I’ve found a rhythm of shifting between POVs and storylines that has become quite natural
…to the extent that if I’m not careful I can veer into the next storyline before appropriate for the time line and *really* confuse things…
And it works most of the time.
One of the sorting out sessions that I did a few months ago had to do with peeling apart a few multiple-POV scenes and giving them their own breaks– numbers and titles– and their own line in the spreadsheet.
A Great Honkin scene that jumped multiple times between Kennett and Tykone was divided into two (merely) Honkin scenes that I worked with today.
These were designated, for lack of better handles, “Finding and Losing” (Kennett learning his wife was sentenced to death) and “Losing and Finding” (Tykone hunting for a murderer and finding, well you’ll see when you read it.)
Anyway, as I juggled the old and new parts of these scenes, trying to bring them to a level-seven polished-ness, I realized they both had a single natural break left in them (more then natural, they were begging for a breather). So I split each, then realized I needed another set of handles.
I was still attached to the idea of reversed titles since the time lines were so close and overlapping. I chose, nearly randomly, Failing to Plan and Planning to fail.
And now that I have finished both scenes they are both of them quite reasonable handles, suggesting what I would leave in and what I could cut out.
So, now I can’t decide if that’s bad.
To make titles and then make the scene fit their predictions. Or is that really good instincts, coming up with a set of titles that gave focus that was previously lacking?
Maybe I’ve just got really good luck. That I depend on. (A la the Baggins.)
- Cleaned 9 scenes (two newly extradited)
- 68 (consecutive) pages.
- Rearranged several scenes to clarify sequence and motivation
- Pages remaining: 34
- Current word-count: 116,012.
- Next “guaranteed” work-day: Monday, October 5