Showing posts with label plotting. Show all posts
Showing posts with label plotting. Show all posts

Friday, October 26, 2012

Chomping at the bit.

I may have been silent and-or insipid on this blog the past couple of weeks, but I have good excuse. I decided to role with Au Contraire and have been up to my elbows in research and plotting. Exciting thing is, I tried a new method of plotting because plot-strength is something I've made a goal of recently. The method? After I had the bare-bones idea of Au Contraire (The basic plot outline), I went through and named all the chapters, devoting a certain amount to each phase of the plot. From there I researched historical events along the time-line of the story and plugged them into the basic plot, then built further plot twists and arches along those historical under-pinnings. I'm really really excited about this, and feel more prepared than I have for most of my novels. I have 3 detailed pages of outline to my name which will definitely keep me on track when I feel uninspired. Of course there is wiggle-room for plot changes, new characters, etc, but I think this method is going to prove extremely helpful. Would you like a sneak-peek of this novel via the chapter-names?

Oui?
I had hoped so. I will tell you not to put too much stock in what the names mean--I purposely did not title them obviously. But do they pique your interest?

1. Parlor of Patriots
2. "A bas les aristos!"
3. The song of Marseilles
4. Flicker-by-night
5. Ring-around-the-Rosie
6. A Death of ideals
7. Guilt-gems
8. Visage of Offense
9. The Gulf Torn
10. Nor Hell a Fury
11. The Hound
12. Self-same Dust
13. Tete-tete
14. Ruse de Guerre
15. Belly to the Ground
16. Vive le Roi
17. Doubt Thou the Stars are Fire
18. Vogue la Galere

Friday, January 13, 2012

He's an unlikely menace.


The Scarlet-Gypsy Song is a bit different than most books [even fantasy] because the cause for all the trouble in the tale is double-breasted. You see, Randolph Fitz-Hughes is the villain, indeed, and yet all the trouble in the whole book is rather inadvertently caused by one man:
Mr. Adoniram Woolcott Macefield 
He's  an author, you see, and Cecily Woodruff, Diccon Quarry, Lad, Dear-Heart, even the villain himself were all created by his pen. The events in the story are dictated-to by Mr. Macefield's imagination. It's all part of his book that he hopes to publish and get wealthy by. So when he children get into his book and his heroine gets out of it, there's rather a kerfuffle. Here's the scene directly after Cecily has told him the truth about what has happened:

The clock ticked, beating a funereal rhythm into the otherwise silent room. Cecily remained seated, her eyes still fixed on Mr. Macefield who had not stirred for ten full minutes from his current position—head on desk, arms over head, hair sticking wildly up like untrimmed grass around a fence. She wondered if this man had been so overcome by her tidings that he’d fainted—but such a person would hardly be worthy of the name of Man. He must be lost in thought, as she herself had been when she heard the news. She shifted in her seat and the chenille of her dressing gown made a soft hushing noise—enough to rouse Mr. Macefield from his brown study. He raised his head a mite, his eyes darting from one corner of his desk to the other, as if the thing he had lost were to be found somewhere under the litter of papers and empty, coffee-stained teacups.
Cecily cleared her throat, sufficiently encouraged by this sign of life to get on with the business of solving the monumental problem before them. Mr. Macefield responded with a slow shake of his head as if he’d been a great Newfoundland just waking from a nap.
“You’re quite sure they’re gone?”
“Quite.”
“Ah. I thought so.” Mr. Macefield’s lips pressed against each other and it struck Cecily that he looked a much older man now than he had but a quarter of an hour before.
“What can be done, sir?”
“That would be the question, would it not, Miss Woodruff? I—I mean, your Grace.”
Cecily’s smiled at the quick recovery and the discomfited expression on her author’s face as he stole a sidelong glance in her direction. She put out a small, white hand and bowed her head. “I am not worthy of any such title, sir. I have done a terrible deed this morning.”
Mr. Macefield dropped her hand, which he had taken reverently, and scraped his chin. “You don’t mean to say you did it on purpose?”
“Never, sir!”
“No—no, your Grace. Forgive me for even wondering.” He scraped his chin again and chuckled nervously.  “You are not capable of any such thing—ha ha! I wrote you—I ought to know that much—you are kindness itself and beauty, grace, accomplishment, and modesty besides. Do forgive me.”
“You are forgiven, Mr. Macefield, but I can’t help wondering what is to be done in the matter?” Cecily fumbled with a pile of trimmings from pen-nibs and fixed an intent gaze on the man before her. He shrugged, tugged at his cravat so it lay even more cocked to one side than usual, and harrumphed.
“In cases such as these,” he began, frowning, “it is customary, I believe, to call the policeman.”
“The policeman! Surely you would not put the future queen of Scarlettania in—”
“Jail? Certainly not. A blunder again. But what else does one do in the case of missing persons? And so many missing all at once.” He tossed his hands in the air, fluttered his fingers like a covey of doves, and smiled. It was apparent that, for the moment, the idea had rendered him quite helpless.
Cecily leaned forward in her chair. “There is one difference in our case than most others, sir.”
“Indeed? Is there? The children are missing, and nowhere to be found, certainly?”
“But that is not so, Mr. Macefield—they are to be found. We know where they have gone—the only trouble is, we cannot get at them.”
Mr. Macefield smiled again. “Capital logic, Miss Woodruff—er, your Grace. I ought to have thought of it myself.”
Cecily smiled; glad to have her piece spoken. The matter was entirely in her employer’s hands now. It was only he who had the power to do anything to change to course of events. She sighed. Court-life had not taught her how to handle such a dilemma, though it had taught her many a valuable skill. A sun-beam warmth crept into her heart, the precursor of a laugh—perhaps they ought to begin a royal class on What To Do If One Loses Her Charges. But there were graver matters at hand.
“What is your course of action?” Cecily asked. Her employer’s course of action, at present, seemed to be to clutch his hair and stare, sighing now and smiling then, frowning in between.
He stirred. “I suppose the only thing to do is to…write them home.” He sighed then, and overwhelm registered so strong in the slump of his shoulders, Cecily could hardly bear to look upon him. “But see here, your Grace—is there not another way? What about the box? Surely you have it with you?”
Cecily shook her head. “I’d thought of that—but your children are most thorough in their mischief—they took the box along.”
Mr. Macefield nodded and scratched his nose. “I only wondered—I might have gone in after them.”
“And what then? The box can only carry people forth—never call them back. Where it dances once it cannot tread again.”
Mr. Macefield slid half-way down his chair till only his cravat, his head, and his hair were visible above the sea of paper. “I had forgot that.”
“Then, sir,” Cecily said, standing and smoothing her skirt. “You had better start writing.” She turned to leave.
Mr. Macefield scrambled under his desk and blocked her retreat. “Isn’t there another way? Something else I can do right now?”
Cecily peered over his shoulder at the desk, chair, bookcases, and tables awash in manuscript. A brief interlude in the madness might aid the poor man’s agony. Then her stomach turned a somersault as remembrance forced itself upon her mind. “Well, there is one thing that must be done immediately.”
“Alleluia—what is it?”
“We must tell your wife, sir.”

Monday, August 15, 2011

To Kill or Not to Kill?

As I sit down to type this blog post there is one accusation pulsing through my brain:
"You are a murderess. You are a murderess."
It is disconcerting to say the least, and was put there by my sisters.

All that is a highly unusual way to begin a blog post, but the fact is, I need your help. I need your best writers' advice, and ASAP. You see, I took the liberty of plotting out Puddleby Lane on paper beforehand, and from the very start a particular character has been doomed to death. I can't tell you which one, for that would spoil the story entirely, but suffice it to say, someone will "pop off as y'might say."
Yes, there is to be a foreseeable end for this particular fellow. Killing him off is not an "easy way out because I'm tired of him" action, like the girls in Anne Shirley's Story Club employed. No. From the start this death has been planned for him, and it's rather necessary for the storyline I have plotted. I could get around it I suppose, by having him severely injured, but isn't that a little cliche?
You ask, "Why are you suddenly having qualms about this action?"
I had not counted on falling in love.
I had not calculated just how special this character is, just how much Cora loves him, just how much I love him. To have him killed now will be painful. I know I will drop a few tears as I write his death scene.
It comes to this: Why did I have to write this character so well? Why did I have to let myself get attached to him and make him indispensable? Why? He's only a side character, and I had to fall in love! *smacks forehead*
I could have made him dull, reserved, boring. No. I couldn't be content with that. I wrote him with the best that was in my imagination and now I'm afraid that killing him off is an unconscionable action that I'll never live down. My sisters will not speak to me if this character is nullified. I might get threats. I might get the cold shoulder. They recommend I get rid of poor, sweet little Dot over this character!
Thus my predicament. What do I do with this indecision? Stick with the original plan? I don't mind so very much killing off the fellow, since it is an honorable death I have planned...and it helps the plot along a great deal...HELP ME!
The severe injury case is still plausible and would work in the same way, but it would give the book an altogether entirely story-book happy ending that publishers mightn't like so much. Can anyone give me advice? How do you feel about killing off characters? I am beginning to wonder if I like the planning beforehand scheme. At least I could have come up on this ending for this character all of a sudden instead of having it lurking in my brain during the whole story. But no, I have known he is to receive his sentence since the first words of Puddleby Lane. I suppose I should just be a brave girl about it.