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Kurt R.A. GiambastianiAnother chapter down.

For the professionals out there, this may not seem like much, but for me, especially after the last two weeks I’ve had at the day-job, it’s very good progress.

More to the point, for my patient readers, I have completed a major group of “character” chapters (see post on Pacing), and those are always the hardest to write.

Now comes a group of “action” chapters, which tend to go much more quickly.

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A word about pacing.

In my books, chapters tend to fall into two categories: chapters that deal primarily with characters, and chapters that have a lot of action. When I outline my book (yes, way back at the beginning), I think about these two types. Do I have the mix of action/character chapters that I want? Are they interspersed the way I want them to be?

The answers to these questions dramatically change the result. The extremes explain it. Go all-action chapters and you get “The Bourne Ultimatum” where if you go with all-character chapters, you get “Little Women.” Of course, each of these (especially in novel form), you have some of the other type of chapter. You might not think of it as such, but a chapter with Jo and a meeting of the Pickwick Society is an action chapter; important things happen, and the characters do not resolve major internal conflicts. Character chapters in a “Bourne” novel are easier to spot, mostly because nothing blows up and speeding cars aren’t involved.

And, naturally, each chapter has a soupçon of its counterpart. Nothing in writing is Boolean.

Then, once I’ve determined the mix of chapters in my outline, I look at how they’re arranged and see the “rhythm” of the pacing. Consider these two examples:

  1. Character-Character-Character-Character-Action-Action-Action-Action
  2. Character-Character-Action-Character-Action-Character-Action-Action

Which of these seems like the more interesting? Which one looks like the pacing of the action “beats” will better drive the story? I vote for the second.

Of course, there’s no hard and fast rule, but most successful stories have a rising level of action as the plot unfolds. Tension rises, and partially relaxes, rises some more, and relaxes, rises more and more, to the climactic moments, and the story resolves. Action, in its various degrees, helps drive the tension. Action provides the pace of the conflict.

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Sarah over at Musings of a Steampunk asked me to do a guest blog; a very nice compliment. Check out her blog to follow her journey into the world of a first-time novelist.

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Kurt R.A. GiambastianiI’m wrapping up my second month on this blog (boy, do I wish there was another word for this thing; “blog” just sounds so…indiscreet), and I thought it proper to do a little retrospective on the process.

First, a big thank you to all those who have visited, read, and decided to follow this “scream of consciousness.” It’s always humbling (and not a little surprising) when complete strangers from around the world take an interest in what I write. Your attention is noted and greatly appreciated because, after all, writing is only half the process; readers are key. (more…)

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Ages ago, when the crust was cooling and TV was funny, there was an episode of M*A*S*H where Hawkeye was looking through the files for the map to the minefield and Radar says it’s right here. Under “B”…for “Boom.”

An acquaintance over on another blog recently told us that she’d joined a writers’ workshop, and my immediate reaction was “Uh oh.” I’ve had some bad experiences with writers’ workshops. While I don’t want to discourage any writer from joining a workshop, they can a minefield. Luckily, I have a map. (more…)

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I’ve often heard actors say that they really prefer playing bad guys to good guys. Good guys are generally so…good. They’re simple, where bad guys are complicated; straightforward, where bad guys are conflicted.

I can understand this view and, based on how characters are written in most movies these days, I agree with it. In books, though, I think we have to do better than that.

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Kurt R.A. GiambastianiEver have one of those dreams that is has a really great storyline? I don’t mean a cool (but wacko) storyline where you turn into a dolphin and swim to the Peloponnese where you meet Marisa Tomei and—damn, I love that dream…

No, I’m talking about a dream that has a cogent but wild plot, a good theme, and strong structure with rising action and conflict. Ever have one of those? Am I the only one who does a literary post-mortem on his dreams?

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