There comes a point, in every writer’s life, when you look at a segment of plot and realise, with a heavy heart, that it is absolutely dire. After 16 years, I’ve revisited a story that is very important and yesterday, came to the first truly shoddy section of work. [*] I can’t in good conscience allow it to remain as it does, but the dialogue and exposition that takes place is pretty much vital to the overall development. So, not without a measure of trepidation, there has to be a rewrite of the entire thing from the ground up.
Once upon a time, this would have been enough for me to abandon the project. In fact, I know that’s the reason this has never been finished, time and again. At every point a problematic issue occurred, where hard-written words would have to be destroyed, panic would ensue. The epiphany that resulted from this bombshell yesterday has been making ripples all over the place this morning, and that is NEVER going to be a bad thing. In fact, it’s released a creative block that’s been hamstringing real progress for some time.
I don’t care who you are, and how brilliant you believe work to be, everything can benefit from not being just written and presented as is. With blogging, goalposts can shift a bit, depending on the time of day something is written, or the creativity level you happen to be at when the post takes form. With fiction, rules are very different, because what matters above all else is your ability to maintain a believable narrative state. You’re selling this fiction to a reader, and to make it really immerse, there has to be a total belief that what you’ve presented is the best work possible.
That seems to matter a lot more in the realms of science fiction, which is where my story probably would be placed if they were selling it in a bookshop. Therefore, this section needs to be completely re-thought. I’m doing that right now, as it happens, as this is being typed. The scene in my head replays, over and again, working out what moves and stays, where characters shift, how dialogue alters. As soon as the sequence feels right everything is likely to be dropped so it can be plotted: that’s why the notebook’s here (/points) in case that happens when I’m out of PC range.
Once upon a time there was a mistaken belief that all that really mattered was a decent story: now I grasp that with the best plot in the world, shoddy presentation simply make everything look bad. All the stuff learnt, over years of writing non-fiction, leads to the inevitable conclusion that sometimes, it doesn’t matter one iota how brilliant the prose is if the point you want to make is lost or indistinct. In my case, I’m explaining a central conceit of my novel here, and not doing a decent job at all. I’m 90% certain this is the right place to be doing it in (setting is solid) and the people doing the explaining are the right ones (characters are sound) it is just how those two things combine that is lacking.
Piece by piece, combining the factors required to make this work something that really matters, it will be completed in the timescale I put aside to do so. That, in itself, will possibly end up being the biggest triumph of all.
[*] Let’s face facts, it could all be shit, I have no idea, but there has to be a benchmark somewhere ^^