Once I transitioned into plot, I realized that I also transitioned into my head. These next 10 chapters are the meat of the book, where everything spirals out of control. It needs to be dramatic and emotional.
That isn't easy for me. How do I access those feelings? If I don't feel strongly about what's happening, how can I expect others to?
I've given myself plenty of time to write this book, so I'm willing to try to access that feeling, to not write further until something strikes me hard.
The danger in that is that the longer I take to write something, the harder that will be. So a bit of a Catch-22. I'll give it a week or so. Go for my walks and see if my subconscious insists on something. As I've said, there is outer directed and inner directed and often by this point in a book, (roughly halfway through) the outer directed becomes more prominent. It's unavoidable, I think, because the demands of the plot I have to craft the elements.
I figure I can go over the top on feeling and drama and can always scale back later. But the opposite isn't true. So instead of intellectually accessing story ideas, I need to tap into the emotions.
Today I'm going to work on the concept of being a "method" writer. That is, try to tap into something in my own life that is a parallel to the events in the book, try to act out those feelings on the page.
It may not work at all. It may be that I'll just have to go with my head, and hopefully my heart will follow. But I'm going to give it some time, see what develops. In every book there are a few scenes where I fully feel the emotion of the moment. I'd like to up the odds of that happening.
Like I said, the longer I don't write, the harder it becomes, so it's a tradeoff.
I really think what I've written so far is the best I've done, by quite a bit. But I need to fulfill the expectation I've set up. It's ready from something a little deeper and more emotional than I've attempted in the past.
So here goes.
9 hours ago