As I mentioned in last week’s kernel, I am not actively working on writing projects this summer. However, I did spend a great deal of time last year working on a draft of what I hope will be my first novel. In its current conception that story is told in the rotating points of view (POVs) of three family members. With a large portion of that manuscript written, I’ve come up with some craft constraints that keep me writing forward rather than getting stuck in the write-edit-rewrite spiral. You may remember that I don’t believe in writing rules as global truisms that need to be adhered to, but that doesn’t mean I don’t see the value in creating your own framework to move your projects forward.
Like global rules, the constraints I made are means to a bigger goal. I’d like to share two of mine and their functions.
Any given scene will involve at least two of the three main characters.
This was actually inspired by one of the so-called writing rules, namely, don’t start a novel with a scene where a character is alone. The aforementioned rule is intended to make sure that your novel starts in a place with propulsion and tension, something that is much easier to achieve when characters are interacting. But my constraint has goals that are slightly different. Yes, I am hoping that each scene will feel propulsive, but it is also important to me that I never lose sight of the novel’s cohesion. That is to say, I’ve read one too many multi-POV novels that feels like a number of completely separate narratives on rotation. By forcing each of my POV characters to interact with, think about, or otherwise reference another main character in every single scene, I ensure that 1. My readers are still thinking about the other plotlines, 2. The plotlines are affecting each other, 3. The overall arc of the story is being progressed in every POV change, and 4. One of my main themes in the novel, evolving family dynamics, will be constantly engaged.
Every section is written in a strictly limited third person perspective.
In a story with multiple protagonists, and especially having decided that they will all constantly be interacting, the urge to describe what everyone is thinking is strong. Yet, I am very consciously choosing who the POV limitation is in each section. In addition to keeping the narrative neat for the reader, this constraint means that I am forced to write in absence. That is to say, my POV character may not know what other characters are thinking, but my readers (and I) have seen inside some of those characters’ heads and will have theories. That gives me the opportunity to speak in code with my reader—oh, he’s looking away and we assume it’s because he’s thinking about his own guilt; ah! She isn’t answering her phone and we assume it’s because she isn’t where she’s supposed to be—and even more exciting, I get to surprise my reader and build the tension. When a non-POV protagonist does something unexpected, everyone has to wait an additional one to two chapters to find out why they did it.
One of the bonuses of writing with constraints is that your readers’ pattern recognition kicks in. They start, often unconsciously, to identify the constraint-defined framework as the modus operandi and prevailing pattern of your story. This creates an opportunity that makes for damn good story telling, a built-in tool for emphasis: the purposeful breaking of patterns. While I haven’t written my constraint-breakers yet, I do intend to eventually, and conscientiously, break my own constraints in subsequent drafts. I’ll share some of my plans. At a point in the novel where every character feels their own problems are more important than the family’s overall health, I will have a quick succession of short POV sections with no reference to anyone but the self POV character. I also have three sections planned that will involve a combination of head-hopping and a melding of consciousness. These sections are planned for moments when the family is irrevocably changed.
Creating constraints for yourself is a great way to bring to the forefront what is important to you in a piece you are writing. It also, whether the constraints make it into the final draft or not, makes you a better writer, because writing within a strict framework forces you to flex other skills. If you write a story without explicit interiority, you’re forced to show internal thought through body language, setting, and maybe even form. When you write an unreliable narrator, you must figure out what other craft elements can inform the reader of the reality in which your story takes place. Most importantly, remember that whether they are self-imposed constraints or standard rules of writing, only follow them so long as they serve your story.
My kernel of advice: Set constraints, create a pattern, then break it.
Inspiration, Information, & Insight
This week Sarah read a complete draft of Shelby’s novel and cannot wait to talk about it at their upcoming workshop. She also met up with Natalia and Neidy in New York City last Sunday and was so excited to see Neidy again and to finally meet Natalia in real life. Both of these events have reminded Sarah of the power of a writing community. She slid into conversation with Natalia and Neidy as if grabbing coffee with them was something they do every week, and reading Shelby’s manuscript was proof that unwavering dedication to your writing practice can pay off in the most satisfying ways.
Shelby started the daunting process of drafting a query letter and researching agents she’d like to query. She’s excited for her upcoming workshop and looking forward to incorporating that feedback. In the meantime, a writing friend shared the first sixty pages of her novel draft with Shelby, and she has been devouring them.
Natalia finished reading Shelby’s novel draft as well and was so amazed at how polished it felt after only one draft! It has inspired Natalia to see how Shelby made it to this finish line and how beautiful the result of tireless work over a couple years has paid off. In other news, Natalia has been packing up her life in NYC and running around saying goodbye to everyone. Among them, Sarah and Neidy. It was her greatest joy to visit with Sarah and Neidy before leaving the East Coast.
Along with the other Kernelists, Neidy inhaled Shelby’s novel manuscript over the last few weeks. She is in awe of what Shelby has accomplished with this draft and cannot wait to watch Shelby take the next steps. She was so excited to spend some time with Sarah and Natalia at a coffee shop, and while they all desperately missed Shelby’s presence, they are plotting to come together again for Shelby’s inevitable future book tour. Neidy has also been reading Fleishman Is in Trouble by Taffy Brodesser-Akner. While she isn’t too far into the novel, she is already dissecting Brodesser-Akner’s ability to make a character equal parts interesting and unlikable.