OT: (Can it be off topic if I haven't said anything yet?) At first I was like, oh gee what on Earth will I blog about today? And then I bopped over to the Manuscript Mavens blog where I left a comment on Maven Darcy's post on revision almost the friggin wordcount of her original post. *sigh*
So anyway, what I meant to talk about today was something I read in Donald Maass's Writing the Breakout Novel. (One of my pals, who shall remain nameless unless she outs herself, just had her head explode by reading those words. She is not in love with WTBN. She believes too many people take it as the word of God. So, for the record, Donald Maass is not God. Some things he says I really dig, and others I don't. As with any craft books or advice, always do what works for you.)
Okay, now that we're done with the mini public service announcement (what is my issue with interrupting myself today??) we're back to WTBN, Chapter 7, Contemporary Plot Techniques.
When conflict level in a novel is high--that is, when it is immediate, credible, personal, unavoidable and urgent--it makes us slow down and read every word. When it is low, we are tempted to skim. [...] The moment tension slacks off, reader attention slacks off, too. It is as if the derivation of the word is "at-tension".
At-tension. I kinda like that.
He then says (btw, in case you didn't know, he's a successful literary agent) when he reads manuscripts, there are certain scenes that guarantee the writer will bore the reader to tears. These include scenes where a character is driving/walking/flying etc from point A to point B, scenes where a character is relaxing in the shower, scenes where a character is fixing tea/coffee/dinner, etc.
Basically, he says unless the car is careening out of control or hurtling off a cliff, don't think for a second that the reader is paying the remotest attention to paragraph after paragraph of introspection, even if you throw in beautiful prose about the lovely scenery.
My second novel,
Witness, was dinged in contests (and rightfully so) for one such scene. The story opened with the heroine en route to the recording studio of an infamous white-boy rapper who was going to get a bullet in his brain moments before she reached the front door step.
(BTW, he's not killed because he's a white-boy rapper, but because he's an ass. Villainess totally justified. *g)
Her stumbling across a dead body is all well and good, but her driving to do so really wasn't. Neither she nor the reader knew she was on her way to becoming a murder witness, which meant there was zero tension (or at-tension) in the scene.
Plus she was alone. Alone often equals boring. As my pal
Julie Elizabeth Leto pointed out to me later, there was no reason why her best friend (whose request for an autograph sent the heroine to the rapper's door in the first place) wouldn't
also be present.
Duh.
I am pleased to say my writing has improved in leaps and bounds since those days.
However, as I prepare to revise both
Touched and
Trevor & the Tooth Fairy, I will remind myself to pay special attention to low tension scenes.
I do not want to bore the reader at this stage of the game. Especially if the reader is, say, a potential buyer.
Touched, my third book, has several scenes in which the hero or heroine is alone (actively pursuing a goal, not just sipping tea and ruminating on their lives!) that Maven Lacey suggested I could revise such that the hero and heroine were working on their goals
together rather than separately.
Again I say: Duh. Brilliant idea.
In TATTF, my fourth book, the hero and heroine actually
do work together a good portion of the time. (See? I learn!) But that doesn't mean I don't have other scenes where, for various reasons, they are alone. I will be paying special attention to make sure those scenes are necessary, and if so, I will strongly consider whether or not the scene would be improved with the presence of an additional character.
(At least I don't have to worry about boring travel scenes, seeing as how Daisy can teleport. *g)
YOUR TURN: Fess up! Any "transportation" scenes in your story where the characters are going from one place to another? Scenes where they sit around thinking about all the GMC in their lives? What is your opinion of all this?