What To Do, What To Do…

Is it stuck when you’re not entirely sure what to do next? I’m inclined to think not, mainly because I can feel what to do next simmering away in the back of my mind.

The scene I’ve been working on is, for all intents and purposes, finished. I’m not entirely satisfied with the very end, the last paragraph or so, but I don’t have to be in order to move on. The bulk of the scene is where it needs to be, Ilsabet’s first turning point, the hinge on which her story swings for the first time. I’m happy because I can feel the story turning in the scene; things are not the same at the end as they were at the beginning. Best of all, ‘the beginning’ can mean either the beginning of the scene or the beginning of the story, which is what you want for a story turning point.

So, what next? I actually have two options: I can write the next scene in Ilsabet’s point of view, the beginning of the first half of the second act, or I can write Ennevel’s turning point scene. I know how both scenes begin and I know who the players are in each, but they both have stumbling blocks. In the case of the Ilsabet scene, I know what the outcome is, but I don’t know how to get there in a way that includes believable and story-related conflict, and I don’t feel as if I can begin the scene without some sense of that. (Which is probably silly; half the scenes in this story were begun when I didn’t have much more than, ‘Here’s how it starts and here’s what I think should happen.’)

The Ennevel scene is even less developed; all I really have is who’s in the scene and where, roughly, the scene takes place. I’m not sure what happens, what the outcome is, and since this is Ennevel’s hinge scene, I kind of need that.

Heh. I think I figured out what I need to do: Figure out where Ennevel is, in terms of her emotional and story arcs, in the scene after the hinge, and then back-fill. This was a suggestion from when I was in the land of stuckness, but I couldn’t use it then. However, it’s perfect for this problem. Oh! And I can use a modified version of it for the Ilsabet scene–how does that scene shift her emotionally (since I already know what the external outcome is)?

Now I just have to be still and patient with these two thoughts resting in the back of my mind, where the Girls can work on them. If nothing comes tonight, that’s okay. I’ll have it in a day or two.


1 Comment (+add yours?)

  1. Trackback: Flying Blind « Katy Cooper

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