this is super interesting. To me, a total outsider(!), it sounds as though the present day story is the "main" story, and the flashbacks tell us how the character got to where she is today. So while there is a ton of story to be told from the past, the REAL story is the character today, living in the aftermath of what they've gone throug…
this is super interesting. To me, a total outsider(!), it sounds as though the present day story is the "main" story, and the flashbacks tell us how the character got to where she is today. So while there is a ton of story to be told from the past, the REAL story is the character today, living in the aftermath of what they've gone through. Maybe (and I'm trying to say this gently but i'm not so good at that, sorry), you need to sort of re-think things. I mean, if the real story is the flashbacks, as you say, then why have the present day at all? It seems like the present day is the story....?
You’re right, that’s why I decided along the way to add a second timeline in which my main character is older, struggling with a lot of things in life, like relationships, anxiety issues. In this way, I could shatter this ‘block’ of unpleasant memories into smaller bits and pieces and let them come up whenever there’s a reason for it. For example, the character meets her former best friend from high school that dumped her right before she gets sick, and this meeting digs up the past which she is trying to escape in het adult life.
So your story is about a character (the older one, in the present-day) making their way through life, right? And to understand that character, we need to know about their past. (Right?) I guess you have to decide where the story really is. I mean, some books are entirely framed--start in the present, then go back in time for the bulk of the book, and end in the present again. Some books concentrate on the present--that's where the real story is--with snippets from the past appearing to reveal some truths. Is there a story in the present day with a struggle for your character? Or is it all in the past? Is the present day story merely a frame for the past? Or is there a real present day story that snippets from the past help us understand? It seems to me like perhaps you have to decide what the purpose of the book is. (If you haven't already.) I fear i'm not being of help. I'm just trying to figure out what you've got without seeing it.
I guess it would be the last one. At least, that's my goal. There is also a lot going on in the 'present' storyline. So these flashbacks are more like clues, or answers.
Following Lesley’s question/comment … I wonder … does anyone ever have an editor/publisher/friendly stranger do a kind of dumbed-down crashing through the underbrush sort of intuitive edit just to see what is left standing? For the writer to then see what definitely connects and what’s fragile?
I’m not sure I wouldn’t still want to keep what’s fragile and slash and burn the obvious stuff, but … would that method be instructive? Or just hurtful.
I do find with my own stuff any ruthless edit has to be fast and unthinking and sort of arbitrary (take out 10,000 words, don’t ask why!)
It’s almost always helpful, but I of course make sure to save all the words I cut. Then some seem to creep back in when I’m not looking.
Probably not an unusual method.
I think here I agree with some others: if a publisher has already staked themselves to the 1200 pages, trust that. And just see what happens next.
Breaking the story into smaller bits and pieces also could make it be a mystery, as well as psychological drama. And readers love trying to figure out a puzzle!
I was thinking about this essay in the New Yorker, ‘ A case against the trauma plot,’ did you read that? Ever since I read it, I’ve noticed that there are indeed a lot a trauma plots in backstories. I just wonder if this has to be a bad thing. I don’t think so. Although I agree with the author that A Little Life was a bit too much to handle.
I remember that essay. I don't think it's a bad thing--back stories of trauma that are there to help explain a character's current situation. (That's the crux of that essay, right? All of the traumatic back stories to be found in modern novels?) I don't think that's a bad thing at all. The only "bad" thing is bad writing. (I never read A Little Life and probably won't.)
this is super interesting. To me, a total outsider(!), it sounds as though the present day story is the "main" story, and the flashbacks tell us how the character got to where she is today. So while there is a ton of story to be told from the past, the REAL story is the character today, living in the aftermath of what they've gone through. Maybe (and I'm trying to say this gently but i'm not so good at that, sorry), you need to sort of re-think things. I mean, if the real story is the flashbacks, as you say, then why have the present day at all? It seems like the present day is the story....?
You’re right, that’s why I decided along the way to add a second timeline in which my main character is older, struggling with a lot of things in life, like relationships, anxiety issues. In this way, I could shatter this ‘block’ of unpleasant memories into smaller bits and pieces and let them come up whenever there’s a reason for it. For example, the character meets her former best friend from high school that dumped her right before she gets sick, and this meeting digs up the past which she is trying to escape in het adult life.
So your story is about a character (the older one, in the present-day) making their way through life, right? And to understand that character, we need to know about their past. (Right?) I guess you have to decide where the story really is. I mean, some books are entirely framed--start in the present, then go back in time for the bulk of the book, and end in the present again. Some books concentrate on the present--that's where the real story is--with snippets from the past appearing to reveal some truths. Is there a story in the present day with a struggle for your character? Or is it all in the past? Is the present day story merely a frame for the past? Or is there a real present day story that snippets from the past help us understand? It seems to me like perhaps you have to decide what the purpose of the book is. (If you haven't already.) I fear i'm not being of help. I'm just trying to figure out what you've got without seeing it.
I guess it would be the last one. At least, that's my goal. There is also a lot going on in the 'present' storyline. So these flashbacks are more like clues, or answers.
Yes, that sounds right from what I'm gathering. I'm guessing it's going to be a great book!
What does your publisher/editor suggest in terms of revision? And congrats! You must be a terrific writer to have landed a two-book deal.
Following Lesley’s question/comment … I wonder … does anyone ever have an editor/publisher/friendly stranger do a kind of dumbed-down crashing through the underbrush sort of intuitive edit just to see what is left standing? For the writer to then see what definitely connects and what’s fragile?
I’m not sure I wouldn’t still want to keep what’s fragile and slash and burn the obvious stuff, but … would that method be instructive? Or just hurtful.
I do find with my own stuff any ruthless edit has to be fast and unthinking and sort of arbitrary (take out 10,000 words, don’t ask why!)
It’s almost always helpful, but I of course make sure to save all the words I cut. Then some seem to creep back in when I’m not looking.
Probably not an unusual method.
I think here I agree with some others: if a publisher has already staked themselves to the 1200 pages, trust that. And just see what happens next.
This is exciting. I’m excited for this book.
Wow haha, that really wonderful to hear!!
Breaking the story into smaller bits and pieces also could make it be a mystery, as well as psychological drama. And readers love trying to figure out a puzzle!
I was thinking about this essay in the New Yorker, ‘ A case against the trauma plot,’ did you read that? Ever since I read it, I’ve noticed that there are indeed a lot a trauma plots in backstories. I just wonder if this has to be a bad thing. I don’t think so. Although I agree with the author that A Little Life was a bit too much to handle.
I remember that essay. I don't think it's a bad thing--back stories of trauma that are there to help explain a character's current situation. (That's the crux of that essay, right? All of the traumatic back stories to be found in modern novels?) I don't think that's a bad thing at all. The only "bad" thing is bad writing. (I never read A Little Life and probably won't.)
Yes, but the author wasn’t fond of it, hence the ‘case against it.’ Don’t read Yanigihara, every chapter feels like losing a finger.
Yeah, i've been warned. Staying away.