Hatrack River Writers Workshop: How does a total scrapping of one to become another sound?

This is topic How does a total scrapping of one to become another sound? in forum Open Discussions About Writing at Hatrack River Writers Workshop.

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Posted by Monolith (Member # 2034) on :

I know this is a goofy thing to talk about, but I having difficulty trying to keep going forward in one of my WIP's. I have the same milleu, but a different character, that will eventually come into contact with some of the characters of my current WIP. (Make sense?)

I think that the one I have current is stalling because I think it will turn out to be a dialogue driven thing and I want one that is character driven. Is this too much of a thing to ask for?

This is one of the longest post for me in a long while, but I'd appreciate some logical feedback onto as what the drawbacks can be, but also what some of the rewards can be.

Thanks in advance.

Oh, the WIP is "Monolith's Arrival".

-Monolith-

Posted by Beth (Member # 2192) on :

I don't think I understand what you're asking. I also don't understand what dialog-driven means.

But regardless, if you're completely stalled, it probably means you've taken a wrong step somewhere. The solution may be to scrap it and become another, or it may just be to retrace your steps and see where you went wrong. I don't understand your situation well enough to really offer any specific advice, though.

Posted by Monolith (Member # 2034) on :

Beth,

I'm using the term "dialogue driven" to mean that most of the story will take place in dialogue, getting info on the milleu as well and I think that's what stalling it out. Does that help any?

Posted by Beth (Member # 2192) on :

I guess I just don't see that as being in opposition to character-driven. Dialog is a really good way to expose and develop character, so I don't see what the difficulty is.

Posted by mikemunsil (Member # 2109) on :

Monolith

Listen to yourself. It sounds as though you're pleading for an excuse to keep writing this. Only you can give that permission. We cannot. I suggest that you have the courage of your unspoken convictions and simply finish it, no matter how it feels at the moment. After this piece is complete you'll have much more information on which to base your decision.

I apologize if this comes across as hectoring. I don't mean to.

mikemunsil

Posted by wbriggs (Member # 2267) on :

My suggestion, Monolith: this problem you have -- if what you fear will happen, really does happen, what will be missing? Something about character, I think you're saying. Something will not be fully fleshed out about character (or maybe it's milieu).

So flesh it out. Go have a brainstorming session with yourself about what's missing, and invent it. If there's something you invented that you don't like, brainstorm for a replacement idea. I think when you get the idea conflict resolved, writing it will be easier.

Posted by Spaceman (Member # 9240) on :

If this is a character-driven story, it implies a change will take place in the main character. Find out what that change will be and you'll have the ending. Once you have the ending, it's just a matter of building a foundation and everything should snap into place.

Posted by yanos (Member # 1831) on :

Maybe what you are really concerned about is the writing of the dialogue and keeping it interesting for the reader. I too think that way, esepcially after so many criticisms of my dialogue. Hey, I'm a teacher.. .what can I do?

I think you have 2 options, go with the dialogue or mix in some action. THere are several possibilities for the latter. no one lives in a void and we all react with others. Even if that interaction doesn't advance the plot it does let us know about the characters and the world they live in. Why have everything explained when some things can be discovered.