Amy Sue Nathan

On arcs and words

In this editing and revision process, I do a lot more pondering than I do during the writing process, even in the rewriting process, which makes it no wonder that I’ve gladly stepped away from the computer each night to the world of reality television. No. Thinking. Required.

LurkerMonkey mentioned yesterday that first drafts just flow and how so little of them is left in the end.  To me it’s the foundation that no one sees, like the foundation for a house.  But if it cracks, isn’t built right, isn’t strong enough — or if the earth shifts — it’s just not going to hold up the house.  Even if your second/third/eleventh draft doesn’t resemble your first, those first notions and thoughts were what they were built upon – or what was carted away so that it could be rebuilt.

On Nathan Bransford’s blog yesterday he wrote about writing, which was really cool for an agent to do.  And the stark reminder about character arcs and that each character must want something, always (even if it is a glass of water, according to Kurt Vonnegut) made me think some more.

I thought about each character, his or her motivation.  What he or she wants in general, in each chapter, in each scene.  My comments on Bransford’s blog said something to the tune of remembering that we needn’t – we shouldn’t – say what the needs or wants are of our characters.  We have to show them.  It can be sublte and should be woven into the story.  And arcs can come to a close.  Motivations can change. Or I really hope they can!

There is one secondary character in my story who is happy and appears suburban-perfect down to her Lilly Pulitzer wardrobe.  She wants to maintain that appearance and does so by dodging conflict (even though it’s all around her) and she always pointing out the bright side to her more sarcastic, realistic friends.  Throughout the story she works very hard at her image and maintains it UNTIL something happens and it’s time to tear down the wall.  Her motivation changes.  She wants someone to do something — and the only way to do that is to reveal secrets that clash with her persona.  Her motivation switches at that point — from wanting to protect herself to wanting to do “what’s right” — within limits.  Those limits are pushed, but in the end she gets what she wants – her rightful place back with her friend to whom she revealed a secret and the knowledge that she is who she claimed to be, no matter what.

See why my head hurts?  I’m doing this with every character, because these revisions take me deeper into their orbits – and the main character is not always the sun.  We may think she is, but those arcs reveal little worlds and stories unto themselves.

And if that wasn’t enough — I learned a new word on Bransford’s blog yesterday: nadir. It means “the lowest point.”

So think about it…characters should always want something, and their motivation should drive not only their own arc but the storyline in general. If you could drop it and not alter the story, does it belong there? I say not. What do you say?