As a reader, one problem I’ve always had with plot driven stories is that the motivation behind pivotal events is often paper thin. The author wants Character X to do something or be somewhere because the rest of the plot depends on it. A flimsy excuse is offered, and the story moves on, usually without me. I’m fussy, no apologies.
Well, imagine my dismay when I found that I was in precisely the same situation with book two of Vokhtah. π¦
I’m a pantster by nature, meaning I don’t like to outline, but the second book of a series inevitably constrains how freely you can write because much of the world building and ‘rules’ have been set in concrete as part of book one. You can’t suddenly unwrite details that are no longer convenient.
And that’s the problem I’ve been tiptoeing around for weeks. I have a character who calls itself Death*. It appears in book one as the assistant to the Yellow. In book two, however, I need Death to be at the entrance to the Settlement when Kaati** arrives. The trouble is, for higher level Messengers*** like Death, gate duty would be seen as a dreadful punishment.Β I’m talking maximum humiliation here.
So what could Death possibly do that would result in such a public punishment?
I already had some of Death’s back story and the world building from book one, but the ‘crime’ and its motivation eluded me. I tried to fudge it, but my subconscious wouldn’t let me. Every time I sat down to continue the story, I’d find myself going over that scene, again and again and again. Yet no matter how much I polished the words, it still felt like a bloody fudge so last night I spat the dummy and decided to delete the whole scene and start from scratch.
Oddly enough, I had a great night’s sleep, and this morning I started writing the outline, yes the outline, with a clear head. Two thousand words later, I finally have all the background and world building needed to explain Death’s motivation for being where it needs to be. Yes! π
I won’t spoil the story by giving it all away, but I will explain some of the world building that emerged. It revolves around the Guild of Healers and how their Council works. In a nutshell, the Council is made up of a total of seven Councillors who are the most powerful Healers in the Guild.
But Councillors are not chosen solely on merit. When a Councillor dies, or disappears [as happened with the leader of the Blue faction****], a replacement is usually chosen by a vote amongst the remaining six Councillors.
Now this is where things become interesting as the Councillors are divided into two dominant factions. Those in the Yellow faction believe that all Vokh abominations must be killed. Those in the Blue faction believe that not all abominations are dangerous. In fact, they believe that some abominations actually decrease the aggression of the Vokh and thus should be allowed to live and breed.
And finally there’s the Green. It has no faction of its own and its purpose is to break any deadlock between the two major factions. In the past, Councillors chosen as the Green tended to be strictly neutral. In book one, however, the current Green tends to side with the Yellows more often than the Blues. In book two, it continues to side with the Yellows until Death does something that really ticks it off.
If the Green lends its vote to the Blue faction it will cause a deadlock in the selection of the seventh Councillor – i.e. three Yellow faction members versus two Blues plus the Green.
In situations where the Council is deadlocked, the vote must be thrown open to the entire Guild. If that were to happen, the Yellows might still manage to get another Yellow voted onto the Council, but it would not be a certainty, and the delay could seriously disrupt the Yellow’s plans [the Yellow is the leader of the Yellow faction].
I can’t tell you what Death did, but it works perfectly with the Machiavellian politics of the Guild and its own, personal motivation. At this point I have no idea how much of this world building/back story will end up in the actual book, but at least I’ve stopped fighting my ‘muse’, and we’re both happy for the first time in weeks!
The sun is shining, the wind is mild and my Sunday is turning out to be a really good day. Hope you enjoy your weekend as well.
Cheers
Meeks
* Both Vokh and iVokh keep their personal names secret, and in public are known solely by rank or profession.
** Kaati is the young Apprentice from book one. Book two follows what happens to Kaati after parting company with the Blue/Messenger at Needlepoint gather.
*** Messengers are Healers who act as ‘enforcers’ for the will of the Guild of Healers. They are distinguished from ordinary Healers by their ability to inflict pain without suffering any of the empathic consequences that affect true Healers.
**** The leader of the Blue faction was known as the Blue. This powerful Healer left the safety of the Settlement to stop the guild from shooting itself in the foot. See book one, Voktah.
September 25th, 2019 at 11:16 pm
This problem that you explain here (and yes, I’m a full-hearted pantster) is why I wrote about 14 different drafts to my suspense THE RIGHT WRONG MAN. Had to keep changing things to show the motivation and full character development to make it work.
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September 26th, 2019 at 10:03 am
lol – I enjoyed The Wrong Right Man so I’m glad you did! Making things seem effortless really does take a huge effort.
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September 27th, 2019 at 4:27 am
Yes! There’s a quote like that. “A good author makes the writing seem easy.” Some such thing. True!
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September 27th, 2019 at 7:38 am
Yeah, but there should be a cartoon that goes with it…’haggard author attacking a brick wall with a toothpick’!
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September 28th, 2019 at 4:22 am
Ohhh, that’s a PERFECT quote for a cartoon. You should copyright it!! I wish I could draw, because I’d ‘borrow’ it from you. π
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September 28th, 2019 at 11:43 am
-giggles- feel free! Sadly I can’t draw that well either, but if anyone else feels like taking a crack at it, I’d love to see the result. π
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September 29th, 2019 at 5:50 am
Hmmm, I know a good doodler. I’ll suggest it to him (Mike Allegra, “heylookawriterfella” ;-0
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September 30th, 2019 at 8:04 am
What a great idea! Please report back if he’s prepared to do it. π
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September 23rd, 2019 at 8:16 am
It’s not ‘plotting’ unless it includes the entire story, just a few scenes here and there don’t count! That’s my justification and I’m sticking to it – sincerely a sister Pantser π
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September 23rd, 2019 at 8:20 am
lmao – High Five Sister! You’re absolutely right, and I don’t know why I didn’t think of it before. ’twas more of a verbal doodle.
I feel so much better now. π
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September 24th, 2019 at 7:19 am
Heheheheh. π
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September 23rd, 2019 at 2:13 am
I love it when shit gets real! I do think much of Stephen King’s MISERY is a brilliant allegory for the creative process.
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September 23rd, 2019 at 8:26 am
-blush- I’ve read his sci-fi short stories and his fantasy series, but I haven’t read much of his horror. I might just give Misery a go. π
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September 23rd, 2019 at 1:38 am
Those kinds of problems will knock me out of a book too, Andrea. Characters and worlds have to act logically. One challenge with fantasy is that authors have to constantly ask themselves, “Why wouldn’t my character use her/his powers to get out of this situation or solve this problem?” There has to be a compelling reason. Lack of logic can really foul up a book. Like you experienced, there’s usually a solution, but you have to see the problem first. π Happy Writing!
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September 23rd, 2019 at 8:33 am
Hi Diana! -waves happily- ‘Seeing the problem’ sounds simple, and yet it’s often the hardest thing to do, at least for me. And yes, it always has to get back to the character. It’s a lesson I’ve learned over and over, and yet it still sometimes trips me up.
So glad I’m not the only fussy reader out there. π
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September 22nd, 2019 at 7:20 pm
***swoons**** π
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September 23rd, 2019 at 8:36 am
-giggles- Are you okay there, Chris?
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September 22nd, 2019 at 5:43 pm
excellent news
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September 22nd, 2019 at 7:08 pm
-hugs- Thanks, Dawn. π
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