By Sherry — I’m enjoying a cool day before the heat hits again
I confess my WIP (work in progress) is a bit of a mess. No, it is a mess. It’s due in to my freelance editor, Barb Goffman, on Sunday. Even scarier it’s due to my Kensington editor on August first. It’s the sixth book in the Sarah Winston Garage Sale mysteries. I’ve been thinking (maybe overthinking) a lot about writing which may be part of the reason for the mess. I recently wrote about trying to improve my writing. You can find that blog post here.
Part of my problem is I had a deep emotional connection to A Good Day To Buy (number four in the series). Number five, I Know What You Bid Last Summer, felt a bit lighter to me. It has a lot of crazy, complex relationships that can occur in small towns where people sometimes know each other to well or think they do. And I love the subplots – I had so much fun writing them. Book five also answers some questions readers have been wondering about. But after A Good Day, it didn’t seem to have the same depth to me. Maybe I’m crazy saying all of this out loud. Maybe I’m tilting the reader pool to not like the book. So don’t get me wrong, I like the book, I just had a different emotional connection to it.
That brings me back to my WIP. I was having the same problem of connecting with the manuscript on an emotional level. Then combine that with some obsessive thinking about writing and it wasn’t pretty. One of the things that’s been on my mind is black moments and I wrote a recent blog about that for Miss Demeanors. You can read it here.
I moved on from worrying about black moments to worrying about what I call “thinking scenes”. (I feel like these scenes are different than inner dialogue, although inner dialogue can be part of thinking scenes.) Then another thought struck me — aren’t thinking scenes the opposite of show don’t tell? Ugh. In a mystery it is almost unavoidable to not have the protagonist trying to put the pieces of a mystery together. So then I started pondering ways to do that.
One way is to have your character sitting on the couch, driving down the road, or walking some place thinking about what they know and what connections there might be.
Another, that I often see in mysteries, is having your character involved in some activity while they are trying to piece the puzzle of who dunnit together. For example Sarah could be refinishing a piece of furniture as she thinks about a murder.
Writing all this makes me realize why sidekicks are so popular. The sidekick allows the protagonist to talk it out. The sidekick can point out flaws in the protagonist’s logic or point something out that sends the protagonist in a new direction. They could also cause the protagonist to doubt themselves.
I’ve used all three in different ways in different books. There are probably a gazillion other ways to handle thinking scenes, but these three seem to be the most common. And maybe the best solution is to weave the clues together so well that the protagonist doesn’t have to have a thinking scene and only needs an “aha” moment.
Back to my messy WIP. The good news is two days ago I came up with a subplot that speaks to me on an emotional level. Now I’m working hard to weave it in as an intricate part of the story. Wish me luck!
Readers: Do you like scenes where the protagonist is putting the pieces together? Writers: Do you have a way you like to handle these kind of scenes?