{"id":434,"date":"2013-12-19T09:04:29","date_gmt":"2013-12-19T15:04:29","guid":{"rendered":"http:\/\/oneyearnovel.wpengine.com\/?p=434"},"modified":"2023-01-06T19:57:33","modified_gmt":"2023-01-07T01:57:33","slug":"growing-a-story-from-the-spine-out","status":"publish","type":"post","link":"https:\/\/clearwaterpress.com\/oneyearnovel\/blog\/growing-a-story-from-the-spine-out\/","title":{"rendered":"Growing a Story from the Spine Out"},"content":{"rendered":"

Daniel Schwabauer<\/em><\/p>\n

This is part 3 of an ongoing miniseries, Shadow Writing<\/em>, telling “the story of a story”: my work-in-progress, a swordpunk novel. You may want to read Part 1<\/a> and Part 2\u00a0<\/a>first.<\/p>\n

\"Growing<\/a><\/p>\n

Shadow Writing, Part 3<\/h2>\n

I sometimes wonder if my work-in-progress will ever be anything more than a private playground for my characters<\/strong>. I\u2019ve already written about the book here<\/a> and here<\/a>, thinking my struggles might help someone else.<\/p>\n

Of course, all of this self-analysis can go too far<\/strong>, just as one can go too far when plotting a book. In life and in art, we must leave room for spontaneity. Otherwise we risk producing sterile stories, devoid not only of flaws, but of movement<\/strong>. We risk freezing our lives into statues of white marble.<\/p>\n

Nevertheless, I found myself a few months ago turning over my book idea for the umpteenth time, realizing the most recent version still lacked the same thing my previous attempts at the novel had lacked: real characters<\/a>.<\/p>\n

So I tried to decipher a new possibility of the story told through the eyes of seven point-of-view (POV) characters.<\/strong> These seven had volunteered for the job, knowing the odds stacked against them.<\/p>\n

Of course, I warned them that even if I did finish the book most of them would not survive to the end.<\/p>\n

\u201cAnd if I don’t finish the book,\u201d I said, \u201csomething worse than death awaits you: I will lock you in the trunk of my mind with the rest of my failed versions. And you will never get out.<\/strong> You will spend the rest of my days in a shadow of the Shadow. Do you still want the job?\u201d<\/em><\/p>\n

One of them, an ambitious political figure named Lectin, said, \u201cWe aren\u2019t going anywhere.\u201d<\/em><\/p>\n

This surprised me. \u201cI always thought you were more clever than brave.\u201d<\/em><\/p>\n

\u201cIt\u2019s not courage,\u201d he said. \u201cIt\u2019s cold reason. The only way out for any of us is through the story. Even for you.\u201d<\/strong><\/em><\/p>\n

This is how I found myself with a sticky web of plot threads that refused to untangle itself<\/strong>. I had images end events. I had characters and a setting and scraps of dialogue. But all of these pieces ran together. The story refused to arrange itself in a clear linear progression.<\/p>\n

What I needed was a story skeleton, or at least a spine. Previous attempts to make a simple outline had been disappointing:<\/strong> somewhere I have a notepad thick with sketches of possible timelines, interconnecting scenes, changes in ideals. None of them worked.<\/p>\n

When I realized these misbegotten sketches were lacking real characters, my\u00a0solution was to tack an 8-foot roll of graph paper on my wall and write out every scene as a short sentence on colored sticky notes.<\/strong> The colors would represent each POV character, and would be arranged on a 3-Act timeline:<\/p>\n

\"Shadow-Timeline-photo\"<\/a><\/p>\n

 <\/p>\n

This may look like overkill, and perhaps it is, but it worked. At least, it worked in the sense that it did things my previous outlines did not.<\/strong><\/p>\n

1. The chart gave me a large visual picture of the story that enabled me to recognize holes in the plot<\/strong>. It helped me to measure how large a part each character in the story would play<\/strong>. This revealed weak areas that will need to be addressed.<\/p>\n

2. Oddly enough, it made tackling the story easier. Before the chart, my novel seemed bigger than it was because I could never see all of it in my mind at a glance.<\/strong> The chart gave me a sort of aerial photo that has helped give boundaries and definition to the idea. Now the idea is not quite so daunting. (Though, to be honest, still pretty scary.)<\/p>\n

\"Shadow<\/a><\/p>\n

3. The small blue squares that are visible in the top row represent key elements on which the novel\u2019s plot turns. This intrigues me because I did not consciously place these elements where they occur in each Act.<\/strong> I placed the little blue squares last<\/em>. They just \u201chappened\u201d to appear in the scenes that ended up being the major turning points. (In other words, the subconscious mind is pretty amazing<\/strong>.)<\/p>\n

4. This new skeleton serves the same function any story outline serves: it\u2019s a rough map of an uncertain journey. The journey may change course at any point; the map is only there to remind me of the landmarks and my destination. I am not committed to any one scene or its placement within the whole. In fact, as I have begun working on the new rough draft, the chart has already changed.<\/strong><\/p>\n

I see now that this chart is really a way of working from the outside of the story inward<\/strong>. That is, it has allowed me to reshape the images I created when writing previous drafts into the story frame I had been looking for all along.<\/p>\n

From now on, my work will be shaping the story from the spine out<\/strong>: re-creating the narrative through the eyes of the seven POV characters.<\/p>\n

 <\/p>\n

Later continued in Part 4<\/a><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Daniel Schwabauer<\/strong>
\nI sometimes wonder if my work-in-progress will ever be anything more than a private playground for my characters. 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