I think I’m getting unstuck. I think I’ve figured out what the scene is for. The other day, Jennifer Crusie posted a short bit on her blog about Lani Diane Rich’s concept of turning points as hinges in the story. For some reason I can’t explain, that image just resonates with me in a powerful way. Because of that, I see the scene I’m working on as a hinge in Kerlis’s story, and that idea breaks things loose for me. It also explains why I’m stuck: a hinge scene is important, a serious change in the character’s circumstances, a point when he and his world change so neither can go back to the way things were. Of course I was getting stuck; this is important.

I need to let the Girls in the Basement work on this for a while — maybe the rest of the day — but I think I’m going to be unstuck.

Beyond this scene, though, I need to make sure the hinge-scenes for Ilsabet, Narthé and Ennevel are right around this scene. I know that Ilsabet’s hinge-scene comes after the one that I’m working on. When I considered it, I realized it’s a hinge scene for Narthé as well, so they’re covered.

That leaves Ennevel. This morning, I knew what her scene needed to be, so that’s now in the pipeline. The scene with Ilsabet and Narthé needs a lot of work — it’s the biggest hinge of all — so I might leave that and go on to the Ennevel scene. I don’t know. I need to write the Kerlis scene first.

Writing is hard, but it’s the hard that makes it great.


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