Learning new skills usually require learning things in the right order. It’s kind of pointless learning how to differentiate a mathematical equation if you don’t know algebra. It’s fruitless to learn how to form a subjunctive clause in a new language if you don’t know how simple verbs work.
It happens when you learn how stories work, too.
I had a revelation about stories the other day. I haven’t been doing much writing in the last year. A big part of that is that I’ve simply been living (I live on my own, well, with my cat), but another important reason is that I’ve been a bit frustrated at my inability to put a story together. There’s a reason this blog is called “Just Add Story”, after all.
Back to my revelation. I read a couple of webcomics on a nearly daily basis. One of them is Schlock Mercenary, a science-fiction action comedy set a few hundred years in the future. And the current point in the current story arc could best be described as “things go horribly wrong“. Up until this point, the toughs were doing something fairly tame. No-one was getting shot at, for instance. They were retrieving artifacts for some grumpy scientists and trying to appease a local alien race whose world they’re, well, plundering. Except these aliens have just now out-smarted the heros and have begun causing them a certain amount of chaos.
This happens fairly regularly in this webcomic. A large part of the reason is that the main characters running the show are not the sharpest crayons in the box – a fact frequently mentioned, but rarely successfully mitigated against. Thus we have all the things to Make A Good Story Happen.
How have I not noticed this before? Well, I have, but I wasn’t ready to learn it. What happens is the writer goes “what’s the worst thing that could happen?” – and then proceeds to do pretty much exactly this. It’s not a new concept. I’ve seen it mentioned a few times by writers and readers on my Twitter feed in the last month. But now I was ready to learn it.
My current novel has languished for a long time. Some of the reason is time – but that’s actually no excuse because I often do find time to do what I want to do. So why was I not interested in writing? Because it was getting boring.
That’s when I had my revelation. The protagonist in my writing has lost his farm, his village and his livelihood. He’s been thrown into (and out of) a city he doesn’t know and doesn’t understand. Now he’s following someone else who he doesn’t know well and who also doesn’t know what’s going on. However, he has his pregnant wife with him. She’s important to the larger story because she’s pregnant – but that isn’t so important right now. In fact, it’s kind of getting in the way. Meanwhile, our hero doesn’t have a direction in the story – he’s flailing around with nothing to do. And that’s makes for a story that isn’t going anywhere.
I’m guessing that experienced writers will probably say at this point: take the wife off him. And that’s the key. Do that and now he has something to do (get her back) vnd has to canvass help from a range of new acquaintances to figure out how to do it.
Basically, why would I give the hero a wife if I’m not going to take her off him?