START IN THE MIDDLE

Julie Andrews in The Sound of Music

“Let’s start at the very beginning, a very good place to start,” sang Julie Andrews in the sound of music. Now, while this may be a very good place to start learning your ABCs and Do Re Mi’s, it’s really not the best place to start your story.

These days we have the very short attention spans of those addicted to scrolling through social media or flicking through Netflix shows, to deal with. We can’t afford a meandering beginning to our novel, memoir or, most of all, our short stories. We need to hook the reader IMMEDIATELY! Yes, right away we have to establish a quest, question or character who is so compelling and complex that our reader wants to keep turning those pages as quickly as she can.

The best way to do this is to start with ACTION: A scene where your character is doing something that demonstrates their unique, intriguing personality and establishes, or at least gives us a giant clue as to what is at stake.

WHAT IS AT STAKE?

What does your character have to lose? Will the world end if Jack Reacher or James Bond doesn’t defeat the evil overlord? Will a family become destitute if at least one of the sisters doesn’t marry a rich man? Will a teenager die of mortification if she doesn’t get a date to the school dance?

What is at stake may be something as seemingly insignificant as that date, but it must feel vital to your protagonist. The reader has to care whether the character will achieve their goal or not. Remember: SUSPENSE = HOPE + FEAR!

SET UP YOUR CENTRAL QUEST OR QUESTION

Using what is at stake, establish within your first few pages the central challenge for your character. Will James Bond defeat Goldfinger and save the world? Will one of those sisters marry a rich man and save her family from poverty? Will our teen get a date?

Make sure your opening pages are setting up this question as it drives the narrative forward and compels your reader to turn pages. Remember that your first readers are your potential agent or publisher.

BEWARE OF BACKSTORY

A common error made by new writers is the, what I like to call, “Charles Dickens Opening”. Eg: I was born… It’s important for writers to know in detail the backgrounds and upbringings of their characters, but the most important elements of this can be woven into your story later, once you’ve established forward momentum by your central quest or question. So if your opening is full of wonderful detail about your protagonists early childhood, and perhaps even the history of their family; if you say to potential readers, “But just wait till chapter 4, that’s when it gets really exciting,” then it’s time to create another file called, “Bits I love and may need later” and CUT CUT CUT!

CUT TO THE CHASE

A wonderful rule to follow, whatever you’re writing is:

            GET IN LATE AND GET OUT FAST!

Start as close to the central action of any scene as you can (with it still making sense) and get out before you write too much and bring closure where none is needed. Leave that scene ending open, so your reader is left wondering what happened next. Leave gaps for the reader to fill in themselves. This is the joy of reading.

Wonder Woman scissors to make cutting fun 🙂

By all means, write that backstory. Write it all down, but then go back and find where the action really starts and cold heartedly cut that backstory. Remember you can always weave it back in as flashbacks or just one liners here and there that give us clues about a character’s past. Reveal that past slowly. And most importantly CUT ANYTHING THAT DOESN’T EITHER DEVELOP CHARACTER OR FURTHER YOUR PLOT!

Start in the middle, weave in the beginning, and keep us reading all the way to the end.

GOOD LUCK with your stories. Remember, writing is rewriting.

Lots of love,

Edwina  xx

RESURRECTING THE DEAD – Opening the Bottom Drawer

I don’t know about you, but I have a bottom drawer full of old manuscripts. Actually, I have a whole chest full. The first novel I ever wrote, “A Lesson in Darkness” will never see the light of day, it was my real training ground. It’s never even had a second draft. But I have three other projects that were precious book babies at some point but then, because of rejections real or imagined, became too hard to look at and were relegated to the bottom drawer.

What I’ve learnt over my twenty years of writing practice is never ever to give up on a piece of writing. Short pieces that were rejected for years, even decades, suddenly find the prefect home in better places than I’d ever dreamed of. “Mrs Sunshine” had done the rounds of many literary journals and competitions and then finally found a place in Best Australian Stories 2014. Other stories too, battle worn and bruised have risen to be published and paid for.

Even Thrill Seekers was resurrected from the dead after Barbara Mobbs, my then agent, told me to forget about it, put it in the bottom drawer and move on, after it was rejected by only one publisher. I wasn’t going to give up on it that easily. I submitted it to a worldwide call out and scored a contract with Ransom Publishing UK. It then went on to be shortlisted for the NSW Premier’s Awards. It wouldn’t have, if I’d taken Barbara’s advice and let it perish unseen.

It takes courage to resurrect old writing, especially when it’s done the rounds a few times and faced a lot of rejection. “Remember,” I have to tell myself, “rejection doesn’t mean the work is bad, only that it hasn’t found the right home, or the right shape yet.”

I am not short on courage. I feel the fear and do things anyway. You have to be a risk taker to be a writer. But reviving “Dear Madman” and starting to work on it again after a break of some years has taken all my strength. When a book has been rejected, it’s not just the book that’s bruised, but the writer (actually, the book probably feels okay!). Sometimes you’ll have a loving spouse to drag the manuscript out of the rubbish bin, as Stephen King’s wife famously did for Carrie, his first breakthrough hit. But sometimes you have to be your own loving friend and do the same.

I have been working on “Dear Madman” on and off for over ten years. Yes, that long. This project is dear to, and deep inside, my heart. It began life as a memoir about the murder of my maternal grandmother’s sister as a child in the Lockyer Valley in 1912 but then evolved into a novel. The characters demanded it. I couldn’t shut them up. Besides, I felt the story was best portrayed as I saw it playing out in my mind – in scenes. I thought it worked well, but publishers didn’t agree. My agent at that time, Zeitgeist Media Group, were tireless in their efforts but couldn’t get it over the line. The rejection of this manuscript broke my heart. I started to believe it was cursed. That I was. And that’s never a good idea.

Recently, I attended Kris Olsson’s Memoir Bootcamp at the QLD Writers Centre with more recent memoir projects on my mind. However, once I started doing some of the preliminary exercises, I knew that the ghost of “Dear Madman” had called me there. Kris inspired me to take another look, to redo it as the memoir I’d originally intended, keeping the novelistic scenes if I wanted. That was weeks ago.

It took those weeks for me to gird my loins in order to tackle what seemed like a monumental task, the most difficult puzzle of my writing career. How to do it? The question loomed in my mind larger than the book itself. “Just do it!” I told myself like a sportswear commercial. “Feel the fear and do it anyway.”

I dug up the old files, the original memoir strand of 24 000 words, journal extracts from the time of my researching and writing, and the novel it all morphed into. Then I started fresh. I opened a new document and called it, “Dear Madman 2022” (I know, I know, we’re not there yet, but I’ll still be working on it then I know). Most importantly I added ROUGH DRAFT in very big letters. “Just muck around with it and play,” I intoned like a mantra.

So I played. I’m still playing. Anything goes. I’m shoving bits in, weaving things together. Writing new bits, writing about the process. Talking to the reader as if they know how tricky it is to braid these disparate strands. And guess what? It’s fun! I’m enjoying myself. After the first few days of timidity and self-criticism, noticing where I’d overwritten and made things worse, I’ve reached a stage where I’ve regained my creative confidence and my belief in the project. YAY! It’s all a huge schmozzle right now, but I have faith that it is becoming more like it is intended to be. It’s finding it’s shape at last and I’m enjoying the challenge.

And, quite literally, I’m resurrecting the dead as I write, or at least giving them another life on the page. Through writing, I’ve given that little murdered girl the chance to laugh and play with her sisters one more time.

If you have stories or novels or memoirs clogging up that bottom drawer, especially those that hurt to look at, especially them, dig them out and expose them to the air. Gird your loins, put on your grown-up pants, and tell yourself you’re just going to play and see what happens. Start a new document and dive right on in. Anything and everything goes. You can do no wrong.

Repeat after me, “I am confident and capable in my creative work.” You can do it! Who knows? You may even have fun. 

What projects have you buried that deserve a second chance at life? What projects have you resurrected? Any success stories out there? I’d love to hear them!

Come and get it!

Lots of love,

Edwina xx