Journaling is the only way I've been able to get as far as I have, and now she's withdrawn further. I can't get her to figure her reticence toward the hero. She's like the dog that caught the car--she doesn't know what to do with it now.
I don't know. I'm starting to wonder if I'm writing this story from the wrong point of view. Maybe I should start over with one of the other girls as the MC.
I thought of it because another author on FB said something about a shy character a while back, and she realized that her MC was really supposed to be a secondary character. Things started to flow for her once she rewrote from another character's POV.
I guess it comes down to whether this story is supposed to be about the convert herself or about the people who help her to convert. I need to figure out if it's about the inner struggle of coming to faith from flawed doctrine, or helping someone else to do that. Showing the inner struggle has been difficult because so much of it takes place in Sadie's head, and I'm having a hard time figuring out what makes her tick.
I guess I should be counting my blessings about my cluelessness. She comes from an abusive background, and I have no personal point of reference. So much for writing what I know, but my life has been a little too humdrum to make for good fiction!
I can relate to the humdrum life not making good fiction.
It seems as if you intend the story to be about the convert. Perhaps, by writing the scene from a person involved in helping her to convert, you'll get the public actions of Sadie to that situation. Then you could talk with her about why she acted the way she did to help you get the scene down from Sadie's POV.
So ... she's caught the guy and she doesn't want him now? Or he wants more of a relationship and she doesn't? Or he's doubly scary because he's Christian and a romantic interest?
I have a similar problem with a "shy" character in my current book. Bernard and Lisa are engaged, but Lisa doesn't want to set a date for the wedding. Bernard is eager to start their life together, but for some reason, Lisa is not. It was a real surprise to me. And so far, although Lisa has given a couple of reasons, none of them sound particularly convincing. Lisa isn't talking.
So ... hm. I wonder what Lisa and your character would say to each other if they met for a heart to heart. In a cafe somewhere. Lisa likes French Roast with a drop of cream and a couple spoonfuls of sugar.
*L* They don't have cafes in the 1790's Ohio back country, but it sounds as if they have some things in common. Sadie's father and first husband were abusive drunks, so Sadie's in 'once burned, twice shy' mode even though Ben is nothing like they were. She likes him, she thinks he's good looking and admires him, but she doesn't know what to do with a guy who doesn't beat or rape her.
Are there other characters you can use for POV for this scene(s)? Sometimes when I'm having trouble with a character coming out of their shell - or the scene simply isn't showing any tension - I try another POV that will show the conflict better and, surely, she's having a LOT of internal conflict. That's assuming it's a multiple POV story.
I think this is a single POV story. For what it may be worth, PBOTL is a single POV story -- with the exception of two scenes. I have two scenes from another POV, because I simply could not convey what I needed to from Inuit's POV (well, especially in one scene -- I added another later in the book for balance).
It started off as a multi-POV, but in the last couple of months I've shifted to single POV. Didn't even realize it until now. Yeah, I should probably do some in someone else's voice.
My current novel in progress is single POV, the Dubric books are all many, many multiple POV. I must admit that, for me at least, multiple POV is a LOT easier. It's HARD to show depth when you're only having one viewpoint. {{huggs}} I don't know why so many how-to books say new writers should stick with one POV.
17 comments:
Offer her a Dark Chocolate Turtle? (I ordered some today -- along with a couple other items.)
Have you tried giving her a journal and asking her to write in it?
Journaling is the only way I've been able to get as far as I have, and now she's withdrawn further. I can't get her to figure her reticence toward the hero. She's like the dog that caught the car--she doesn't know what to do with it now.
Take the car away?
I don't know. I'm starting to wonder if I'm writing this story from the wrong point of view. Maybe I should start over with one of the other girls as the MC.
Why do you think that might be better? Meaning, would it really better, or do you just think it would be easier. :)
Do this scene from the POV you're considering and see if it gives you any insight you need -- either for your MC or for the POV change.
I thought of it because another author on FB said something about a shy character a while back, and she realized that her MC was really supposed to be a secondary character. Things started to flow for her once she rewrote from another character's POV.
I guess it comes down to whether this story is supposed to be about the convert herself or about the people who help her to convert. I need to figure out if it's about the inner struggle of coming to faith from flawed doctrine, or helping someone else to do that. Showing the inner struggle has been difficult because so much of it takes place in Sadie's head, and I'm having a hard time figuring out what makes her tick.
I guess I should be counting my blessings about my cluelessness. She comes from an abusive background, and I have no personal point of reference. So much for writing what I know, but my life has been a little too humdrum to make for good fiction!
I can relate to the humdrum life not making good fiction.
It seems as if you intend the story to be about the convert. Perhaps, by writing the scene from a person involved in helping her to convert, you'll get the public actions of Sadie to that situation. Then you could talk with her about why she acted the way she did to help you get the scene down from Sadie's POV.
Hmm. That's a thought.
So ... she's caught the guy and she doesn't want him now? Or he wants more of a relationship and she doesn't? Or he's doubly scary because he's Christian and a romantic interest?
I have a similar problem with a "shy" character in my current book. Bernard and Lisa are engaged, but Lisa doesn't want to set a date for the wedding. Bernard is eager to start their life together, but for some reason, Lisa is not. It was a real surprise to me. And so far, although Lisa has given a couple of reasons, none of them sound particularly convincing. Lisa isn't talking.
So ... hm. I wonder what Lisa and your character would say to each other if they met for a heart to heart. In a cafe somewhere. Lisa likes French Roast with a drop of cream and a couple spoonfuls of sugar.
*L* They don't have cafes in the 1790's Ohio back country, but it sounds as if they have some things in common. Sadie's father and first husband were abusive drunks, so Sadie's in 'once burned, twice shy' mode even though Ben is nothing like they were. She likes him, she thinks he's good looking and admires him, but she doesn't know what to do with a guy who doesn't beat or rape her.
Catch me in FB chat tomorrow if you're stuck. Maybe Sadie and Lisa can talk through some things. Or you and I can talk through them!
Are there other characters you can use for POV for this scene(s)? Sometimes when I'm having trouble with a character coming out of their shell - or the scene simply isn't showing any tension - I try another POV that will show the conflict better and, surely, she's having a LOT of internal conflict. That's assuming it's a multiple POV story.
I think this is a single POV story. For what it may be worth, PBOTL is a single POV story -- with the exception of two scenes. I have two scenes from another POV, because I simply could not convey what I needed to from Inuit's POV (well, especially in one scene -- I added another later in the book for balance).
It started off as a multi-POV, but in the last couple of months I've shifted to single POV. Didn't even realize it until now. Yeah, I should probably do some in someone else's voice.
This first draft is going to be my hottest mess ever.
My current novel in progress is single POV, the Dubric books are all many, many multiple POV. I must admit that, for me at least, multiple POV is a LOT easier. It's HARD to show depth when you're only having one viewpoint. {{huggs}} I don't know why so many how-to books say new writers should stick with one POV.
Hang in there, Wendy. You can do this! {{huggs}}
I've always written multiple POV so I don't know why I shifted to single. There's another thing to fix in the edit.
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