It’s been a tough month and a half in life. But this past week I’ve had more time for writing fiction, and my mood has improved greatly as a result. I continue to work on the Aanora story with building excitement. The rough outline is done up to the moment before the climax, and I know the very last scene. But that climax has me stuck. I’ve put my characters into what seems to be an impossible situation, and I haven’t a clue – yet – how they’ll get themselves out of it. At this point, I tell myself, “trust the process.” My imagination will come up with something plausible.
In the meantime, I’ve been writing this story in a way I’ve not done before, i.e. I’ve been skipping around…a lot. I’ve been writing scenes as they come into my mind. In the past, I’ve usually written straight through from beginning to end, then I’ve gone back and rearranged scenes as necessary. I’ve also not outlined the plot points as I’ve done with this story. So, this story has demanded from the start that I take a different approach.
I call it “filling in the holes.” I write skeleton scenes, or write one scene in a section and leave it to skip to a different section. The next time I can work on the story on my computer, I write another scene or two, and then return to scenes I’ve written earlier and edit, add details, or fill in dialogue and action. My imagination tells me where it wants to play and I go there.
As a result of this approach, I’ve discovered that I’ve had a significant number of false starts, action that turns out not to work, and scrapping whole scenes to start over. At one point a week ago, it hit me that I hadn’t made the stakes high enough for my characters and that’s when I figured out what the villain wants and how it conflicts with what the protagonist wants. For me, this is a particularly strange way of working. In the past, I’ve laid down a first draft, printed it out, and then gone through it carefully, asking questions about what each character wants and what he or she will do to get it, if the action, dialogue, scenes are moving the story forward or not, what the purpose of each scene is.
And another thing I’m doing differently with this story: I’ve broken it up into sections and each section has a title. Now I realize that my imagination wanted it this way to have playful titles — yes, I am using the word “play” a lot in one form or another because this story has been all about playing — playing with the characters and action, and playing with my imagination more than anything else. Playing with a detail, an action, a block of dialogue, to see what will work best. The sections make it easier for me to write in short bursts, as has been necessary with my current work schedule and life, and to write something in one section, then leave it to write in another section without losing track of the story.
Play. My imagination has prescribed for me the perfect medication for the serious stuff life has been throwing at me lately. I’m happiest when I’m writing fiction, and being able to play with the Aanora story recently has been a respite and sanctuary, as well as lifting my mood. The serious life stuff will always be there, and in its way, it feeds my creativity by giving me life experience. But I love the way working on the Aanora story has given play back to me.