What to do with my multitudinous plot strands? (a) Fashion them into a natty hairpiece, (b) weave a folksy rug, (c) tempt my cats to chase them, or (d) all of the above.
Answers on a postcard, please.
You may think I’m joking (and you may, of course, be right) but, finding myself at the midway point of my novel-in-progress (let’s call it my NIP), I’m genuinely perplexed by plot strands. ‘Oh, what a tangled web we weave, when first we practise to deceive!’ Right on, Sir Walter, because what is a novel if not a giant pack of lies? I’m accustomed to writing short stories – where sub-plots are the kiss of death – but a novel needs plenty of strands for the reader to grab at, and several times recently I’ve surprised myself with a corking great strand that’s emerged from the ether like ectoplasm from a Victorian psychic’s underskirts, and what else can you do – when ectoplasm rears its gooey head – but catch hold of it, run with it, cackle with glee that you’re so in the zone that your novel’s begun to write itself. (N.B. I do not recommend performing any of these tasks with actual ectoplasm.)
And then, hello, it’s the following morning and, look, it’s all gone tits up now. You turn to your Scrivener cork board to see what you’ve planned for yourself and you brew your morning barrel of [insert name of preferred caffeinated beverage] and merrily tap out another great scene, and you’re just on line four of your Booker Prize acceptance speech when – hang on! That doesn’t make sense now. Yesterday, in the white heat of genius, didn’t you write a new scene? Yes, you did. In that scene [insert appropriate dramatic action] happened in front of your protagonist’s eyes. And has she reacted? No, she hasn’t.
Heart pounding, you start to look back through the NIP (though you promised you wouldn’t, not now, not when everything’s ticking so nicely) and, whaddya know, there’s a theme emerging: this isn’t the first time she’s failed to react…
Stick a pin in a scene – any scene – and the odds are you’ll find something juicy that your village idiot of a protagonist has failed to react to. Failed to even notice.
Thank god that this isn’t a Nancy Drew novel, or the jig, as they say, would be up.
So what now? Can it really be me who’s the idiot? Can my ‘white heat’ be trusted? Perhaps it’s just leading me further astray, like some bleached and tattooed reprobate round the back of the bike sheds, offering fags…?
But the world of ‘astray’ is a rather fun world to be in. Right? So, for now (for NOW), I’m filing ‘reactions’ and ‘tying of plot strands’ in the giant To Do folder (move along, housework, make room please) and just Flipping Well Cracking On With It. And I’m walking that tightrope of doom between juicy and confusing (I’m owning that tightrope, goddammit!) and either I’ll exit gracefully to the crowd’s applause or I’ll plunge to my death on the circus floor.
If you, too, have found yourself trapped like a hapless fly in a web of your own devising, then here’s what I heartily suggest you do: stop reading this post (because, to be honest, all the best bits are over with now) and read these instead (via the Writers’ Centre Norwich). Not specifically related to plot strands, but specifically related to the eek, and the argh, and the blurgh of the NIP-writing process. It’s always good to know that others have suffered as you, now, are suffering, and even better when those others are famous writers who’re meant to know what they’re doing. Incompetents of the world, unite!