The reasons for this blog: 1. To provide basic author information for students, teachers, librarians, etc. (Please see sidebar) 2. I think out loud a lot as I work through writing projects, and I'm trying to dump most of those thoughts here rather than on my friends.

Saturday, June 4, 2011

Woke up at five thinking about the ending sequence, which is maybe the last 1/3 to 1/4 of the book. I worked through it in my head and wrote it all down in a spiral, including the moment of choice and the moment of action that results from that choice.

On the surface this probably looks a lot like some of my other versions of the ending sequence. However, it's driven by a slightly deeper knowledge of the secondary characters as well as the thinking I've been doing re. what the MC wants vs. what he really needs (i.e. what the reader wants for him). Each event is driven not just by what's going on in its particular scene, or by what's going on in the general rush to the end, but by everything the characters have felt and done since page one. And now, for the first time, all three of the guys have appeared in the climactic scene without me forgetting one or trying to stick him in as a prop.

There's a lot of action here (compared to my usual endings). I'm thinking that my being forced to construct and revise plot-driven fight scenes for that w-f-h novel may be extremely helpful to me now. I think I may have this correctly sketched out enough that, when I get a chance for some solid writing time, I can power through a draft just going by technical set-up and craft. If so, then I can go back over it multiple times, viewing it through the lens of other story aspects* to gradually shape it in layers. This is what I ended up doing with the w-f-h fight scenes, albeit in a plottier way.

Will be interesting to see how this version of the ending looks when I have time to really dig into it. Hope it still seems workable then.

*"Other story aspects" include going back over the sequence from each character's POV, as well as:
  • checking the pacing
  • feeling out any moments of reader confusion
  • dialing back places where I've overplayed the action
  • catching any spots of falseness
  • making sure I haven't wandered too far from the ideas that drove the book in the beginning.