Finding the Happy Medium

I've always been an instinctive writer. I've been writing for 25 years (not submitting I hasten to add just in case anyone has visions of Jackie stuck in a garret, toiling away), writing lots of different stuff, poems, science fiction, fantasy, literary, and romance, and all of it just kind of flowed. I had no idea about conflict, about black moments, about character arcs. I didn't bother with that kind of thing, not beause I felt I knew all about it but because I just thought I would do instinctively. And writing like that served me very well. Up to a point. It got me a letter after the Instant Seduction contest. It got me runner up in Feel the Heat. If I was a bit more instinctive it might have even sold my 'nearly there' ms. But the thing is, if you want to stay published, you need more than instinct.

Why? Because when you get a revision letter that tells you to add more internal conflict, you need to a) know what internal conflict is, and b) how to add it. And unfortunately, that's where instinct failed me and where I had to put on my big girl pants and actually knuckle down to learn craft. I really didn't want to. Knowing about character arcs and goals and motivation ruined the spark for me. But, after my partial failed at the first hurdle last year, I knew that instinct wasn't going to be enough. You can have visions of the wonderful house you'd like to build but if you don't get the framing right, it won't stand up.

So then I started unlearning 25 years of writing insinctively, re-learning all the craft stuff and actually paying attention to it. Make sure my characters had conflict, make sure they learned from each other, make sure they changed. And guess what? In the process I DID lose the spark. I was concentrating so hard on making sure everything was in place that I lost sight of my instinct. Even doing these revisions, my characters became cardboard cut-outs that I was moving around. I knew them, but they kept shifting on me (and no, they're not werewolves. Maybe it would have been easier if they were!), they kept changing.

Maisey then offered some advice (because she's good like that) - just let it all go. Write from your gut. And so, after six months of learning my craft, I put all the craft stuff aside and wrote the way I used to. By instinct. And sure enough, my characters came alive. I slipped into them and they began to speak not with the words I gave them, but as the people that they truly were.
Hello happy medium!

The idea is that I know my craft better now (and no doubt I will keep learning it) so I can see where something's going wrong. So I can plot properly. So I get the pace right and the conflict straight. And then I have to write like I don't. Easy.

Anyone else an instinctive writer and find all this craft nonsense a pain in the rear?

Husbands Are Useful or What Would Luke Do?

I knew there was a reason for husbands. I mean apart from changing fuses, cleaning drains, getting rid of spiders and entertaining children. Yes, mine has yet again proven his worth when it comes to sorting out my complicated plot dilemma.

I was telling him about my great new idea that involved a pretend relationship instead of the fake engagement (see previous post) and he was silent for a little minute. And then he said 'that sounds quite complicated' . So I explained that they had to have a reason for continuing their relationship after their one-nighter - which was the whole point of the fake engagement thing, as well as enforcing an intimacy that would deepen the tension. All very good reasons I thought.
But you know what he said? He told me that it sounded very much like I was inventing reasons to make my characters do what I told them. No, he had not read my previous blog post. No, I had not applied my own very good advice to myself. Doh.

So I whined, 'But they need a reason to see each other again.'
And husband says, 'Really? So hot sex isn't enough of a reason?'
'But...but...' I protested weakly.
'Come on,' says husband. 'Ask yourself - what would Luke do? Would he really need a reason other than that to see her again?'
Of course he wouldn't. He's an alpha male. If he wanted to keep seeing her then, by crickey, he'd just jolly well go ahead and do it! And would Anna say no? No, of course not! Would you say no to another hot weekend with a fabulously hot guy?

Okay, so after having pointed out my blatant manipulation of my characters, dear hubby then suggested a way that I could still deepen the tension and enforce the intimacy that wasn't so complicated and contrived. I've got a party in the plot that was supposed to put the fake engagement to the test and hubby suggested making this weekend party occur somewhere away so that my hero and heroine (she'll ask him to the party and he'll say yes) will be together where the chance to get away is minimal. So now I have them in enforced intimacy (to deepen the tension), no fake engagements, no pretend relationships. And the action stems directly from choices they both make. Of course once they get to the party, that's where the fun starts conflict-wise. It was just the getting them there that was the hassle!

This is not to say it all won't turn to custard again. But at least my niggles about contriving my plot have been put to rest. And it may all for nought anyway if I don't get asked for the full. But what this has taught me is that I am STILL a class A manipulator of characters to suit my own evil ends and this needs to stop right now. Think I shall have to print out a little sign that says 'What would Luke do?' and stick it to my monitor just to remind me.

Anyway, here's to hubby, upholder of characters rights, saviour of plots, and stern keeper-in-liner of wayward romance authors!!