Sometimes the key to writing a novel is situating yourself at the right point in your protagonist’s emotional journey

Monarch Changing to Chrysalis 5Actually managed to get to chapter 2 today!!!

Not sure that I’ll stay there. I’ll probably end up getting two or three chapters in and then find myself back at chapter one.

It’s very strange, because I know pretty much what the world is like and the emotional journey is going to be and what’s going to happen and all of that seems to work pretty well (at least in my mind), but I haven’t quite ironed out the voice. There’s no point in writing a book unless every sentence is, in some way, fun to write. A character needs to shock and surprise you. I know it sounds silly, but I do feel like the characters ought to feel, when you’re writing them, as if they’re alive. I don’t think that anything mystical is necessarily happening, I think that’s just a sign of the unconscious taking over.

Writing is primarily an unconscious activity. No one can properly answer the question: “What should the character do right now?” And that’s why you need to rely on the unconscious mind to provide those answers.

However, I’ve gotten better and better at rejecting the false answers that sometimes crop up. And, sometimes, one of those false answers is when the character has too much voice and too much personality and is too sure of themselves. Sometimes you can write a character who spits and cackles and moves across the page, but…to no end. They’re static; they already know who they are.

In my last workshop, one of my MFA classmates gave me a really insightful comment. He said that my characters already seem to know exactly who they are and what they want, and that meant that there didn’t really seem to be enough growing for them to do within the story. He recommended that maybe I ought to pull back a little bit and try to explore what my characters are like when they’re still in the process of becoming their final selves.

Anyway, in the more recent versions of Chapter 1, I’ve been pulling back and trying to write a version that’s more muted, more uncertain, and more human. I’m not sure whether it’s completely working yet (because as soon as one aspect of the book starts to get stronger, then some weakness in another aspect is revealed), but I think I’m starting to get there.