So the last time I finagled a weekend away from the bookshop and holed up to write, the Jabberwock roared and a lot of work got done. But I also discovered something. Three days isn’t as good as two days.
If you have three days, well, it stretches out, luxurious, like a snake in the sun, SO much time to get things done. If you have two days, you arrive the night before and haul your writing utensils onto the desk and slam some food in the fridge and start making notes to yourself so you can get up in the morning and hit it hard.
I come from a long line of procrastinators – which is in itself an oxymoron; think about it–so it doesn’t surprise me that time is the first thing I squander when there’s “plenty” of it. And this past weekend, with just two days to write, I got double the word count of my three-days wonder in late January.
It was less listening for the roar of the Jabberwock (if you’re going “huh” just now check out the blog postings from a few weeks ago) and feeling his claws pull me in, than constructing a framework on which to build: “this goes here, write a section that bridges that,” managing word flow and putting things where they make a cohesive narrative arc.
Oh, that sodding term again. For those unfamiliar with it, the narrative arc is what distinguishes a series of fun, comedic episodes forming individual chapters from a story with a beginning, middle, end, and series of events and consequences that spark other events and merge into a whole. A whole, not a hole. Narrative arcs are what make stories compelling because you want to find out what happens next, as opposed to just a pleasant read one can dip into and come out of at will.
Narrative arcs are flippin’ hard work. But once you get the frame up, they really help move the story along.
Which is a roundabout way of saying, sorry we forgot to put a blog up yesterday and we’re back on schedule now: Monday, Wednesday, Friday, and Saturday, with Jack guesting once a week.
