Here’s the thing about writing a story: I have no idea what I’m doing. I’m still not quite certain how I got from page one of my manuscript to page five hundred *cough thousand cough* — and I had no idea until I actually got to the end of DEMON ANGEL how it was going to end.
Oh, I knew it was going to end happily — that’s a given –and I knew the bad guy would be defeated. But in the synopsis I turned into my editor (I had only three chapters written at the time, and the synopsis was to give her an idea of how the rest of the plot went) I summed up the ending with: and Hugh outwits Lucifer after a massive battle on Alcatraz.
What I didn’t add, because it’d be a dead giveaway to my editor that I had no idea how he was going to do that, was “Hugh outwits Lucifer … somehow.” And if you’ve read the book, you know that’s not exactly how it happened. (So, if you haven’t read it, don’t worry — that wasn’t a spoiler.)
So, what happens between writing the first three chapters and writing the end? Well, a couple of things: I got to know my characters very, very, very well — and I ran out of options. By the time I got to page four hundred *cough thousand cough* I knew exactly what Hugh and Lilith were capable of … and what they weren’t. I knew that I’d set up Hugh as the ultimate good guy, and Lilith a consummate liar. I’d woven threads about rebellion and bargaining and symbols through the book (and those threads weren’t there in the synopsis — Part One didn’t exist, bargaining didn’t exist, and the symbols didn’t exist in those first chapters I sent to my editor) and, like the gun on the mantel in a mystery, I *had* to use them.
In writing parlance, they call this being a pantser: you write by the seat of your pants, figuring everything out as you go along. I’m not writing completely blind — I do have a general idea oh how the plot will twist — but the details are where I’m often surprised. And I don’t mean surprised in a “my characters took over and I have no idea what they’re doing” but in a “wow, that little thing I stuck in way back on page 30 really means something now, and is going to come in handy.”
And there does come a point where all of the plot options are narrowed down to one or two. As I get to know the characters well, the decisions that they make become much more clear, and it’s like a madman pruning down the branches of a tree; pretty soon you’re left with a solid, straight trunk. No, Lilith would never play nice. No, Hugh would never turn his back on someone in danger. No, Lucifer isn’t going to let her out of her bargain.
That doesn’t mean there can’t be twists in the plot, or that characters can’t grow and change — but those changes have to be based on what has come before, and there has to be an authenticity and truth in every decision they make. Anything else, and they aren’t really characters … but just the sum of plot points that I’ve thrown out willy-nilly, because I desperately need to get to my HEA, and, dammit, I told my editor that Hugh was going to outwit Lucifer so even if it makes everything I’ve already written about his character false I’m going to do that … arrgh!
I don’t like willy-nilly, so, for me, that isn’t how it works. And I’m not really sure exactly how it does work…I just know that it does.
I do feel like I’m often figuring things out along with my characters … and with DEMON ANGEL, that was exactly what happened. I got to the end … and they figured out how to solve their problems around the same time I figured out how to solve it for them (which may account for the hundreds of *cough thousands cough* pages I ended up with).
I’m wondering: what’s the most surprising moment you’ve read or seen in a book or a movie? On reflection, was it a moment that was in character — or did it seem willy-nilly, to serve the purpose of the plot despite characterization? (If it includes a spoiler, don’t forget to put a spoiler warning in the comments.)
As you progress through writing and revising your second and third novels, have you remained as much of a “pantser” as you were for the first? Has the preliminary stage of writing changed much now that you have the writing/editing/completion of two novels under your belt? If so, how?
For a book, I can’t think of anything off the top of my head. Not to say it hasn’t happened, just that I can’t think of something right off.
But the movie Frailty comes to mind. I won’t give the spoiler, but I certainly didn’t see the twist at the end coming. Fab movie. I love things like that.
On another note, I think it’s fabulous, as the creator of the story, that even you didn’t know how things would play out. I haven’t read the book *yet*, but I think when it’s as much as a surprise to the author as she’s writing as it is to the reader while she’s reading it, it makes for a better story.
Biggest surprise that I can remember, off hand: the end of The Sixth Sense. I sort of wondered about Bruce Willis’s character, but was shushed when I mentioned it while watching. Hah! The surprise served the plot and the character, I think.
I can’t think of any in books, but in movies, The Notebook…sniff..snifff. That’s all I’m going to say to not give anything away.
romblogreader — wonderful question, and I’m going to take some extra time and answer it in its own post. Thanks for dropping by!
Holly — I haven’t seen Frailty, but now I’m really curious. The title is ringing a bell, so I must have heard of it before … (will be going to IMDB in a few seconds). RE: knowing how it would play out — it’s an odd and nerve-wracking way to write, too. I often envy plotters who know exactly how/where they’re going before they sit down to write … but at the same time, it does allow a bit of freedom, knowing that I can go where the characters need to go. I’ll be explaining the process a little bit better when I answer romblogreader.
jmc — I was shushed too! I think I got it about half-way through, although I wasn’t totally certain until the end … another movie like that was … oh man, I can’t remember the name. It was a French film with the chick from Amelie … Ah ha! He Loves Me…He Loves Me Not. It was one of those where you *kinda* know what the twist is, but aren’t really sure until they reveal it.
Kim — I haven’t seen the Notebook, but I have heard it’s a tearjerker! I’m afraid of tearjerkers … I get all red and snotty. 😀 But I didn’t realize there was a twist to it…now I may have to brave the Kleenex to find out what it is.
This is very interesting. As just a reader I love when authors share any info about their creative process or any kind of “behind-the-scenes” stuff.
The most surprising moments in books for me, were years ago in a couple of Agatha Christie’s books. I mostly remember one that really surprised me, but that I didn’t like at all, and I was very disapointed with it. In movies, I remember No Way Out (one of Kevin Costner older movies) that surprised me in that moment, and The Usual Suspects, that also surprised me, even if I was suspicious of some things about a particular character. Also The Sixth Sense.
Hey Meljean – just wanted to say that I love your approach to writing but you are a better person than I because I would stress about that synopsis 😉
Book – LKH had Anita do something that I did not expect in Book 10 and this was before the Ardor 😉 I was just floored because that side of Anita had never surfaced before – I will tell you if you don’t want to read 10 books to get to it. No one else has ever mentioned it. Huh.
Movie – oh yeah, the Sixth Sense blew me away. The Usual Suspects was the birth of Kevin Spacey as an actor! Serenity – Joss Wheddon is not a writer to trust though and I discovered that the hard way. Even though I did not enjoy the newest Star Wars movies I think I gasped out loud during the final one – not sure what caused the reaction but it was like having a final puzzle piece click into place. I remember grabbing Bob’s arm (Bob doesn’t follow long stories very well and didn’t see any of the nuances) and practically hollering out about what was going on. Damn, wish I could remember.
As to ‘take my breath away’ moments – Matrix II – I was practically crying at the visual impact of the stunts – ooops, I think I moved from the original point 😉
Oh, oh, Memento – that was just freaky.
CindyS
While I was reading, I couldn’t figure out how you’d manage to get to a HEA without some kind of sucky deus ex machina twist. I was (pretty) sure you wouldn’t, but I still kept wondering, and reassuring myself by thinking it’s a romance, there WILL be a HEA. 🙂
I think most of my surprise moments have been in suspense, horror, and mystery books. After all, they are geared towards keeping you guessing. Harlan Coben is an author that comes to mind immediately. His stuff usually keeps me guessing
I’m so impressed by “pantsers”. I’m horrible at plotting. It just kinda trails off after awhile.
romblogreader — I posted an answer to your question here. It’s long … like everything I write. *g*
Julia — I like reading behind-the-scenes of other authors, and I’m constantly fascinated by how different the process is for all of us. So though I don’t always learn from those posts, I do take away an appreciation for the variety within the genre, from the early stages to publication. It’s very refreshing, especially since we’re always bombarded with stereotypes that lump us together.
Cindy — now you HAVE to say what it is. I haven’t read LKH beyond the first one, and probably won’t soon … so you can spoil me. 🙂
Rosario — agh, deus ex machina!!!!!!!!!!!!! AGHHHHHH!!!!!!!! I hate that too. And considering the nature of the book, I can definitely see how you might be worried … Michael swoops down and fixes everything … or Someone Else does. hee. Nope, not here.
Cherie — Harlen Coben! Yes! Totally agree with that one.
Devon — I’m impressed by plotters *g*