weekend, my plan is to tackle another short story that needs far more work. It has been drifting through several rewrites because I can’t seem to settle on what the main character is truly about. This morning, while getting dressed, I was thinking that maybe I needed to give her more vulnerability than I have in previous drafts.
Revision work. Probably the real work of creative writing.
A recent article in The Writer about something unrelated to revision sparked some ideas for me for this problem story. I realized that I needed to get to know the main character better. She has been a cypher to me really, and I think that’s been a huge problem. Next, I realized yet again that withholding information creates suspense or tension. There’s an element in this story that I think I introduce far to early. One of my early drafts kept this element hidden, with only hints and glimpses through most of the story. I’m thinking that my original impulse regarding that element was probably correct. And third, I’ve always known that the main character was a survivor of childhood sexual abuse, but I’d been waffling, I think, on whether or not she’d accepted that fact of her life and if she had, what was she doing to heal? I’m fascinated by the psychological and behavioral results of untreated PTSD which is often a result of early childhood psychological and physical trauma. So does this character accept American society’s reluctance to face the ugly fact that PTSD is not only something combat veterans and disaster survivors experience, or does she push against that reluctance?
These are good questions. When approaching revision work, questions are a writer’s friends. Questions generate thought and ideas. Questions could have answers or just more questions. The process of working through questions can untangle the worst of a messy draft. The important thing is to open to those questions, let them percolate in the mind (and the imagination), and to be patient. I have a post-it note above my desk that reads: Trust in the process.
The following 4 questions are also on a post-it above my desk and are essential for narrative structure as well as character development:
- What does the character want in terms of this story?
- What is the character willing to do to get it?
- What is the character’s primary emotional vulnerability?
- What is the character’s biggest fear?
These questions address the main character, but they can also be asked of all the rest of the characters, especially those that are potential or actual obstacles to the main character.
Every writer has his or her own way of approaching the revision process. In my experience, there is no right or wrong way, only the best way for each writer. I need a lot of thinking time, as well as time to noodle around with the questions that I have, time to play with possibilities without feeling I must commit to any one direction. I’ve only just begun thinking about this particular short story this weekend. It will probably take many more weekends before I’m satisfied with the answers that my imagination provides for me.
Evan Quinn has been nagging at me as well. Last weekend I was writing notes for Perceval’s Shadow and thinking about my approach to its revision process. But Evan knows he needs to be patient and let me get this short story revision done first. (With a fulltime job now, it’s impossible for me to be working on more than one writing project at a time.)