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I'm glad the post resonated! :-)Jody Hedlundhttps://www.blogger.com/profile/12424307540530719614noreply@blogger.comtag:blogger.com,1999:blog-8539581256374625880.post-24194756614574928672013-07-31T22:42:09.974-04:002013-07-31T22:42:09.974-04:00Hi Jenni,
I haven't read Jeff Gerke's boo...Hi Jenni,<br /><br />I haven't read Jeff Gerke's book. I'll have to check it out! I'm always looking for a good writing craft book. Thanks for sharing your thoughts!<br />Jody Hedlundhttps://www.blogger.com/profile/12424307540530719614noreply@blogger.comtag:blogger.com,1999:blog-8539581256374625880.post-80756496294866029162013-07-31T09:47:18.044-04:002013-07-31T09:47:18.044-04:00Yes, I tend to approach my stories with very broad...Yes, I tend to approach my stories with very broad, nebulous goals and themes and narrow them down as the story progresses. My crit partner teases me about my "vague and nebulous plotting." :-) But I suppose it works something like this: I can't look at a story plot and say "Oh, this is where I need to do X." I can make a guess and try putting X in a certain place, but sometimes I need to put X in the wrong place, stand back and take the time to realize X really doesn't belong there, and then move X to where it goes. At least this way, I know for sure that I've found the best possible place for X. If you decide to put X somewhere just based on a plot, how do you really know you've found the best place and the story wouldn't be stronger if you moved X somewhere else?<br /><br />I don't write my stories completely with this trial and error method. But there are somethings I just can't predict from a plot or synopsis. A first kiss is almost always one of these variable elements. None of my synopses ever mention kisses, because I have no idea where any of them are going to be until I'm in the middle of my story. And yes, I've been know to pull or add or move kisses around before the final version is ready. :-)Naomi Rawlingshttps://www.blogger.com/profile/02431203734855694561noreply@blogger.comtag:blogger.com,1999:blog-8539581256374625880.post-87566343458737784582013-07-31T07:36:46.321-04:002013-07-31T07:36:46.321-04:00Great! Thanks for the article. Loved to hear more ...Great! Thanks for the article. Loved to hear more examples of "unanswered questions" <br />Michele M. Reynoldshttps://www.blogger.com/profile/05301713340266463349noreply@blogger.comtag:blogger.com,1999:blog-8539581256374625880.post-28620512471516944082013-07-30T19:06:23.710-04:002013-07-30T19:06:23.710-04:00Jeff Gerke's craft book The First 50 Pages was...Jeff Gerke's craft book The First 50 Pages was a huge help for my last story, and I'm using his suggestions in my WIP. <br /><br />It's the push and pull of moving forward and holding back.<br />Moving the plot forward, while deciding what to hold back from the reader so the tension can mount and unravel to a pleasurable conclusion. Jenni Brummetthttp://jennibrummett.comnoreply@blogger.comtag:blogger.com,1999:blog-8539581256374625880.post-55819988752722454682013-07-30T15:35:53.582-04:002013-07-30T15:35:53.582-04:00Hi Anne,
Yes, it's hard to always know how to...Hi Anne,<br /><br />Yes, it's hard to always know how to handle the questions CP's raise. They're just trying to be as thorough and helpful as possible. I think it's always wise to evaluate what's truly confusing to them versus what they are anxious to discover. Because while we want to leave some questions unanswered, we also don't want our readers to be constantly going, "Huh?" :-)Jody Hedlundhttps://www.blogger.com/profile/12424307540530719614noreply@blogger.comtag:blogger.com,1999:blog-8539581256374625880.post-22945212844095227772013-07-30T14:06:11.680-04:002013-07-30T14:06:11.680-04:00Hi Naomi,
Great points for a romance. I agree! It...Hi Naomi,<br /><br />Great points for a romance. I agree! It's all the little situations with the micro tension that keeps my heart engaged in a romance. I think that's why I can easily put down a romance book if the couple ends up together too soon in the story. I need that tension to eek out until the very end, but of course in a believable and realistic way.<br /><br />And I'm amazed at how you write, Naomi! I'm very linear, so your method sounds very confusing to me! But hey, it goes to show that we're all wired differently and that there's never a one-size fits all way of doing things! :-)Jody Hedlundhttps://www.blogger.com/profile/12424307540530719614noreply@blogger.comtag:blogger.com,1999:blog-8539581256374625880.post-27089651494939797252013-07-30T06:47:15.604-04:002013-07-30T06:47:15.604-04:00Great post Jody. Very helpful. I've thought ab...Great post Jody. Very helpful. I've thought about these pacing issues, but on a more intuitive level. It's helpful to name it like you have here. It's a balancing act for sure. Sometimes the questions can be implied, other times they can be named or stated in the H/H's thoughts.<br /><br />I notice sometimes when I get critiques back from a few CP's that they are often asking a lot of questions about the back story in the first 100 pages. I think it's important to note that just because they have formulated the questions, doesn't mean the writer should dump in the answers. Rather, it reflects what you've pointed out here--that the writer has been successful in creating questions. Perhaps the focus should be, is the writer creating the questions in the reader that he/she intended? Do they make the reader read on? or frustrate them?Anne Lovehttps://www.blogger.com/profile/10164218328146605384noreply@blogger.comtag:blogger.com,1999:blog-8539581256374625880.post-89266688099845619762013-07-30T06:30:49.428-04:002013-07-30T06:30:49.428-04:00Perhaps I'm a little weird, but I get frustrat...Perhaps I'm a little weird, but I get frustrated with too many questions that go on and on and on for forever. In fact, I usually skip ahead in the book to find out the answer if they go on for too long (and then, of course, I don't always want to go back and read the skipped part unless it looks really good).<br /><br />When it comes to something like imparting backstory or revealing some other information, I usually figure that out in my revision stage of the ms. Right now, I think I've revealed one of my character's backstory about 3 different times, because it naturally seems to come up every time. I'm only on page 100 of the book, but for now, I have all three of those conversations and memories in there, and I'll decide which point is the best once the entire story finishes . . . and I'll probably go with on of the later points over the earlier.<br /><br />But for me as a reader, micro tension is usually what makes or breaks a romance novel. In a romance novel, I know the H/H are going to have lots of scenes together doing a bit of everything. Do those scenes make me fall asleep? Or do they make me laugh or squirm? Some romance novels can have really similar plots to adventure or suspense or coming of age novels. So it's the ROMANTIC SCENES WITH THE HERO AND HEROINE that make all the difference. And that usually boils down to micro tension, which tends to get skipped over in a lot of "how to write" books and blogs. Yet I'd also wager that micro tension between the H/H is why half the romance readers out there read in that genre.Naomi Rawlingshttps://www.blogger.com/profile/02431203734855694561noreply@blogger.com