by Mikhaeyla Kopievsky
With Divided Elements in the hands of my copy-editor, I’ve been using July to get some new writing done. Having signed up for both #JulyWritingChallenge and Camp NaNoWriMo, I was worried that my efforts would falter the way my first attempt at NaNoWriMo did – a lot of angst and procrastination, not much writing. Pleasantly enough, I am slaying it! (Already at 12,000 words (I set my target at 15,000))
The two secrets to my success?
- Detailed and logically-structured plotting – thanks to my awesome plot roadmap
- Detailed and logically-structured plotting only up to the midpoint
The second secret is the important one (at least, for the purposes of this post).
I’m not sure whether it is pure genius or a product of my creative limitations, but it seems to be working. The thing is – when I get an idea for a story, it usually goes like this:
- Thematic image and general premise – aka A visual and a one-liner ‘this is a story about…’
Since I don’t want to give away the juicy details of the new WIP just yet, let me show how this would work if I was writing Sons of Anarchy … (bear with me, it’s been a while since I’ve watched it and the memory may be rusty…)
I would picture that moment where Jax takes on the Presidency and Tara stands behind him as his Old Lady, a corruption of two individuals who had the potential to escape a violent and toxic environment but have ended up as the next generation of everything they didn’t want to be – Clay and Jemma.
That image also gives me my premise – the story of a son who seeks to escape the corrupted legacy of his father, who finds that escape in the return of an old girlfriend, but who ends up corrupted and corrupting her in his efforts to escape. Like struggling in quicksand – it only conspires to work against you.
- That image and one-liner (okay, okay – one paragraph) give me everything I need up to the Midpoint – I get the status quo (Jax in the MC, Tara at the hospital), the hook (Jax finding his Dad’s journals), the inciting incident (reconnecting with Tara), the first plot point (going after Clay), the Midpoint (Jax and Tara as the new Clay and Jemma).
And that’s usually where the ideas run out – not because I can’t think of what happens next, but because there are so MANY paths this story can take. I generally know where I want it to end. I just don’t know how to get to that end.
This is why the first half of my plot outline for the new WIP is pages long and full of cool details. And the second half is … um, well… it’s blank.
I was kind of worried about this, but then I figured it could be a good thing. And I figured this while watching my beloved Wests Tigers play (and lose) another game (don’t get me started…).
A book, much like a game of football, is a tale of two halves. Every team goes into a game knowing the starting point (kick-off) and the end goal (walking away with a win, preferably a crushing defeat, that supplies two points on the ladder and a fantastic points differential). There will also be a detailed game plan – based on last week’s performance, where they are on the ladder, what current issues/injuries are affecting them, players playing out of position, whether it’s a home game, what they focused on in training, etc, etc.
But that game plan is only good up to the half time siren.
You walk into the sheds at half time with a 20 point deficit, you shake things up. You end the first forty minutes with three major injuries and a player sent off, and you start thinking twice about your earlier plan of putting on early points.
What it boils down to is this:
You can’t plan your second half until you know what position your first half has put you in.
Same goes for stories. I’ve spoken about this before – sometimes the little details you use to fill in your plot outlining can introduce a range of subtleties and nuances that shift the direction of your story. In the beginning the shift is negligible – but as it continues on that same trajectory, the difference becomes more and more noticeable.
It was the same with Divided Elements – what I had planned for my second half and what I executed were wildly different. In a good way. If I had stubbornly kept to the original game plan, I would have ended up with a incoherent, disjointed story with a lot of loose ends and an unsatisfying ending.
Which is why I am blissfully writing my way through the first half of this WIP without having a game plan for the second half. That can wait. I figure I will use the Midpoint as my new status quo and plot from there once I know my backstory (the first half).
What about you? If you are a plotter, do you plot the entire novel? And if so, do you ever allow yourself to change the plan late in the game?
I agree JA! I think you need to get a feel for your protagonist before you can understand the weight of their baggage and the brightness of their hidden strength (which is all key in the second half). I still have no idea what my second half will be yet, but I’m working on a theory…(more on that later).
When I was working through the midpoint and second half of Divided Elements, I put this together – https://mikhaeylakopievsky.wordpress.com/2014/09/07/tipping-the-balance-how-to-find-plan-b-and-write-your-midpoint/ – hope it helps!
I’m so glad you wrote this! for the story I’m doing for Camp NaNo, I only have up to the midpoint plotted (and I’m currently about 5000 words away from getting there.) After that I’ve got no idea what’s going to happen. But I agree with you, it’s been sort of freeing. I need to get into the story and meet the characters (because they’ve shifted already in all sorts of good ways) to find out who they will be when we get to the midpoint and then, after I know that, I think I can decide where they’ll go.
I’m wondering, when I hit the midpoint, if I’ll be able to plot from there or not, because I don’t like writing without a plan. We’ll see!
Are you getting a sense of what you’re second half will be yet?