{"id":2371468,"date":"2016-01-20T11:10:28","date_gmt":"2016-01-20T17:10:28","guid":{"rendered":"https:\/\/clearwaterpress.com\/oneyearnovel\/?p=2371468"},"modified":"2019-10-05T14:20:38","modified_gmt":"2019-10-05T19:20:38","slug":"when-to-listen-to-your-internal-editor","status":"publish","type":"post","link":"https:\/\/clearwaterpress.com\/oneyearnovel\/blog\/when-to-listen-to-your-internal-editor\/","title":{"rendered":"When to Listen to Your Internal Editor"},"content":{"rendered":"
\n

\"\"By Gabrielle Schwabauer, Staff Writer<\/strong><\/p>\n

Do you get burnt out partway through a rough draft because of the numerous story problems you encounter? Whether you set out with a careful outline or write by the seat of your pants, it may help to tune your ear to your own internal voice<\/strong>.<\/em><\/p>\n

Outlining is a challenge.<\/strong> Plots tangle, ideas blur, and characters stubbornly refuse to reveal their desires, talents, and motivations.<\/p>\n

When I wrote my first novel, I failed to give my outline the kind of meaningful thought it required. Oh, I completed The Map<\/em>, but by the time I had waded a few chapters into the novel, the story had grown so large that my few scribbled sentences, while not technically inaccurate, were definitely inadequate. Once finished, that novel featured a few strong scenes and interesting ideas, but it failed completely when it came to clear, traceable plot<\/strong> and character arcs.<\/p>\n

Outlining 2.0<\/h3>\n

Right now, I\u2019m working on an even larger project. I frequently fall prey to fears that\u00a0I\u2019ll never be able to catch the characters, never evoke the emotion from readers that\u00a0lives inside my head. But this time, instead of hiding from the questions<\/strong> that arise\u00a0from my perpetually incomplete outline, I\u2019m digging through the pile<\/strong> one at a time.\u00a0Instead of placing my bets that the reader won\u2019t notice plot holes, I\u2019m taking care to\u00a0weave my threads together in ways that make sense. When something doesn\u2019t work,\u00a0I start again.<\/p>\n

Sure, I can attribute some of this breakthrough to the help I\u2019ve received from others<\/strong>. I\u2019ve brought excerpts to critique groups and friends, and their comments have\u00a0often\u00a0been useful. But one of my biggest writing revelations has been the simple\u00a0realization that I need to start by listening to myself<\/strong>.<\/p>\n

Internal Editing vs. Common Sense<\/h3>\n

You\u2019ve heard it before: \u201cTurn off your internal editor when you write!\u201d<\/strong><\/p>\n

It\u2019s good advice, but I think that some writers might confuse their internal editor\u00a0with their nagging sense of doubt<\/strong> about a story\u2019s logical consistency. An internal\u00a0editor poses a problem when it won\u2019t let you type a boring sentence or push\u00a0through a bit of stilted dialogue. That second voice, though, is not some nitpicking\u00a0roadblock; it\u2019s your writing conscience telling you that you are being false in some\u00a0way<\/strong> \u2014 That\u2019s not realistic!<\/em> or She couldn\u2019t escape so easily!<\/em> or Why isn\u2019t he more\u00a0<\/em>angry?<\/em><\/p>\n

In my first novel, I forced events and characters to conform to my preconceived\u00a0ideas<\/strong> of how the story was going to go. I\u2019d had vague ideas about chapter 11 from\u00a0the start, so I manipulated and contorted the plot to force it to go there. It may not\u00a0shock you to learn that this was highly ineffective!<\/p>\n

With my second project, I\u2019ve started listening to that little mental whisper that says\u00a0\u201cWhy didn\u2019t she get caught just then?\u201d or \u201cWhy doesn\u2019t he just tell someone that he\u2019s\u00a0leaving?\u201d If I\u2019m not convinced, the reader won\u2019t be convinced.<\/strong> If I can think of an\u00a0obvious answer or solution, the reader will too.<\/p>\n

Haven\u2019t you heard people laughing about horror stories in which the protagonist\u00a0wanders into a dark alley alone to investigate mysterious shrieks of pain? That\u2019s the\u00a0kind of thing that makes astute readers roll their eyes. If you feel the need to explain\u00a0away the convenience of a rescue or a character\u2019s willingness to wander recklessly\u00a0into danger, then you\u2019re probably trying too hard to wallpaper over a crack in the\u00a0\u201ctruth\u201d of your story. Heed your own gut feeling that your explanation didn\u2019t quite\u00a0make sense.<\/strong><\/p>\n

Embracing Logic and Simplicity<\/h3>\n

When I used to stare at my outline in frustration, thinking \u201cHow can I get\u00a0it to make sense that X thing didn\u2019t happen here?\u201d I would reply \u201cWell, maybe I could\u00a0make him choose to. . . \u201cor \u201cI suppose it might work if they . . .\u201d Now, I\u2019m practicing\u00a0replying to myself with \u201cOkay, what if it did? What if X did happen?”<\/strong><\/p>\n

Simply put: Don\u2019t tie yourself in knots forcing convenient things to happen.<\/strong> If you\u00a0need a really convoluted explanation for why Leanne didn\u2019t get caught while\u00a0breaking into the prison even though she has no special skills or resources, and you\u00a0spend the whole scene inventing new reasons\u00a0why this guard was sleeping\u00a0and this guard was underground and this guard was dealing with a riot, then it\u2019s\u00a0time to let Leanne get caught instead.<\/p>\n

Some of the most effective scenes in my writing have appeared when I stopped\u00a0trying to twist the story to fit my original ideas and allowed myself to follow a path\u00a0that was more natural for the character, more surprising to the reader, or more\u00a0logically aligned with the current circumstances in the story. Loosen your grip on\u00a0your original vision and ask yourself \u201cWhat would actually make sense?\u201d<\/strong><\/p>\n

Finding Balance<\/h3>\n

Of course, I don\u2019t want to discourage aspiring writers. You don\u2019t have to have every\u00a0single question answered<\/strong>, your outline completed with one final glorious flourish, in\u00a0order to write a productive rough draft. All stories grow and change over time. No\u00a0matter how carefully you outline, you will always realize about 80% of the way\u00a0through your novel that you\u2019re going to have to make some major change to plot or\u00a0character in editing. It\u2019s inevitable, so embrace it<\/strong>.<\/p>\n

What I do want to discourage is the practice of laziness<\/strong>. It\u2019s one thing to begin a\u00a0rough draft with the knowledge that it\u2019s going to come out as a messy, jumbled,\u00a0imperfect narrative. It\u2019s quite another to blindly ignore gaping plot holes or\u00a0characters with no motivation.<\/p>\n

If you know in the back of your mind that a significant element of the story just isn\u2019t\u00a0working, change it!<\/strong> Put a pause on your Pinterest board and your character lounges\u00a0and your inspirational playlist. Bite the bullet and look at your plan for the story.\u00a0Once you\u2019ve identified your novel\u2019s conceptual bumps and bruises, getting input\u00a0from fellow writers<\/strong> (who can see your story with the impartial eye of an outsider)\u00a0can be invaluable, especially while you\u2019re still in the brainstorming stage.<\/p>\n

Why So Harsh?<\/h3>\n

Well, because the longer you go without addressing these faulty story elements, the\u00a0worse they get<\/strong>. That bad idea from chapter 3 influences the rest of the novel. When\u00a0you\u2019ve woven it through the entire rough draft, it\u2019s a lot harder to extract than it\u00a0would have been if you\u2019d listened to your gut feeling of dissatisfaction halfway\u00a0through chapter 4.<\/p>\n

Also, when you write 90,000 words based on a cracked foundation\u2014a character or\u00a0plot point or setting that doesn\u2019t quite feel real\u2014you make it ten times harder on\u00a0yourself to come up with an alternate solution. You\u2019ve already run story-grooves\u00a0into your brain<\/strong>, and your brain will resist major changes.<\/p>\n

Say your sidekick, Lacey, has felt flat and boring since you first imagined her. The\u00a0solution, you think, is to shrink her role in the story and use her as a mentor for the\u00a0hero instead of a wisecracking ally. If you\u2019ve only thought of Lacey as headstrong\u00a0and defiant for a month, you won\u2019t have too much of a struggle shifting her role to\u00a0that of the calm and steadfast mentor. If it\u2019s been 18 months of ignoring the Lacey-problem, it will be much, much harder to retrain your brain<\/strong> to imagine her in any\u00a0role other than her original, flawed one.<\/p>\n

In essence: listen to the still, small voice of your writing conscience when it\u00a0whispers to you that something in your story isn\u2019t working.<\/strong> It is trying to point you\u00a0toward a more interesting story, one that will immerse the reader instead of making\u00a0him raise a single skeptical eyebrow. Buckle down and tweak your story-solutions\u00a0until they feel functional and logical to you. Trust me\u2014you\u2019ll thank yourself in the\u00a0long run.<\/strong><\/p>\n

…<\/p>\n

Have you ever gotten into trouble\u00a0by ignoring obvious problems in your manuscript? What did you do about it later?<\/em><\/p>\n<\/div>\n

…<\/p>\n

\n

\"\"<\/p>\n

About Gabrielle<\/strong><\/p>\n

Gabrielle Schwabauer has loved stories for as long as she can remember. (The Lord of the Rings<\/em> holds the top spot, as it has for twelve years running.) She likes reading books, playing video games, eating stromboli, looking at pictures of sloths, and having already written today.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

By Gabrielle Schwabauer, Staff Writer:<\/strong>
\nDo you get burnt out partway through a rough draft because of the numerous story problems you encounter? 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