Plot resolution problems

Gray Rose said:

...I am a partial outliner ...

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I need sleep.

I read that as I am a panty-liner.

My only suggestion is to sleep on it for a while. Put it aside and work on something else. I usually find that after a few days... weeks... months... the resolution will just pop into my head. This goes for any plot difficulty... in my case, I usually know what my ending is when I begin, so for me this is usually for that sticky middle area.

Maybe just keep going forward and that "aha" moment might jump out at you. If you try too hard to figure it out and that causes the writing to stall you may end up stuck for a bit, or for too long. I say continue to write and see if something presents itself.

If it ends up not quite right fix it in the rewrites.

Sometimes you have to just plow through.

I'm with you right now. The mini-climax troubled me, but part of the problem just solved itself. MC had no reason NOT to resurrect a child in order to save his slave's life, but I wanted it to be a struggle. I did not want the child brought back to life. It just wasn't part of the story. I thought long and hard about all the reasons he could have to avoid giving life to the child, but not one of them was good enough. So, now he will give life to the child. That presents a whole new set of struggles I can play with and solves the problem of motivation. It was too simple, right in front of me. Sometimes, if you just let go of the thing you think absolutely must happen, situations resolve themselves.

Gray Rose said:

Mel, thanks. The problem is that I am not a "just write it" person. While I do not outline completely, I need to "see" the scenes in my mind (like a movie) before I write. Since I am not sure what happens, I cannot imagine it.

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Me too. Although sometimes what I've 'seen' looks like crap when I get it down on paper! Maybe you don't need to end where you think you do. I had my final scenes in mind throughout the writing of my novel but when I got there and wrote the scenes as I 'saw' them, they were pretty sucky. I went back to where I thought it was working and rewrote the last few chapters. They were much better than my original vision.
Linnea

You know the ending -- this means that you know, in some way, how the main plot resolves. Are you struggling with logistics? Motivations? I am curious -- I think more detail might help us with advice.

I read somewhere that the best way to deal with any problem is to think it through and then forget about it. This transfers it from your conscious to your sub-conscious where the real thinking takes place. When ther guys in the basement get it worked out, the resolution will pop into your mind. Kinda like when you can't remember who starred in some TV show six years ago. You walk a few blocks and Bam! there's the name.

Close the door. You've got to be free to make the changes that need to be made. I need to take this advice, as well.

Gray Rose said:

1. The fact that I have emotional attachment to the short-story/POV, and am reluctant to change it even though it needs to be changed.
2. The fact I was writing with the door open and my nearest and dearest are all emotionally attached to number 1.
3. The fact that I am writing in multiple 1st-person POVs, and some parts of the plot are unreachable by any of those POVs.
4. The fact that my MC had committed atrocities against the people that hold the solution to his quest, and those people do not want to talk to him, and have no motivation to accept the very logical solution he offers, which will solve the plot.
5. Such motivation might be created by showing certain political fractions, which are, again, unseen by any of my 1st person POVs.

Some of the solutions may include:
1. Send the short story out as a short story (done), and take apart the short story/POV or throw it out altogether and write it again for the book (still struggling with this - need to ignore input from my nearest and dearest).
2. CLOSE THE DAMN DOOR . I wish I had the guts to do this.
3. Switch to 3rd (reluctant to do), introduce more 1st person POVs (bad idea) or come up with a creative solution
4. Have no clue how to deal with this
5. See 3.

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To me, Grayrose, it sounds like you know the answers to #1 and #2, but must gear up to do them. It is tough to tear up something you are attached to -- I've had to do it myself -- but if your novel needs one thing and your short story needs another, and the short story already has its chance at submission/publication, then you owe it to your novel to do what must be done to make it the best it can be.

For 3, ITA that you should be reluctant to switch to third. I personally prefer writing in third person, and it makes plotting MUCH easier, but I also feel that stories sort of come to us in a voice that we need to listen to -- if you're feeling it first-person, I'd say trust that. When I plotted out my vampire series, the first-person nature of it made me want to tear my hair out; how could Bianca possibly know this? How could she ever have the skills to deal with that? The trick, I think, is to stop asking those questions rhetorically and ask them literally. What events would have to occur -- however outlandish or difficult or whatever -- in order for your characters to learn what you need for them to know? Think hard about what those would be, and you'll know if there's a place for that in your story.

With 3 and 4, it seems to me you may need a bridge-the-gap character -- somebody who can move between the worlds of the wrongdoer and the wronged. I don't know if that's a new POV character or not. Maybe it's somebody already in your story, but with a slightly changed set of circumstances. Maybe it's someone new. Maybe it's even the comic relief.

(Iceland's Bell is this tragic, bizarre saga of life in medieval Iceland, with these terrible events that torment nobles and scholars and warriors over a course of decades -- but the through-character, the one who always shows up at the right moment or who provides the unexpected link, is the hard-drinking reprobrate who also gives the story some much-needed humor. I had mixed feelings about that novel overall, but I thought Halldor Laxness was rather ingenious in using such an unexpected character to tie together the events; he was so much larger than life that he could believably turn up anywhere, at any time.)

I don't think I can speak to #5 -- that's something only you can answer -- but I hope the rest of the advice is potentially useful.

Your characters can show you how it resolves if you let them. Imagine them in the situations your novel puts them in and watch how they respond. Often they surprise you. If you don't think the first idea you get this way is "it", try it again and see if something different happens. . .

I'm right there with you, Gray Rose. I'm in the penultimate chapter of my WIP. All the characters are coming together for a pivotal scene. I know how that scene ends, but I have no idea how the other, say, 10-12 pages leading up to that climax play out. But I am a write-by-the-seat-of-my-pants type, so I just hope for the best and plow through. (Though I am writing less and less each day as I get closer and closer to that scene.)

But that is not really helpful.

With the caveat that I am completely uninformed about your story, let me throw this out based on your posts.

Maybe it is time to wrap up some of the subplots. You say you know where they're headed, so it might be worthwhile writing them out. I'm assuming that some of those subplots must involve characters that the MC needs to achieve his goals. Maybe, just maybe, as those characters have their stories resolved, as they change with their resolutions, you'll find that they are more willing to be helpful to the MC, despite what he/she has done to them.

Anyway, just a thought.

What I'm hearing...

I think you already know the problem. You've mentioned it several times. It's the short story portion. Now, what's the solution. I have a couple of suggestions, one of which was already mentioned.

1. Lose the short story portion. (I know that's not your first choice.)
2. Figure out a way to change it so that it works.
3. Figure out a way to alter the other events so that it works.

And finally, as already suggested, just forget about it for a couple of days, eat more ice cream (or not), and let your subconscious attack the problem.

Hope that helps a little.

If I were you, then I would probably just lose the short story. That of course, is not a preferrable option.

I would just figure out a way to integrate the shorty into the rest of the story. I guess its easier said than done, but its not impossible.

Just keep slamming away at your keyboard until things look right.

And take a break.

Gray Rose said:

ClaudiaGray:
1. The fact that I have emotional attachment to the short-story/POV, and am reluctant to change it even though it needs to be changed.
2. The fact I was writing with the door open and my nearest and dearest are all emotionally attached to number 1.
3. The fact that I am writing in multiple 1st-person POVs, and some parts of the plot are unreachable by any of those POVs.
4. The fact that my MC had committed atrocities against the people that hold the solution to his quest, and those people do not want to talk to him, and have no motivation to accept the very logical solution he offers, which will solve the plot.
5. Such motivation might be created by showing certain political fractions, which are, again, unseen by any of my 1st person POVs.

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1. What exactly about this short story do you find so compelling? Is there a way to get that "something" into the story without having the short story itself be there? This seems to be blocking you, and I've had similar issues when I didn't want to "kill my darlings." If you're forcing the rest of your novel to fit in something you dearly love, then that loved part likely has to go. It's probably sucking the life out of your story. Find another way to show it within the framework of the novel that works with it, not against it.

2. Sounds like you know you must kill it and need time to accept that You'll get there. Acceptence is the first step to recovery (grin)

3. What do you mean by "unreachable" to your POVs? If things are happening off camera, so to speak, and none of your POVs have this knowledge or have any way of getting this knowledge (through interaction with other characters perhaps) then you might have a much bigger issue. Whose story does this "extra" part belong to? Are you sure it's not back story masquerading as plot? Is there a way to convey this info and tie it to your short story? I suspect this unreachable stuff is why you're really stuck. You have plot happening without your POVs. Since they're the ones telling the story, this puts you in quite the pickle. You'll need to find a way to put your characters back in front of the action and let them drive the story.

4. Resolving tough issues "logically" is rarely fun. What can you do to make these people help your MC even though they hate him and don't want to? Emotional conflicts are so much fun and compelling to read about, and it sounds like you have a lot to work with. Use the situations you've set up. Watching characters make the easy or clear choice is boring. Show them making the hard choice that costs them something personal. THAT'S where the fun lies! And it gives your story drive because people now have something to work toward. "I'll give you X if you do Y for me" kinda deal.

5. No one acts because of someone else's motivations. If your other characters don't have reasons to do what you need them to do for plot, dig deeper into their backgrounds and find a reason. How might these political factions be affecting them? Major issues have ripple affects, and one of these could be causing trouble for your characters. One of then must gain SOMETHING by helping your MC despite his past.

Whenever I get stuck I go back to character and motivation. WHY is the best tool you have. People don't act without reason. They all are prodded by somethng, even if it's dumb and seems weird to others. They have histories, and bad experiences that give them knee-jerk reactions. They have needs and desires, goals they must achieve. What are these things for your characters and how might they affect your plot? It sounds like maybe you lost focus of the individual character goals and how those smaller goals will lead you to your big plot goals and ending. Don't focus on the premise, focus on the story. What do these people want? What are they willing to do to get it? What's in their way?

Good luck!

I can ask a few question to help get you thinking Maybe something will spark.

1. Is this gal a POV in the novel? Should she be? If not, can she be combined or tuned into another character so this perspective is shown?

2. Is your MC is the antagonist in the novel as well? If so, doesn't that make him your protagonist? (Even if he's a bad guy protag). What is it he's trying to accomplish that the story hinges on?

3. You have multiple first person POVs. Does they each have their own story and story arc? How do those story arcs and goals relate to you "novel goal?" The book is about X, and I assume all of these POVs show the various sides of a subject and how something is accomplished? They all lead to an exciting resolution of a major problem? If not, then why are they there?

4. At the end of the novel, when your protag "wins," (or loses if that's the case) what do they win? What is lost by the antagonist? What do the various POVs also win?

5. How does the "extremely creative solution" work? I assume she solves some problem that allows the ending to be resolved. Or is this just to show that she has the ability to creatvely solve the final problem? Do you need her to do this in order for the ending to work? Can you show her ability to solve problems in another way that suuplies more plot material?

I'd suggest a good look at what you're trying to accomplish in the novel. It sounds like you have some fun plot things, and some loftier ideas you'd like to get across (pardon me if I mis-read things). The loftier ideas are sexy and distracting you, like a hot babe sunbathing next door when you're trying to mow the lawn (grin). Perhaps think about those loftier goals and how you might get the same ideas across using your existing character problems. Free-think and ignore the short story background you already wrote. Just look at abstract ideas for now and see what your imagination comes up with.