SOMETHING IS MISSING

So, my new novel, a follow-up to The Little Girl Waits, is finished.

Well, maybe.

I adore the plot, love the way the returning characters have changed and grown, and how they are also very much the same people they were in TLGW, and I think the story is tight, just the way I like it.  Unless your name is Tolkien, Asimov, Rowling or Homer you probably shouldn’t be writing winded and wordy works of fiction.  So this is not an issue of length for me.  I’m not trying to make it longer.

But I feel like something is missing–like I need to add something.  Not much, mind you, but something.  Here are my options, as I understand them.puzzle

  1. I could add a mysterious stranger.  I’m thinking an additional chapter somewhere, before the rising action really takes off.  In TLGW this function is played by Shark, who only has a brief appearance in the story but is pivotal.
  2. An action scene might help.  I am hesitant to add action scenes “just because” even though readers really like them. I believe action scenes should further the story, but sometimes you need something like that to keep the reader keyed in.
  3. Flashbacks have helped me in the past.  There are several flashbacks in TLGW, and that can give great insight into what a character is thinking.  My thoughts right now are for the bad guy (actually, in this story it is a woman) to have a protracted flashback.  This might give the reader a little more insight into why she is doing all these horrible things.
  4. Maybe it is the ending.  I finish the novel with Butch talking with someone about the why and reason of the events they go through in the book, but no real clear resolution is found other than the world is messed up.  At first I liked that ending because the world is messed up, and sometimes good people get caught between different factions of evil pulling in different directions.  But perhaps I need a tidier resolution.  Perhaps.

There is one other thing.  It might be the title.  I have yet to decide its title.  For the entire time I wrote it was simply “Butch Gregory 3” but titles like that only work for Iron Man and X-Men movies.  Right now the title is “How Great The Darkness” but I don’t know if that will last.  Perhaps I’ll feel better about after I title it officially.  However, my experience is that often the title gets changed or adjusted during the publication process.

Writer’s neurosis and self-doubt might also be at work here.  I find that letting go of a manuscript is one of the hardest things I ever do.  This is true whether it is a novel, short story, poem, or sermon.  I want to hold on to them like children, and never let them go.

I need to make a decision this week so I can get the project finished, hopefully get it published, and then get back to my retro-scifi stories.  They have been on hold until this is complete.

puzzle image from radicallychristian.com

DEDUCE THIS: SHERLOCK HOLMES IS AWESOME

Tonight Mrs. Greenbean and I watched the new episode of PBS’s excellent Sherlock. It was so great to see Cumberbatch and Freeman get back to their real work and stop playing around with hobbits and Star Trek. I thought I would reblog this old post from almost four years ago. Enjoy!

Last night I finished the final Sherlock Holmes full length novel, The Valley of Fear.  When I was a boy I read many of the Sherlock Holmes Shorts but never a full length novel and never as an adult.  Last year I read two collections of shorts, The Adventures of Sherlock Holmes and The Return of Sherlock Holmes.  Since spring break I have read the four novels.  The process has been, to say the least, enlightening.

When I read a classic novel, whether it is Dostoevsky, Dickens or Doyle I read as a writer admiring the greatness of another writer.  I do enjoy these stories, but more than that to learn from them.  From Doyle I have observed several trends.

1.  Character is not something independent of plot.  One of the great discussions I often encounter is which is more important—plot or character.  Doyle deftly uses the plot to unwrap the character.  It is in the process of chasing clues that we learn of Holmes OCD-like knowledge of every kind of cigar available in London and exactly what kind of ash it leaves.  Without the plot and the details of the story we would not have knowledge of many of Holmes curiosities.  Doyle does not spend a chapter telling us about Holmes’ obsession with tobacco, but unpacks it in one of the clues.  This has the benefit of wanting us readers wondering what other mysterious and compulsive tendencies this man has which are not relevant to the case at hand.

2.  Doyle is not afraid of the flashback.  In their own way each of the four novels uses extensive use of flashback storytelling.  One story has the flashback in the English countryside, another goes back to the American West, the other to the far-flung British Empire in the East, and the last one involves American coal mines.  Doyle uses this device to take the reader far away from London’s smog, squalor and crime to other parts of the world.  Since all the flashbacks are distant–years back, they serve to provide historical gravitas to the whole story.  Holmes work of consultant detective is not just the here and now—but part of a longer story.  The flashback gives the characters and the plot a depth which would be missing in a straight-line chronology.

3.  Another thing I’ve noticed, especially in a Baskervilles or Fear is how much Holmes is “off-screen.”  Dr. Watson has far more face time than the title character, as well as the benefit of being the narrator.  The special character of Holmes is developed carefully and then held at a distance.  I compare this to the trend in most stories—Dickens for example, and almost all modern writers, of having the main character in virtually every scene and on every page.  I wonder if it reflects a lack of ego on Doyle’s part in that his own personality flows through with the understanding that the world is in action even when he is not present.  How many of us live as if nothing important occurs when we are not around?  The technique works with Holmes powerfully as one who picks up the clues other shave left behind.

4.  I found it interesting how Doyle taps into ‘secret’ groups or ‘conspiracy’ ideals in his plot development.  In Scarlet, Doyle spends considering time painting the most negative possible picture on early Mormons.  Indeed, Brigham Young himself serves as a villain.  The secret society in Fear is clearly a reference to the Freemasons.  Added to this is the feeling of conspiracy in Baskervilles and the secret oath out in Four and we end up with a good healthy dose of playing on preconceived fears, notions, and prejudices.  No wonder the novels did so well.

5.  One more observation—and it is a quick one.  Doyle is equally effective at storytelling when he doesn’t have the archenemy Moriarty around.  Most of the Holmes canon does not include Moriarty.  Too often storytellers automatically gravitate toward building the nemesis without considering the power of their major character to carry the story.  It weakens our characters when they cannot stand on their own.  True, every story has some kind of conflict/enemy/opponent but it is not the ultimate enemy.

GREENBEAN’S 2011 FAVES #5: HOLMES, I PRESUME

As promised, I have posted the top five hits of 2011 in terms of views, now I am posting my personal favorite top five blogs from 2011.  This is very hard because, deep down, I love them all.  However, some are better than others.  I start with this one about Sherlock Holmes.  It is on my mind, that is why I chose it, because recently we saw the new film.  Ironically, people keep saying things like, “Its not very Sherlock Holmes like.”  What they mean is that it is not like the film versions of the past (i.e. Basil Rathbone) which are really more of a pantomime.  I find that Downey and Law are outstanding at getting into the characters as Doyle wrote them.  The recent film was good, if a bit convoluted.  It combined at least two different plots but I will not give spoilers here…For now, enjoy this re-post.

ELEMENTARY MY DEAR GREENBEAN

Last night I finished the final Sherlock Holmes full length novel, The Valley of Fear.  When I was a boy I read many of the Sherlock Holmes Shorts but never a full length novel and never as an adult.  Last year I read two collections of shorts, The Adventures of Sherlock Holmes and The Return of Sherlock Holmes.  Since spring break I have read the four novels.  The process has been, to say the least, enlightening.

When I read a classic novel, whether it is Dostoevsky, Dickens or Doyle I read as a writer admiring the greatness of another writer.  I do enjoy these stories, but more than that to learn from them.  From Doyle I have observed several trends.

1.  Character is not something independent of plot.  One of the great discussions I often encounter is which is more important—plot or character.  Doyle deftly uses the plot to unwrap the character.  It is in the process of chasing clues that we learn of Holmes OCD-like knowledge of every kind of cigar available in London and exactly what kind of ash it leaves.  Without the plot and the details of the story we would not have knowledge of many of Holmes curiosities.  Doyle does not spend a chapter telling us about Holmes’ obsession with tobacco, but unpacks it in one of the clues.  This has the benefit of leaving us readers wondering what other mysterious and compulsive tendencies this man has which are not relevant to the case at hand.

2.  Doyle is not afraid of the flashback.  In their own way each of the four novels uses extensive use of flashback storytelling.  One story has the flashback in the English countryside, another goes back to the American West, the other to the far-flung British Empire in the East, and the last one involves American coal mines.  Doyle uses this device to take the reader far away from London’s smog, squalor and crime to other parts of the world.  Since all the flashbacks are distant–years back, they serve to provide historical gravitas to the whole story.  Holmes work of consultant detective is not just the here and now—but part of a longer story.  The flashback gives the characters and the plot a depth which would be missing in a straight-line chronology.

3.  Another thing I’ve noticed, especially in a Baskervilles or Fear is how much Holmes is “off-screen.”  Dr. Watson has far more face time than the title character, as well as the benefit of being the narrator.  The special character of Holmes is developed carefully and then held at a distance.  I compare this to the trend in most stories—Dickens for example, and almost all modern writers, of having the main character in virtually every scene and on every page.  I wonder if it reflects a lack of ego on Doyle’s part in that his own personality flows through with the understanding that the world is in action even when he is not present.  How many of us live as if nothing important occurs when we are not around?  The technique works powerfully well with Holmes as one who picks up the clues others have left behind.

4.  I found it interesting how Doyle taps into ‘secret’ groups or ‘conspiracy’ ideals in his plot development.  In Scarlet, Doyle spends considering time painting the most negative possible picture on early Mormons.  Indeed, Brigham Young himself serves as a villain.  The secret society in Fear is clearly a reference to the Freemasons.  Added to this is the feeling of conspiracy in Baskervilles and the secret oath out in Four and we end up with a good healthy dose of playing on preconceived fears, notions, and prejudices.  No wonder the novels did so well.

5.  One more observation—and it is a quick one.  Doyle is equally effective at storytelling when he doesn’t have the archenemy Moriarty around.  Most of the Holmes canon does not include Moriarty.  Too often storytellers automatically gravitate toward building the nemesis without considering the power of their major character to carry the story.  It weakens our characters when they cannot stand on their own.  True, every story has some kind of conflict/enemy/opponent but it is not the ultimate enemy.

Note:  At the time of this re-posting, I have read all but the last collection of original stories.

ELEMENTARY, MY DEAR GREENBEAN

Last night I finished the final Sherlock Holmes full length novel, The Valley of Fear.  When I was a boy I read many of the Sherlock Holmes Shorts but never a full length novel and never as an adult.  Last year I read two collections of shorts, The Adventures of Sherlock Holmes and The Return of Sherlock Holmes.  Since spring break I have read the four novels.  The process has been, to say the least, enlightening.

When I read a classic novel, whether it is Dostoevsky, Dickens or Doyle I read as a writer admiring the greatness of another writer.  I do enjoy these stories, but more than that to learn from them.  From Doyle I have observed several trends.

1.  Character is not something independent of plot.  One of the great discussions I often encounter is which is more important—plot or character.  Doyle deftly uses the plot to unwrap the character.  It is in the process of chasing clues that we learn of Holmes OCD-like knowledge of every kind of cigar available in London and exactly what kind of ash it leaves.  Without the plot and the details of the story we would not have knowledge of many of Holmes curiosities.  Doyle does not spend a chapter telling us about Holmes’ obsession with tobacco, but unpacks it in one of the clues.  This has the benefit of wanting us readers wondering what other mysterious and compulsive tendencies this man has which are not relevant to the case at hand.

2.  Doyle is not afraid of the flashback.  In their own way each of the four novels uses extensive use of flashback storytelling.  One story has the flashback in the English countryside, another goes back to the American West, the other to the far-flung British Empire in the East, and the last one involves American coal mines.  Doyle uses this device to take the reader far away from London’s smog, squalor and crime to other parts of the world.  Since all the flashbacks are distant–years back, they serve to provide historical gravitas to the whole story.  Holmes work of consultant detective is not just the here and now—but part of a longer story.  The flashback gives the characters and the plot a depth which would be missing in a straight-line chronology.

3.  Another thing I’ve noticed, especially in a Baskervilles or Fear is how much Holmes is “off-screen.”  Dr. Watson has far more face time than the title character, as well as the benefit of being the narrator.  The special character of Holmes is developed carefully and then held at a distance.  I compare this to the trend in most stories—Dickens for example, and almost all modern writers, of having the main character in virtually every scene and on every page.  I wonder if it reflects a lack of ego on Doyle’s part in that his own personality flows through with the understanding that the world is in action even when he is not present.  How many of us live as if nothing important occurs when we are not around?  The technique works with Holmes powerfully as one who picks up the clues other shave left behind.

4.  I found it interesting how Doyle taps into ‘secret’ groups or ‘conspiracy’ ideals in his plot development.  In Scarlet, Doyle spends considering time painting the most negative possible picture on early Mormons.  Indeed, Brigham Young himself serves as a villain.  The secret society in Fear is clearly a reference to the Freemasons.  Added to this is the feeling of conspiracy in Baskervilles and the secret oath out in Four and we end up with a good healthy dose of playing on preconceived fears, notions, and prejudices.  No wonder the novels did so well.

5.  One more observation—and it is a quick one.  Doyle is equally effective at storytelling when he doesn’t have the archenemy Moriarty around.  Most of the Holmes canon does not include Moriarty.  Too often storytellers automatically gravitate toward building the nemesis without considering the power of their major character to carry the story.  It weakens our characters when they cannot stand on their own.  True, every story has some kind of conflict/enemy/opponent but it is not the ultimate enemy.