It's happened to me twice now, and the solution was the same both times. I was buzzing along in my latest WIP (work in progress), and I started to write an important scene from the perspective of my secondary main character. Everything was going along so so, but I could tell sometimes was missing. It didn't flow right. I couldn't put my finger on it entirely. At first I wondered if maybe I was way off base on the events that unfolded in the scene. But then I asked myself a question I've heard as advice before: "Who has the most to lose in this scene?"
For writers, this is a question to ask ourselves when deciding the POV (point of view) in any scene we write. Usually whoever has the most to lose is who's head we need to be in for that scene. (I'm sure there are exceptions, but this is a general rule of thumb.)
When I applied this maxim to the above mentioned scene, I realized the other character in the scene, the one who the point of view character was talking to was really the one who had the most to lose. So I decided to start over in her POV. Guess what happened? The scene flowed ten times better, and I no longer felt stuck in how it was to unfold. The words came.
So if you're a writer and stuck in a scene, ask yourself who has the most to lose. It just might be a different character than you first imagined.
Have you ever gotten to a place in your life where you felt you were completely off track? Like there was no bringing you back and God couldn't use you anymore?
As Christians, I think we inherently believe that God has a plan for our lives. Sometimes we even hear his still small voice give us a picture of what that plan will be---or at least the next step we should take to get us there.
But as is often the case, we mess up. We take a direction contrary to what we know in our hearts we should do. What happens then? Are we too far off the path?
I believe that God has a perfect plan for our lives. That's His ideal for us. But I also believe that if we veer off course He's more than able to bring us back.
It's sort of the way a GPS works. There's a perfect way to get from Point A to Point B, and if we follow the directions the GPS gives, we'll get there. But as often happens, we make a wrong turn somewhere along the way and find ourselves out in the middle of a cornfield wondering where the heck we are. That GPS doesn't give up on us at that point. It recomputes our route and shows us the turns to take that will still get us where we were supposed to end up in the first place. The path might be windier, longer, and crazier, but we still get there.
That's the way God works in our lives too. Sure, it would be ideal for us to never make a mistake, or a wrong turn. But we all do. So rather than bemoan this, we can throw ourselves at the feet of the God who loves us dearly, ask for forgiveness and His help in recomputing our way. He'll give it to us. He's a loving Father.
I had this experience recently in my writing. I had felt for a long time I was to write a fast rough draft in my latest manuscript. I felt like it was God's leading. But I didn't do it. Instead I spent months laboring over my characters, plot and whatnot. Finally I decided to quit the nonsense and just push through and write my story. However, I couldn't shake the feeling that I'd missed God in a big way. I worried that everything I was writing was off track and not what He wanted me to write.
Then I received an e-mail from an author friend that was the answer to my heart's cry. She said some things I'd been needing to hear about writing and following my heart to find the story God gave me. After reading her words I knew the story I needed to write. I began a new draft in the peace I'd desperately craved.
A week or two later God gave me a wonderful gift. It was just a little thought, but I felt it. He told me that right now, I was back to where I would have been if I'd followed those early inclinations I'd had about writing the fast rough draft. He'd re-routed my path. He can do the same for you.
A piece of writing advice I read years ago went something like this, "Don't hold back your greatest ideas until the next book you write. Use them now. You never know if that book of the future will get written, or even get published."
I've had to remind myself of this advice many times. A great idea pops into my head, but I think, "No, I'll wait 'til the next book for that one" or "I can't write that now---what if I can write it better in a couple years?"
Sure, if I'm doing things right, I'm always going to be writing better with each year that passes (I hope!). Maybe I will be able to tell the story better down the road. Or not. That's the issue. I don't want to hold onto my best ideas, because more good ideas will come later!
An example. In my first novel, Thicker Than Blood, I have a character who doesn't even show up in any scenes but was someone who got mentioned in the thoughts of another character. Her name's Abby. Now I liked the name Abby. Enough so that I didn't want to "use it up" for such a minor character. I tried changing it (she was going to be Nora, another name I like). It was a no go. This character had become Abby in my head. I felt like I wasted a good name! But as it turns out, as I wrote my second novel I had the wild idea to include this Abby character. And she took over the book! Which goes to show me the advice I heard was right. Don't hold back good ideas, or character names, for later.
Every book I write needs to be the very best it can be... right now. And this is good advice for life, too. Didn't Mark Twain say, "Don't put off for tomorrow what you can do today?" Which goes hand-in-hand with Jesus' words about not worrying about tomorrow, for tomorrow has enough troubles of its own.
Let's live life to its fullest today, no matter our vocation!
Here's another post in my Advice for Novelists series in which editors, authors, agents and publicists answer the question:
"If you could say one thing to aspiring novelists, what would you say?"
I would stress the importance of meeting with a group of like-minded writers to stay encouraged, to read the best books on writing that they can find and to find a way to attend writer’s conferences each year.
--Debbie Fuller Thomas, author of Raising Rain & Tuesday Night at the Blue Moon. Visit her website for more info.
Today we enjoy another piece of advice from a bestselling author in my Advice for Novelists series in which editors, authors, agents and publicists answer the question. Take it away DiAnn:
"If you could say one thing to aspiring novelists, what would you say?"
Don’t give up. Write everyday. Read the books written in your genre. Read and reread how-to books. Attend conferences - yes, spend the money and work the conference Actively participate in a writer’s group Share what you know with other aspiring novelists Pray!
--Diann Mills, author of Breach of Trust, Sworn to Protect, A Woman Called Sage, and more. Visit her website.
The first time it happened was after reading a book that was everything I wanted my novels to be. The plot moved me, the characters were real, and the message was powerful. You’d think I would’ve been inspired to head to my keyboard, but instead I felt like throwing in the towel. Every time I sat down to write my own fiction I would think about this other author. There was no way I could write like her. My characters were cardboard. My plots lame. What was the point? How could I possibly write that well?
I didn’t realize I’d fallen into the comparison trap. All I knew was that I was miserable and ready to quit. In desperation I asked for advice from novelist James Scott Bell. He’s been my writing mentor for almost ten years, and as usual, his words hit home. He assured me I wasn’t alone in feeling this way. All serious writers and artists have been in my shoes, he said. What I needed to understand was that no two writers are the same. I had my story that no one could ever write like me.
Doubts come to all of us. Even best-selling, award-winning authors like Francine Rivers or Frank Peretti. It helped me to realize that others who are much further along on this journey still struggle at times. It showed me feelings of inadequacy are just that—feelings. They often have no bearing whatsoever on the real quality of what I write. We’ll always need to improve in our craft, but there are times when we must forget about what we lack and ignore the negative thoughts swirling in our heads.
As Jim Bell said, we all have a story to tell from our own unique perspective. Several years ago a bunch of CBA novelists got together to prove it. They decided to each write short pieces of fiction based on the same strict guidelines. All the stories had to include the same first and last lines. They had to include a case of mistaken identity, pursuit at a noted landmark, and an unusual form of transportation. Do you think these stories ended up sounding similar? Hardly. The authors wrote an amazing variety of tales (one even wrote in the point of view of a dog). Why were none of them the same? Because all the authors came to the challenge with their own toolbox of life experiences, and they wrote from their one-of-a-kind view of the world. (Those stories were published in book form, by the way. Check out What the Wind Picked Up.)
Jim shared something else with me. He compared writing to what God does with spiritual gifts. Not everyone has the same gift, but when we develop what God has given us, it contributes to the whole tapestry of the body of Christ in the world. He told me I needed to be the best C.J. I could be. And if I gave my full attention to my own writing, not comparing myself to anyone but just digging deeper into my story, the doubts would go away.
What would happen if we stopped looking to others for validation? My writing is never going to be like Karen Kingsbury’s. But on the other hand, Karen’s writing is never going to be like mine. Or yours. That’s the way God designed it. We’re all different, to reach different people. Someone who will snatch up the latest Ted Dekker might never crack open a Janette Oke.
In his latest writing how-to book The Art of War for Writers Jim says: “One of the biggest obstacles of all comes from comparison with other writers and worrying about your status in the publishing world. This is the way to ultimate madness. The writing life is crazy enough without you making it worse on yourself.”
Escaping the comparison trap is not only vital to your mental health as a writer, it’s also biblical. “Each one should test his own actions. Then he can take pride in himself, without comparing himself to somebody else . . .” Galatians 6:4. So dive into your writing without distraction. There are readers out there God is preparing right now to read the stories only you can write.
Here's another post in my Advice for Novelists series in which editors, authors, agents and publicists answer the question:
"If you could say one thing to aspiring novelists, what would you say?"
Learn your craft. The overwhelming weakness of most fiction manuscripts I see is that the writer hasn't taken time to learn the craft of writing fiction.
When I decided I wanted to write novels I began reading books on the craft of fiction. I've lost count of how many books I read. I read and studied novels. I marked them up like you would mark your Bible. I took notes. I listened to audio books. I did everything I could to help me learn the art of writing fiction. So take time to learn your craft. From the time I started studying fiction to the time my first novel was published was close to 12 years. I'm not saying you should take that long, but don't rush things either.
--James Pence, author of Terror by Night (w/ Terry Caffey), Blind Sight, and more. Visit his website.
I shared this post over at the Scribble Chicks blog today, and I'd like to share it with you too:
Have you ever hit a point in your writing where nothing seems to flow? Where it feels like you're pulling teeth to get out one single sentence? Rest assured, you're not alone. Every writer feels this way from time to time. Here's something I'm learning that helps unstop the pipes and allows your creative waters to start flowing again ... living life.
Sometimes as writers we will devote so much time to pouring out our thoughts and emotions on the page that we don't take time to refill. The well runs dry. If that's you today, why not try this: take a day off and play with a ten-year-old. Go to the movies. Pull out a pad of paper and just start sketching what you see. Or ask someone who works in the profession of your main character if you can follow them around and soak up what they do.
I found the latter suggestion especially helpful recently. Several of my novels take place on a working cattle ranch. And when you're working on a ranch, you're going to be riding horses. For the month of January I've been volunteering at a local horse barn. In the morning we feed the horses and turn them out to their pastures. In the evening we bring them in and feed them again. I've learned a ton just from being around these great animals. But I've especially learned from watching others much more experienced and seeing how they handle situations. Soaking in their expertise has helped me immeasurably.
So if you're stuck today, may I suggest take a deep breath and chilling for a bit? :) It's okay to take a break. Trust me, you'll come back super-charged and ready to tackle that next chapter!
And you thought I forgot about this series! :) No, my friends, here's another post in my Advice for Novelists series in which editors, authors, agents and publicists answer the question:
"If you could say one thing to aspiring novelists, what would you say?"
Writing in anonymity is like swimming laps in a pool while no one is watching. It doesn’t seem like you are getting anywhere. But you are. You are strengthening your writing muscle. You are becoming a better writer just like someone who swims twenty laps a day becomes a better swimmer. I am sure Michael Phelps started out like everyone else who swims competitively. In a pool. No one cheering. Putting one arm ahead of the other and kicking relentlessly. Don’t give up. Don’t give in. Keep swimming.
--Susan Meissner, author of White Picket Fences, The Shape of Mercy, and other books. Visit her website.
I shared this post recently over at the Scribble Chicks blog, and I thought you all might like to read it too:
Most writers think about their stories and characters at all hours of the day. We'll be in the shower and a scene idea will pop into our head (and we'll scramble to write it down on the wall with a bar of soap). We'll be making dinner and a snappy line of dialogue will appear out of nowhere. This is especially true if you're brainstorming for ideas of what to write.
After I wrote my first novel Thicker than Blood, I really struggled with what to write next. Should I write a sequel or something new? I bought a little notebook at Barnes and Noble, called it my Novel Notebook, and started jotting down ideas. Early on in the book I made myself answer the question, "What I really want to write about is ____". I got the idea from James Scott Bell in his book Plot & Structure, and I figured if it worked for him, then I could give it a try.
Weeks passed. I kept writing in that idea book. I asked myself the question, "What I really want to write about is ____" again. I had an answer, but I still didn't know if it should be a book. I had so many different snippets of ideas, but I kept shooting them down. I was floundering and miserable.
But that's not really the point of this post. :) Fast forward several months, even a year. I eventually decided on an idea and started writing my second novel. Then one day I finished it and happened to go back to that original idea notebook just for fun. I discovered something that shocked me. Every one of those responses to the "What I really want to write about" question I had incorporated into the novel . . . unconsciously.
Or maybe not.
There often comes a point in our writing when we have enough information (even if it doesn't feel like it), and the breakthrough will come when we sit down and write. You know more than you think you know about your story. Why not try the unfettered approach today? Just write. Trust your instincts. I bet what you really want to write about will come through.
Did you think I forgot this series? :) Never fear. Here's another post in my Advice for Novelists series in which editors, authors, agents and publicists answer the question:
"If you could say one thing to aspiring novelists, what would you say?"
If you've been writing for years and have yet to get published, this is especially for you: Start a new novel.
I'm a stubborn girl—just ask my parents. My mother and I reworked and reworked a co-authored story for eight years, each time putting our newly acquired writing knowledge/skills to use. We were determined that it woudn't end up in a box in the closet or shoved under the bed. I still love that manuscript, and it's actually very close to selling as I write this, but it wasn't until I took the advice of others far wiser and more experienced to start a new novel that I finally made my first sale.
--Christina Berry, author of The Familiar Stranger. Visit her website.
Over the past fifteen years I've heard so much great advice on writing and becoming a writer. Here are three tips I'm finding from my own experience to be true:
1. The best way to learn how to write fiction is to read great novels. It’s learning by osmosis---you’ll pick up concepts like how to structure a story, craft dialogue, and master point of view, without even realizing it. Which isn't to say that how-to book don't have they're place, of course. I'm currently reading James Scott Bell's latest, The Art of War for Writers, and most certainly recommend it and others. But if we only read the books on technique without actually reading other fiction, it's possible we'll get stuck.
2. Start writing about what you love. You will write best if it’s something you’re interested in. Do you love horses? Write a story about a woman struggling to keep her horse farm afloat. Do you love airplanes? How about writing a story featuring a hot shot pilot? My sister Tracy started out writing articles about Christian musicians for youth publications because she loved Christian music. We will automatically have a drive if we write about something that excites us, or something that we're curious about.
3. Writing is an apprenticeship. It can take at least ten years to master the craft enough to think about publishing. If we go into it knowing that, it’ll help us on those days when the words just aren’t coming. I started writing as a teenager (if you don't count the silly animal stories I wrote as a kid). It took fifteen years before my first book was accepted for publication. Granted, I knew nothing when I started, but that gives you an idea of the commitment you need to have. Maybe it won't take you that long. But be prepared for it.
Today I bring you a terrific guest post from up and coming author K.M. Weiland. Enjoy!And be sure to visit K.M.'s website to find out more about her latest release, Behold the Dawn.
Special contest! K.M. is giving away a copy of Behold the Dawn to the readers of this post. Everyone who leaves a comment today will be entered in a drawing to win.
The Myth of Being in the Zone
At one point or another, all authors have found that delicious groove called “being in the zone.” The Zone is that enchanted land, in which we can do no wrong. Our words flow from our fingertips onto our keyboards with lightning speed, every one of them singing with the perfect expression of our intent, every one of them beautiful and powerful and vibrant. We write for hours, our energy level so high it’s practically bouncing out of the top of our skulls. When we finally tear ourselves away from our story, we’re so pumped that we alternate between wanting to run around the block and resisting the urge to shove our newly minted words under the nose of anybody we can talk into reading them. Without doubt, The Zone is one awesome place.
Too bad we can’t stay there all the time.
The sad fact of the matter is that The Zone isn’t exactly the easiest place to find. It would be wonderful if there were a map, a list of surefire steps, that could lead us there every time we sit down to write. But most of us are lucky just to find our accidental way there once every couple months. Instead, we spend most of our time slogging along, disciplining ourselves to poke out a paltry page or two, groaning at the end of the day with the knowledge that we’re probably just going to have to rewrite it tomorrow.
Joni B. Cole describes it:
…the creative process has two components. There is the fun part, when we are captivated by our own genius and prolificacy. And there is the Are we having fun yet? part, when we feel anything but creative, yet must still fulfill our commitment to write 300 words a day.
Undoubtedly, we always leave our desks after a day of being in The Zone, feeling a hundred times better about our writing than we do on the non-Zone days. But does that mean that our non-Zone writing is worthless in comparison? Very, very happily for us—no, it does not.
My recently released medieval novel Behold the Dawn was one of those special stories that just flowed. I still look back on it with a sense of wonder, reading some of the passages and thinking, I couldn’t really have written this, could I? I had some of the best Zone moments I’ve ever had while writing this story. But I’ll tell you secret: those moments were few and far between.
Zone writing—those high points of inspiration and motivation—is one of the biggest rewards of the creative life. But, surprisingly, its presence is not a determining factor in the worth of our writing. Writing isn’t always about channeling creativity and inspiration; most of the time, it’s about approaching our craft like disciplined workmen who have to get the job done whether they feel like it or not. Because we can’t always ride the high wave of our right-brain creativity, we have to realize that the hard-working, logical left side of our brains is just as important—even more so.
Just because you’re not in The Zone, just because you’re struggling, just because you finish a day of writing feeling like every word you wrote was worthless—doesn’t necessarily make it so. The Zone is far too elusive to depend upon it for our creative worth. Learn to accept the reality of the non-Zone moments and realize that they can be just as effective as the heights of inspiration.
About the Author: K.M. Weiland (http://www.kmweiland.com) writes historical and speculative fiction from her home in the sandhills of western Nebraska. She is the author of A Man Called Outlaw and the recently released Behold the Dawn. She blogs at Wordplay: Helping Writers Become Authors and AuthorCulture. About Behold the Dawn: Marcus Annan, a tourneyer famed for his prowess on the battlefield, thought he could keep the secrets of his past buried forever. But when a mysterious crippled monk demands Annan help him find justice for the transgressions of sixteen years ago, Annan is forced to leave the tourneys and join the Third Crusade.
Wounded in battle and hunted by enemies on every side, he rescues an English noblewoman from an infidel prison camp and flees to Constantinople. But, try as he might, he cannot elude the past. Amidst the pain and grief of a war he doesn’t even believe in, he is forced at last to face long-hidden secrets and sins and to bare his soul to the mercy of a God he thought he had abandoned years ago.
The sins of a bishop. The vengeance of a monk. The secrets of a knight.
I found this video over at Angela Hunt's blog. This is what novelists do when they can't figure out how to write. Since this is National Novel Writing Month, Angie put it together in honor of those banging away at their 50,000 word rough drafts. I went away chuckling and encouraged! I hope you do too.
When I was a teen, I took up oil painting. One of my favorite shows was The Joy of Painting on PBS, and I figured if Bob Ross could make happy little trees, maybe I could too. For awhile I actually thought I was going to be a painter rather than a writer, but that was before the writing bug bit me really hard. But here's the thing, and probably why I was confused for a little while---writing really is like painting.
These days I occasionally take up my oil painting between projects. Even though they're different (one changes a canvas, the other a computer screen) writing and painting have many similarities. One of the paintings I hope to finish someday features a rough looking cowboy (he's pictured above). He's been a work in progress for longer than I care to admit, but as I work on this painting, here's what I'm noticing: Underpainting/rough draft For this project I started with an acrylic underpainting, made up mostly of grays. It's like a rough draft. I can see the outline of what I want to accomplish, and the hints of where I want to be, but in no way is it complete.
Laying down the color/second draft Then it's onto the color. I applied it generally with little thought to detail. The important thing was to get the darker colors where the shadows would be, and the brighter colors where the light would hit this character's face. Second drafts are like this for me. Since I tend to underwrite, often I'll be going back and adding layers of dialogue, character thoughts, etc. It's at this point I'll probably doubt my ability to see this project through. What was I thinking?
Getting the likeness/third draft This is where things get tricky. This portrait must look like a human being. All the nuances of my character's face must be just right. It's the same with writing. The story needs to make sense. The character's motivations need to ring true. I'll need to sculpt away the excess, keeping only the important.
The fine details/final draft I enjoy this step the most in both painting and writing. I can finally see I'm going to make it! I'm going to complete this project. The image in my head has finally (if I've done everything right) materialized. It's now I really step back and examine to make sure I'm satisfied. There might be some fine tuning still. I might decide I have to make the nose or chapter longer. That's okay. The hard part is done. The hardest part now is knowing when to sign the picture or type "The End".
[This is an edited version of an older blog post I wrote that's now being featured at the Scribble Chicks blog.]
Here's another post in my Advice for Novelists series in which editors, authors, agents and publicists answer the question:
"If you could say one thing to aspiring novelists, what would you say?"
This time around, agent Janet Kobobel Grant gives us a poignant piece entitled "Begin at the Beginning".
I love that the Bible begins in just the right spot: “In the beginning God created.” Chaos succumbs to order. It’s the ultimate conflict! Genesis’s beginning makes so much sense to us; I can’t imagine a better opening.
Unfortunately, the choices aren’t so obvious when it comes to our own writing. I remember hosting a dinner table at the Writing for the Soul Conference a couple of years ago and asking each person what he or she was working on.
One woman recounted her novel’s storyline and then asked me if I thought she should cut the first couple of pages, which some of her critique partners had suggested. She was having trouble murdering those darling paragraphs that she had labored over for months.
I do believe a hush fell over the table as I said, “I think you should start the story in the middle of the manuscript. Everything before that point is backstory.”
Everyone at the table, including me, wondered how the writer would respond to such a radical concept. She chewed on the idea, and as she did, her expression lightened, and she exclaimed, “That’s perfect! Why didn’t I see it before?” Then she rattled off how that would open up new vistas in the novel.
Now, I wish I could proclaim myself some sort of genius for having made the suggestion, but the truth of the matter is that I’ve read enough manuscripts that I know starting in the wrong place is a common malady.
I’ve been pondering why that’s the case, and I’ve come up with this premise: The writer is so immersed in the story, has done so much research, and knows the characters so well, that she is tempted to do a brain dump in the book’s opening. So much detail is clogging the writer’s mind that she wants to bring the reader up to speed right off.
What the novelist forgets is that the reader isn’t ready to discover the complex underlying motivations for the protagonist’s first actions. Rather than introducing the character to us, the author in essence pulls out the character’s entire psychological profile. I’m so not ready for that! Why, I’m not even on a first-name basis with the character yet. Ease me into the relationship with a gentle introduction.
I also don’t need the complete physical description. Don’t provide me with any until it naturally fits in the story.
In addition to wanting to provide too many details about the character (or characters), writers are tempted to start with the backstory. I just finished reading a manuscript in which the story began with a woman calling a restaurant to make a reservation. The next thing I knew, I was being told the restaurant owner’s life history. Totally backstory stuff. I didn’t care yet. I hadn’t even met that character; I’d only been introduced to the woman phoning the restaurant, which made the backstory material all the more confusing for me. I wasn’t sure who the novel’s key character was.
The more complex the story, the more tempting to provide too much information too soon. The political atmosphere, the setting, and the main characters all demand to be front and center on the first pages, which quickly turn into a traffic jam, with the poor reader overwhelmed by all the detail.
As a reader, what I look for are “anchors” that settle me into the story and keep me from being carried off by strong winds. I want to care about the protagonist; give me reason to do so. I want to know the elemental details about the story’s setting. And I want to know what conflict the character is facing right now. Drop the anchors in the middle of a pensive moment. Fill in details later.
How do you know where to start your novel? Often it’s in the middle of the story as you’ve outlined it. Go ahead, be daring, give it a try.
I’m currently reading Leif Enger’s So Brave, Young and Handsome. The story had me from the get-go. The protagonist is sitting on the porch of his home, trying to write a novel. He hates his character. Then a man, standing up in his boat, rows past on the foggy river, and the author hears the Siren call of doing something besides write his novel. Two straightforward conflicts are introduced: the writing isn’t going well; the man in the boat refuses to stop and talk.
Every author’s challenge is to begin at the beginning, if he only can figure out where that is! The point to remember is that often the beginning isn’t where the writer wants to start. Therein lies the challenge.
--Janet Kobobel Grant understands the inside scoop on publishing both as an author, publishing insider, and literary agent. She has written numerous books, helped to launch Here's Life Publisher, managed her own imprint with Zondervan, and served as managing editor of books for Focus on the Family. She established Books & Such Literary Agency in 1996 after working in the book publishing industry for more than twenty years.
How can you know God’s calling you to be a writer? It's a question all of us have asked ourselves. If you knew you were called, then you'd stick through the tough times a lot easier, right? You'd press on and pursue your dreams knowing you were on the right track.
Welcome to another edition of my Advice for Novelists series in which editors, authors, agents and publicists answer the question:
"If you could say one thing to aspiring novelists, what would you say?"
Finish things. The notebook you have on your desk that's crammed with story ideas, the meticulously plotted Dramatica Pro storyboard, the color coded index cards--none of it matters if you can't finish. Like most things worth doing, writing is an act of the will that's initially set in motion by the nudge of inspiration. The rest is hard work.
--Kevin Kaiser, writer and literary brand manager for Ted Dekker. Visit his website (KevinSKaiser.com) for more info.
It's happened to me twice now, and the solution was the same both times. I was buzzing along in my latest WIP (work in progress), and I started to write an important scene from the perspective of my secondary main character. Everything was going along so so, but I could tell sometimes was missing. It didn't flow right. I couldn't put my finger on it entirely. At first I wondered if maybe I was way off base on the events that unfolded in the scene. But then I asked myself a question I've heard as advice before: "Who has the most to lose in this scene?"
