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Joined: 4/27/2011
Posts: 3
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I'm in the middle of a novel and have come to a point where I'm starting to question everything instead of moving forward. If anyone could help me with this one issue, maybe I could feel some resolution and then get on with writing the damn thing.
Anyway, my issue is this...how much should a MC ruminate on their situation? I've gone through much of the book just tossing him from one situation into another without too much introspection because I want the book to MOVE. My problem with that pace is that I wonder at what point does this MC need to consider all the stuff that has happened to him and what it all MEANS (partially for him, but also to allow the reader to do the same). Any suggestions?
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Joined: 4/3/2011
Posts: 22
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How much introspection is hard to say. That depends on the character, genre, and the feel you're going for in your story. Characters don't always need to consider everything that happens to them.
What you're describing are "sequels". In large-scale scene structure, everything is broken down to "scenes" and "sequels". Scenes are where all the story action takes place and makes up the majority of a novel. Sequels follow scenes and one of it's purposes is to give the reader and the character some breathing room in between scenes (action). This is where the character reacts to what just happened, recognizes his or her dilemma and then makes a decision on how to act, thus beginning a new "scene".
Sequels should never occur more so or be longer than scenes, but you seem to be having the opposite issue. I want to say that if your story works without or with very little sequels then that's perfectly fine. But you're probably asking this question because it doesn't feel as if it's working the way you want it to. This tells me two things: (A) You may not know your character as well as you should, or (B) your character is just not the type to do a lot of contemplation.
My best suggestion to you is to figure out which answer applies and try one of these:
(A) Spend more time with your character. Personally, I'm not really a fan of filling out character charts, but it really helps some writers. Try to fill out one of those if you haven't already. Do some writing prompts with your character. You have to really get into your character's head in order to know what or how much they think. The further away you are from your character, the more difficult it will be to tell their story effectively.
(B) Continue with the story as is, finish it, and set it aside to marinate. Come back to it later, after your subconscious has worked out the story problems, and see if what you've written works or not. Also, even if you're character doesn't dwell in the past a whole lot, I still believe they would have some kind of thoughts in regards to their adventures, which may end up bringing you right back to Step A.
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Joined: 4/27/2011
Posts: 18
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Michael makes good points.
To take another tack, another thing to think about, which I've learned from writing short stories, is that chapters in a novel are like short stories in a way---each one has to tell its story, explain its reason for being, in advance of the overall story, but it can't be a massive info-dump. As the writer, you're required to let the story reveal itself, and info-dumps are less forgivable in novels than in short stories, IMO, since you're already using all those words.
Rather than have your MC ruminate on the situation, you as the writer should ruminate on the MC's situation, and conjure up ways to have the action of the narrative offer opportunities for exposition. And if you're on a first draft, I say go with your instincts and write it out to the end, knowing all the while you may edit out most of it when it's all said and dinner's served.
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Joined: 4/27/2011
Posts: 3
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Thanks so much for the responses! I've hit a bit of a wall, so I think I'll use the opportunity to take some of the advice you've given.
Thanks again!!
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Joined: 7/24/2013
Posts: 3
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Another way is a secondary character popping in along the way. Criticizing or praising some actions or thoughts. A spouse, coworker, stranger, or series of them. They set up the scene for the MC to be introspective. However, I'd say don't bore the reader with a large section of it. Little bits here and there that mold and move the MC toward some goal you have set, some realization.
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Joined: 9/5/2013
Posts: 1
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All I wanted to say has been said by the other posters already, so I'll just add that you should read some of James Salter's work. Especially "All That Is." His writing is fast-paced (it isn't the correct word, but the closest one I could come up with right now). It moves swiftly forward tackling everything that happens, but somehow you get an inside into how the character is and how he feels about all that is happening around him.
But I agree with Michael, write it all down then when you start looking over it you'll have a different view of things and most importantly will know when to let your character ruminate because it can seriously stall a story if you misplace it (I do that).
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