Steam from manure: working with details

Recently on Facebook, fan Claudia Tucker asked me, “How do you decide what bits are superfluous even if it sets the ambience of the scene?”

Every writer’s approach, methods and habits are different, so keep that in mind when I describe mine. We all deal with the same issues, but ultimately there’s no right or wrong way to achieve these goals. The only thing that counts is what ends up on the page.

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My first drafts tend to be very short. For example, the first complete draft of my fourth Eddie LaCrosse novel, Wake of the Bloody Angel, was right at 200 double-spaced pages, whereas the final draft was 420. That first draft consisted of scenes that conveyed only the essential plot information and basic characterizations. Description was minimal, transitions were abrupt, atmosphere and ambience was pretty much nonexistent. The point was to create the narrative spine of the whole story.

BloodyAngel_comp1To continue with that skeletal metaphor, once the spine is complete, it’s time to add the ribs. Those are the secondary and supporting characters whose stories accent and echo those of the main characters. For example, in Wake, the hero Eddie LaCrosse is looking for another Eddie, the pirate Black Edward Tew; the more he discovers about his quarry, the more he finds parallels with himself (which was reflected in the book’s working title, The Two Eddies). He also works with another sword jockey (my term for a fantasy-world private detective), whose approach to the job makes Eddie think about his own career assumptions.

Each of these characters must also contribute something significant to the main plot, otherwise they don’t have a pressing reason to be in the story. And you, as the writer, need to hide all this careful construction so that the reader isn’t aware of it.

Once you’ve got the skeleton in place, it’s time to put on the muscle. In the case of my stories, the muscles are the emotional motivations and responses of the characters, based on what they’ve experienced in the past; in simpler terms, it’s the why. It’s very easy to have a hero* be brave when s/he faces the villain, but to make it resonate with the reader, you have to demonstrate not just how s/he’s brave, but why. Has s/he already lost everything, and feels s/he has nothing left to lose? Has s/he come to a new self-realization during the course of the story? Has s/he decided that the villain just has to be stopped, even at the cost of his/her life? Each of those potential sources of bravery makes the hero significantly different, and will also make readers experience him differently.

With that done, it’s time for the skin. Those are the things that bring the story to life in a mundane way. “Realism” is another term, and it’s incredibly important in science fiction, fantasy and horror. If you want people to accept your vampires, robots or elves, you have to establish their reality within the story by creating the kind of details that will support it.

The best example of this is a story I recall about either Norman Rockwell or Frederic Remington; I’m paraphrasing from memory, because I’ve been unable to track down a source. He was a young artist showing his teacher a painting he’d done of horses outside a saloon on a winter’s night. The teacher said, “How long have those horses been out there?”

“I don’t know. A while, I guess.”

“What do horses do when they’ve been standing outside for a while?”

So the artist added manure to the painting. When he showed it to his teacher, he was asked, “It’s cold outside, isn’t it?”

“Well, yes, it’s winter.”

“Fresh manure is warm, isn’t it?”

So he went back and added steam rising from the manure.

And that’s essentially what this “skin pass” is for: adding not just the manure, but the steam, and since we’re not just painting a picture, we have to add the smell and texture as well.

Of course, we’ve all read books where the author goes overboard on this, giving us not just the presence, smell and texture of the manure, but also the type of corn found in it, where that corn was grown, what the farmer was like and how he got along with his wife. The author has to know when enough is enough. Practice is the best way to learn this, and also keeping in mind one of Elmore Leonard’s rules for writing:

“Try to leave out the parts that readers tend to skip.”

Thanks for the question, Claudia!

*****

*I don’t like the word “heroine.” A character is either the hero, or not; gender is irrelevant.

Posted on by Alex in Eddie LaCrosse, Wake of the Bloody Angel, writers, writing, writing advice

4 Responses to Steam from manure: working with details

  1. Claudia

    Thank you. very much Alex. Comparing your approach to structuring a story makes my first attempt look like an overinflated tyre in need of a slow puncture :-) Time for a re-think.

  2. Page Pennington

    Timely Alex. I just finished doing this very thing. Always helps to see published writers techniques.

  3. Shoshanah

    That’s a really nice summary of your method, sort of what I was asking you about the other day. Thanks. :)

  4. Deborah Blake

    I love this metaphor. It is always interesting to me to see how other authors work.

    My first drafts tend to be very detailed–almost as long and complicated as the end result, post-edits. I guess I build the whole body as I go along, and then just do minor surgery on it afterwards :-)

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