Tag Archives: Novel Writing

What did Numb3rs do for us?

When we acquired Netflix a year ago, I was looking around for something I could watch during quiet babysitting moments, and the US crime drama Numb3rs seemed to fit the bill. A few episodes in, I concluded it was not up to much, with the episodes being somewhat formulaic, the characters not very interesting and the relationships between them a bit clichéd. But it fit what I wanted, including my need not to care too much about whatever I was watching, so I carried on.

Now I’m just getting going on the final series (on Netflix? Ever? I’m not sure. Don’t tell me!) and realizing that I’ll miss it when it’s gone. So, what’s changed – what’s the draw of Numb3rs now? And how is this relevant to a writing blog?

To answer the second question first, it’s relevant because this is the effect we want to have on our readers. A great novel isn’t just one you can’t put down while you’re reading it. It’s also one where, however desperate you are to know what happens, you don’t want it to end. You don’t want it to be done. And how do we get that?

I know him so well

I think part of it is simply a question of familiarity. These characters have been hanging out in my living room for months now. I’ve spent more time with them recently than with many of my friends. I’ll miss them when they’re gone. Unless you’re working on a series, you are unlikely to have readers spend months of their lives with your characters. But the characters might well be spending months of their lives in your readers’ heads, and that’s almost as good.

What You See Isn’t What you Get (***SPOILERS ALERT***)

The characters might have started life a bit wooden, but they have developed and grown through experience. The writers ran out of ways to tell us that Don was a womanizer, so they decided to have him have a crisis about it and settle down; they ran out of ways for Charlie and Amita to flirt geekily, so they had them get together. They ran out of personal plotlines for the brothers, so they had Colby do something interesting and be a spy. Then they realized that people like me were outraged and might stop watching, so they did a massive about-turn and made him be a double agent (all of which, by the way, is full of plot holes and inconsistencies, but I’ve forgiven them because we got Colby back).

As writers, we can’t rely on our readers to wait around for things to get interesting. (Numb3rs got away with it with me because I was a captive audience; I guess they got away with it with a lot of people because of the individual episode plotlines rather than the series-length character plotlines.) We need to provide rounded characters right from the beginning. But that doesn’t always mean they’ll be rounded when we start writing. Sometimes, you have to write a character for a while before you really get to know them – then go back and edit in more of their personality.

Character-Driven or Plot-Driven

Series like Numb3rs prove how short-sighted it can be to think of your writing as plot-driven or character-driven. Each episode is firmly plot-driven (the crime-drama element) but what will make me miss the series when it ends are the character-driven plotlines in the background. The relationships between the characters and their internal development. Like the screenwriters, novel-writers need to mix both ingredients into our novels to make a great whole.

United by adversity

I’ve seen these guys through stab wounds, explosions, double crossings and kidnaps, and I’ve been with them every step of the way. It’s still a bit formulaic, and there are still inconsistencies, plot-holes and boring bits. But we’ve been through the mil together. That’s what makes us really feel linked to characters – it’s what makes us wince when they’re hurt and cheer when they win. And that is what every novelist wants from her readers.

 

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Planning By The Seat Of Your Pants

We all know the saying, “Fail to plan and you plan to fail”. But in writing, there are as many views on this as there are writers – successful or otherwise. Some claim that an outline hampers the flow of the writing and is tantamount to trying to turn a novel into a mathematical equation; while others are equally adamant that navigating the plot, character development and themes of a novel without a plan is like trying to cross a continent without a map.

Well, there’s a lot more to writing a novel than just planning out a few chapters, and Lewis & Clark (or since I’m in Canada, Sir Alexander Mackenzie) will tell you it’s perfectly possible to cross a continent without a map, so I fall somewhere in between the two extremes.

I’ve planned both my nano novels, but in both cases I found myself wandering off the plan at various points. And that’s when it gets interesting. Following the characters and events that arise in the story can provide some of the best material, but it can also take you down dead-ends and tiresome tangents. Personally, I believe in going with the flow – cutting out the chaff is for editing – and if it’s the way the characters want to behave, it’s probably a more reasonable storyline than the one you had planned anyway. If it turns out to be a dead-end, you have two choices: 1) Stop, go back to the turning and take a different path (then cut out the bit that went wrong later) or 2) follow the dead-end, then work your way back to the plot through a new and interesting connector.

For example, let’s say you’ve planned a simple love story. Girl meets Boy. Girl falls in love with Boy. Boy falls in Love with Girl. The End. That’s your plan. Then, somewhere in chapter 4, Girl meets Boy2. Boy2 wasn’t even in the plan, but here he is and now that you’ve started writing,he seems like exactly the sort of guy Girl would like. So, follow the path the characters choose. Girl and Boy2 fall in love. Then, if things work out, it’s fine, stick with it. If it turns out to be a dead-end, you can either cut everything since Chapter 4 and cut Boy2 out completely, or have Girl have a massive row with Boy2 and fall into Boy’s arms, bringing you neatly back onto your plan.

All of which is a tangent of my own, to say that having a plan doesn’t mean being a slave to it, but it does help to make sure the story is balanced (Spending 15 chapters on Girl and just having Boy wander in for the epilogue might upset your readers), has a plot at all (What if you just rambled about Girl and never mentioned Boy at all? Not much of a romance!), and helps to alleviate the dreaded writer’s block (Because you always know what’s coming next).

So having declared myself to be a fan of planning and then going with the flow, I’m going to run a series of posts on just that subject. They’ll be interspersed with other posts, but keep an eye out if you’re interested. Even if you’ve never planned before and prefer to be a pioneer, you might find something that works for you. Even Mackenzie followed a river!

 

 

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