All good writing, whether its plot, theme or characters, involves a high degree of problem solving. You start your novel after doing the prep work described above, yet as the words march across the page, something feels a little off. You can’t put your finger on it. What have you forgotten or overlooked? Where is the spontaneity and energy? The pieces fit beautifully when your first imagined them, but suddenly they’re like reading a foreign language. Take a break. Do something else with your life that week, or work on a different part or aspect of the novel. Ultimately, the biggest problem, when you finally solve it, can becomes your best writing.
Try to have one of your characters do or say something in the course of the narrative that’s totally original…something that’s never been done in another movie or film. This is not easy to achieve, but if you have an imagination, have some fun with it. You’ll go down a lot of dead ends, but if you’re lucky, you’ll end up on a mountain peak. Remember that the event has to be plausible, but originality is usually memorable. No matter how many crime stories we read, for example, the great ones take our thoughts and emotions to unexplored places. It’s what readers talk about in reviews and blogs.
Building a character arc should be done over the span of the novel. Just like it’s a writing sin to have an information plot dump in the first chapter of your book, likewise your characters shouldn’t reveal themselves right away. One aspect at a time—brought out by action rather than exposition—keeps the reader engaged.
Michael's thoughts on writing, politics and everything in between.
Michael R. French graduated from Stanford University where he was an English major, focusing on creative writing, and studied under Wallace Stegner. He received a Master's degree in journalism from Northwestern University. He later served in the United States Army before marrying Patricia Goodkind, an educator and entrepreneur, and starting a family.