Almost any of us who decided one day to get serious about our writing, read Stephen King’s On Writing. Great book, if you haven’t read it. But one thing King tells us we writers must be willing to do, is that we must be willing to, “Kill the little darlings.” Now, King was not the first to give this advice. He actually got the idea from Faulkner, but I guess we just took it more seriously when King said it…because now the darlings would die by a hatchet, be buried in a cursed Indian filing cabinet where they would come back as really bad novels. …oops, I digress.
Little darlings are those favorite bits of prose, description, dialogue or even characters that really add nothing to the forward momentum or development of the plot. To be great writers, we must learn to look honestly at all little darlings. Why? Because they are usually masking critical flaws in the overall plot.
Today we will address two especially nefarious writing hazards that like to lurk below the wittiest dialogue and most breathtaking description:
Hazard #1—Mistaking Melodrama for Drama
Hazard #2—Mistaking Complexity for Conflict
These two related booby-traps are often hidden beneath our little darlings (clever dialogue, beautiful description, etc).
That is probably why Stephen King recommended we kill them. Yes, kill them dead. No burying them in the Pet Semetary, also known as “revision.” Killing means killing….as in delete forever. Or at least cut them cleanly from the story and hide in a Word folder to give yourself time to grieve and move on with the real novel. Yet, too many times we hang on to those favorite characters or bits of dialogue, reworking them and hoping we can make them fit…at the expense of the rest of the story.
Th-they come back….but *shivers* they are…different.
Let me explain why it is important to let go.
Hazard #1—Mistaking Melodrama for Drama
Drama is created when a writer has good characterization that meets with good conflict. Good characterization is what breathes life into black letters on a white page, creating “people” who are sometimes more real to us than their flesh and blood counterparts. The problem is that characterization is a skill that has to be learned, usually from a lot of mistakes. Yet, time and time again, I see writers—as NY Times Best-Selling Author Bob Mayer would say—moving deck chairs around on the Titanic.
In a last ditch attempt to spare a darling, a writer describes the character more, or gives more info dump or more internal thought, or more back story, yet never manages to accomplish true characterization. So, when something really bad happens, we the reader just don’t care. Les Edgerton, in his book Hooked explores this problem in detail if you would like to read more, but to keep it short and sweet I’m going to explain it this way.
Most of us have driven down a highway at around rush hour, so picture this scenario.
We notice emergency lights ahead. The oncoming traffic lane is shut down and looks like a debris field. Four mangled cars lay in ruins, surrounded by somber EMTs. Do you feel badly? Unless you’re a sociopath, of course you do.
Now, you look into that same oncoming lane and two of the cars you recognize. They belong to friends you were supposed to meet for dinner.
Before you cared…now you are connected.
That is how good characterization makes the difference. If we open our story with this gut-wrenching scene in a hospital where someone is dying, we are taking a risk. Readers will certainly care on a human level, but not on the visceral level that makes them have to close the book and get tissue.
I have had to pry many, many darlings like these away from desperate writers “parents” unwilling to take the scenes off of life support. They wrote opening scenes of car accidents and hospitals and death and child abduction so vivid they couldn’t read their own work without tearing up. I did the same thing early in my writing journey. The problem, however, was this…
No one but us cared.
We hadn’t done enough development of the story to make the readers just as vested as we were. And, because we were so determined to keep these gut-wrenching scenes, we never dug in and did the real work that would have made the audience cry too.
Hazard #2—Mistaking Complexity for Conflict
Complexity is easily mistaken for conflict. I witness this pitfall in most new novels. I teach at a lot of conferences, and, in between my sessions, I like to talk new and hopeful writers. I often ask them what their books are about and the conversation generally sounds a bit like this:
Me: What’s your book about?
Writer: Well, it is about a girl and she doesn’t know she has powers and she’s half fairy and she has to find out who she is. And there’s a guy and he’s a vampire and he’s actually the son of an arch-mage who slept with a sorceress who put a curse on their world. But she is in high school and there is this boy who she thinks she loves and…
Me: Huh? Okay. Who is the antagonist?
Writer: *blank stare*
Me: What is her goal?
Writer: Um. To find out who she is?
These conversations actually make me chuckle because now I know what Bob Mayer felt like the day he met me . My first novel was so complex, I don’t even think I fully understood it. Most writers want to land an agent, yet, out of everyone I talk to, I can guarantee that only two or three will be able to state what their novel is about in three sentences or less.
Most new novels don’t have a singular core story problem. It is my opinion that baby writers, deep down, know they’re missing the backbone to their story—CONFLICT. I believe they sense it on a sub-conscious level, and that is why their plots grow more and more and more complicated.
They are trying to fix a structural issue with Bond-o putty and duct tape and then hoping no one will notice. How do I know this?
I used to own stock in Plot Bond-o.
The problem is, complexity is not conflict. We can create an interstellar conspiracy, birth an entirely new underground spy network, resurrect a dead sibling who in reality was sold off at birth, or even start the Second Civil War to cover up the space alien invasion…but it ain’t conflict. Interstellar war, guerilla attacks, or evil twins coming back to life can be the BACKDROP for conflict, but alone are not conflict.
And, yes, I learned this lesson the hard way. Most of us do. This is all part of the author learning curve, so don’t fret and just keep writing and learning.
Little darlings are often birthed from us getting too complex. We frequently get too complex when we are trying to b.s. our way through something we don’t understand and hope works itself out. Um, it won’t. Tried it. Just painted myself into a corner. But we get complex to hide our errors and then we risk falling so in love with our own cleverness—the subplots, the twist endings, the evil twin—that we can sabotage our entire story.
I sincerely believe these little darlings are like fluffy beds of leaves covering punji pits of writing death.
Be truthful. Are your “flowers” part of a garden or covering a grave? We put our craftiest work into buttressing our errors, so I would highly recommend taking a critical look at the favorite parts of your manuscript and then get real honest about why they’re there. And then kill them dead and bury your pets for real.
You have rewritten me 14 times. You think I’m going to leave without a fight? Hssssssss.
So what do you do with your little darlings? What’s been your experience? Do you have any tips, tools or tactics to help us dispose of the bodies?
I LOVE hearing from you guys!
To prove it and show my love, for the month of September, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. If you leave a comment, and link back to my blog, and mention my book We Are Not Alone in your blog…you get your name in the hat THREE times. What do you win? The unvarnished truth from yours truly.
I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).
And also, winners have a limited time to claim the prize, because what’s happening is there are actually quite a few people who never claim the critique, so I never know if the spam folder ate it or to look for it and then people miss out. I will also give my corporate e-mail to insure we connect and I will only have a week to return the 20 page edit.
At the end of September I will pick a winner for the monthly prize. Good luck!
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