Finding the Story

For me, it means freewriting on the image that sparked the initial story, exploring it step by step and in detail until I can isolate what it is about it that catches my interest. I work out the main elements of the story that way - the main problem in the setting, and the aspect of it that I want to focus on. I examine each little thing and try to cut out everything that isn't interesting to me, and what I'm left with are elements that are nothing but sparks. I repeat this process after each draft.

If another person is involved in the process, I imagine it as them questioning me on each aspect and getting me to do this examination.

My first novel found me. I understand what writers mean when they say the idea came to them in a dream. I would be driving to work and my mind would wander. I'd see my main character in certain dangerous situations. By the third week, I was pretty distracted and I just decided to write a book using these situations as an outline.

My third novel was a centered around a lot of thoughts I have had over the years, things that interest me. After finishing two books, it just seemed next on the list to put my interests into a book. We writers are obsessed people, aren't we?

If you have a draft of the story, perhaps having someone else outline it or make a synopsis of it for you could help find the story. There's also the concept of loglines - I personally like to make up several loglines to describe each of the main plot strands or themes.

Well, in the deep south known as Lee County, helping find the story goes like this:

"You know the old oak tree? Well first you go past the old oak tree, though you probably won't know where it is because they tore that piece of shit eyesore down years ago, at least that's the way my pappy told it. So fuck the oak tree; let's start over. The grass is green this time of year, but there's a spot where it all turns to dirt for a while. Go there. I think it's...southish. Follow that until you get to the old hardware store. Be sure and stop in, pick up some screws or something. My pappy used to own that store. Once you see the store you know you're about ten football field lengths away from Cricket Road. Cricket Road ain't got no street sign, but just look for the squirrel with the brown stripe. He hangs out at that corner beggin' for nuts. I told that old bastard to get a job already and stop living off my hard-earned tax dollars. Some people never learn, I tells ya. Flick the squirrel off for me, peel out and kick dirt in his face, but be sure and turn there, also. Follow that dirt road past all the folks with suspender straps and no shoes. That's how you know you're near. Then get out the car, wander the woods for a bit and eat some of the shrooms out yonder by the clearing. There's only one, so once you see a clearing, sure 'nuff that's it. Then you follow down the rabbit hole into Wonderland and look for a silly cat. He's hard to find, cuz he turns damn near invisible, 'cept that smile. Hard to understand, also. Furry little guy talks in riddles. Then find a potion to turn small, then to turn big, then to turn small again. Doors down there are peculiar like that. Next thing you know, you'll be there. The story.

"Real easy to find. If you can't find it, just type it in to mapquest."

When you said "find the story," I thought you meant something completely different!...

Anywho, I always thought there were two stages of starting a story. The first is conception...you get an idea. A concept. A situation. These things rattle around in your head until you suddenly realize how they work together as a dynamic, and then you have your premise, which is really your story in a nutshell. It has a lot to do with asking questions and brainstorming. Brainstorming is fun. First you ask how, then you ask why, then you add a maybe. Example:

How did Melissa's husband get kidnapped, anyway? Why did she choose to hunt him down herself instead of calling the police? Maybe she's an ex-detective. Maybe one of her old cases has come back to haunt her.

BTW, sometimes this process leads you to something you know you don't want for the story - maybe you wanted this Melissa tale to be a drama, not a detective story. If you get to one of these places, just backtrack some, and take it down another path. Sometimes finding your story is just a matter of figuring out which kind of story you want to tell.

Hope this helps
-Feathers

I guess it just never seems to be an issue for me. If I'm writing a story, then chances are I've found it, otherwise I'd have no desire to write it. *shrug*

I realize that's rather simplistic, but I can only speak from my own experience. I have started a few stories that went nowhere...perhaps I haven't found them yet. Maybe another day.

The story is the problem your protag is faced with and why they need to solve that problem.

Two hobbits need to destroy a magic ring to stop an evil force from enslaving Middle Earth.

A CIA analyst risks his life and career to prove a rogue Russian sub captain is trying to defect and not start WW3.

Without stakes and a goal, there is no story. A lot of stories revolve around a situation or a premise, which is why they tend to stall in the middle.

ElaraSophia said:

For me, it means freewriting on the image that sparked the initial story, exploring it step by step and in detail until I can isolate what it is about it that catches my interest. I work out the main elements of the story that way - the main problem in the setting, and the aspect of it that I want to focus on. I examine each little thing and try to cut out everything that isn't interesting to me, and what I'm left with are elements that are nothing but sparks. I repeat this process after each draft.

If another person is involved in the process, I imagine it as them questioning me on each aspect and getting me to do this examination.

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I work this way too: but wouldn't do well with anyone else involved in the equation. I do get stuck, and often, so I work on more than one project at a time. But I love those moments of discovery: the writing that comes out of them is better than any of the stuff I plan.

popmuze said:

I definitely have a problem telling the difference between a situation or a premise and a story (or is story another word for plot?)

In any case, how do you restart the engine of your novel once it's stalled in the middle?

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Story is a noun. Plot is a verb. In other words, plot is the what, but story is the why.

The plot is just the series of events that happen in order to tell the story. The protag will be trying to achieve something, and as long as they have a goal and something in their way of that goal, and consequences if they don't get that goal, you have narrative drive to move the story along.

When it stalls, try going back to your core conflict and story problem. Chances are your protag is just reacting to things and no longer actively trying to solve a problem.

For me, it's just about editing and editing and editing.

Great topic. "Finding the story" to me means discovering hidden themes. I think writers are so intuitive that we insert meaning into our stories when we don't necessarily intend to do so. The subconscious mind, in good storytelling, is always at work.

I believe the subconscious mind needs a solid framework, however. I have to build a reasonable plot first, then allow my intuitive wanderings to add theme and meaning.

As others have said, I believe theme and meaning are vital to storytelling, not just plot and characters. I can find my own plot and characters. I need time, distance, perspective and often the help of outsiders to discover all the themes in my work.

Thanking someone for helping the author 'find the story' just sounds like a wanky way of acknowledging their input - perhaps they inspired one or two events in the book, or helped the author navel-gaze a little.