I was trying to get some writing in before the edits. I've got this WIP, see?
I did structural analysis--I did McKee, and Dunne, and Perini. I love Hague, but his stuff doesn't play until later. I did every effing thing known to man and romance writers with a fixation on screen writing techniques, and still--I was getting a busy signal. I flew the other day, and bashed my forehead against the wall, and in the end--came down to...
I was stuck because I was too rigid.
Rigid? Right.
Rigid as in thinking everything in my plot had to come one after the other, when I'd already told people that they could skip around in their continuity. (what the snicky-snak?!!) (Hey!!! this woman is telling people they can go continuity-free!?) Now don't get me wrong. I'm not saying a good tight romance is like a piece of experimental fiction. But the rough can be anything you want it to be.
Like in the index card method I talked about in last month's posts? I had my plot, and I knew my structure, so why the hell couldn't I just drop in on my people and write what I felt like at the point I wanted?
The whole thing was structuring my WIP's file so there was room and an easily identified point of access. Say...
I want to drop in on Tris and Amy at Avatar?
I'd go in after a segment I knew happened prior to what I wanted to write and label the next chunk...
(i.e.?) TRIS AND AMY/BREAKFAST/MORNING AFTER THEY MEET
...so I would know, okay this comes here, and when I go back in later to write either the rest of the scene or something before it, I'd have a guide post.
(variations on that whole screenwriting/index card/beat-out method, love it!)
Anything that gets the words down helps. Although I keep forgetting the biggie.
BIC
Butt in chair---
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