|
About This Author
My name is Joy, and I love to write.
Why poetry, here? Because poetry uplifts its writer, and if she is lucky enough, her readers, too. Around us, so many objects abound to write about. Once a poet starts with a smallest, most trivial object, he shall discover that his pen will spill out what is most delicate or most majestic hidden inside him. Since the classics sometimes dealt with lofty subjects with a lofty language, a person with poetry in his soul may incline to emulate that. That is understandable. Poetry does that to a person: it enlarges the soul and gives it wings. Yet, to really soar, a poet needs to take off from the ground.
 
|
Everyday Canvas #848123 added April 27, 2015 at 10:19am
Restrictions: None
Fixing the Central Problem in a Novel
Prompt: Let’s put on our editor’s hats and help someone who has handed in his novel’s manuscript. Even before the middle, you find out that the central problem is extremely weak, so weak that it doesn’t even make sense (to you) for the writer to have written as much as he has. In which ways would you assist this writer, or else, what would you say to him?
=============
I guess this depends on the writer’s ego and how well he can stand the truth, plus why he wants to write this specific novel. If his reasons for writing the novel is flimsy, I would probably take a chance and tell him to save this manuscript to use its good parts in a future work and to try again with a totally different everything, characters, plot, conflict etc.
If he wants to write this novel and this novel only, for a serious reason, like he promised his dying dad or something close to it, my recommendation would be a rewrite with certain points in mind. Those points would probably be:
 Basics: Make the central problem more serious by making the problem fit the character, making sure the subplots are connected to the main problem, making sure the problem can be stretched over the entire manuscript, and making sure the problem does not have a logical solution that the character has ignored or is ignoring, because the more unsolvable the central problem, the stronger the suspense.
Using the backstory, make the protagonist more vulnerable, especially emotionally. For example, he can’t take action in certain ways because it will mean breaking a promise to a demigod.
Raise the stakes. If the character’s very serious project is in danger or failing, make sure his relationship or marriage is failing also, and/or a member of his family is diagnosed with a serious illness.
Boost the antagonist by making him more capable, giving him extraordinary powers, or having him be in a relationship with one of the protagonist’s allies.
Add a ticking clock. The problem has to be solved before the earth shatters.
Add an additional obstacle. For example: Your space-traveler protagonist needs to pass through the wormhole to get to earth, but there are too many wormholes and he doesn’t remember which one he should take and he is afraid to try another one in case he travels even farther away and end up in a more dangerous situation.
Then, if none of the above works for your writer, pass the buck to another editor. 
|
© Copyright 2015 Joy (UN: joycag at Writing.Com). All rights reserved.
Joy has granted InkSpot.Com, its affiliates and its syndicates non-exclusive rights to display this work. |
