I like high seas drama, and sitting a top my cannon aiming for the next ship that dares to set course into this pirate wench’s path. I don’t enjoy long days at sea, whiling away my time doing menial tasks when I could be pillaging for treasure, and drinking me rum.
If a pirate’s journey only included pillaging, drinking and cavorting with pirates of the opposite sex, we would be so lucky. However, the journey includes much planning to keep the ship set on its course for adventure.
If writing a story included only writing the beginning, the climax, and the end, I would be one happy pirate. We all know that writing requires elements that help the story flow, and polishes the rough edges. The story requires filler, and unfortunately, I’m not talking the white creamy, sweet variety found in the middle of an Oreo cookie. I’m talking about the mortar of the story.
We bridge parts of our story together with information that may not be awe inspiring, but necessary. Heroes and heroines can be charismatic adventure seekers, but in order to keep them real you must give them a background to shadow. Descriptive details can make them appear as three-dimensional individuals instead of paper doll cut outs on a page.
Filler may include non-essential information to the over all plot but it allows the scenes to flow without dead space. It helps build the characters personality or history. It can take something in the story, which appears abstract, and make it an essential element by the end.
Another thing I count as filler is attention to detail in writing, take for example writing a historical romance. It is important to include the proper fashion for the period, and correct landmarks and historical events. Although this information is not detrimental to the overall plot, it is essential in making the story genuine.
Personally, I dislike writing filler. When filler is necessary I find myself becoming distracted, and losing interest in my writing. I try to beef up filler with humor, or something similar to events or conversations from my own life so I can relate to my writing and maintain an edge. However, more often times than not I become bored, and find my mind wondering to the filler of the sugar variety.
How important do you consider filler to the over all story? How do you break up the monotony of writing filler?
18 comments:
That cookie is making me hungry. LOL! Nice job, Lissa.
I work hard at having no filler. Stay with me here. I want every scene to be important and integral and move the story along. To me the word filler means throw away stuff and in a good story, nothing should be throwaway.
I'm finding that making a list of sorts - a loose outline if you will - of my scenes helps with this. It gives me a map to follow (though I can take another route whenever necessary) and I can say, "What do I want or need to accomplish with this scene?" Then every scene has a specific and important purpose.
I realize pantsers would hear this advice and balk right away that they could never do it but it really does help for that middle part. It's not restrictive as it's not set in stone. You can change it whereever and whenever you like; cut or add anything. Even if you only do it for the middle third of the story, it's a huge help.
MMMmmmm... Oreos. Though I do dislike double-stuff, too much cream... The originals have the best ratio of cream to cookie....
Wait, I digress.
Filler. I am with Terrio, that I write to avoid boring/filler. I have found in my writing that if I'm bored writing it, it's probably boring. (Though I allow that other people's filler may be more stimulating than mine).
I used to think of myself as a pantser, but now realize that I'm more of a plantser. I plan out the course of my story. I come up with 3 major turning points (sort of 2 mini black moments, then a big black moment). The scenes in between these push the story towards these little turning points.
When I write, I fill in the stuff in the scenes, letting the characters flow from there.
(Did I explain that well enough?)
Anyway, this is a great topic. I think that the big bad middle of the book is where we all get caught. Any other practical suggestion out there?
Good point Terrio. Filler can be defined as throw away, but I choose to call chapters that do nothing but bridge one pivotal scene to another as filler. I don't consider it throw away material, but per say a scene that is integral to moving along the story.
I don't outline anything. I admire those who can work with an outline. They never work for me. For me outlines are written as guidelines to follow and I always stray away from them, by changing up dialog or part of the scene everytime. I always know ahead of time what I want to accomplish in the chapter I'm preparing to write. I have a beginning and an end I am determined to maintain, but whatever happens to get from one point to another is up to my fickle muse:)
Maybe I should have worded my question differently at the end... So what do you all call non essential information in a story that bridges scenes?..LOL Obviously filler is a bad word.
I am right in the aspect that there's going to be points of your story that include as I call it 'A day in the life stuff' Day to day activities that a character does that the reader can relate to. It's information that has to be in a story to make it flow, it doesn't matter what you call it, but it's there and it's integral.
Ah, so you're lamenting writing the middle. I'm sure there's a fancier name for it but it's just the middle to me. I'm about there and I'm kind of liking it. This is where the "falling in love" happens (in my book anyway) so that's the fun stuff. And you can put your characters into funny situations here. For me the end, especially around the big black moment, gets darker so this is where I can keep it light.
Marnee - I like the idea of 2 little black moments and then one big one. I think I was doing that but thinking of it purposely that way is going to help me bunches.
Glad to help out, hon. Since getting really serious about my writing earlier this year, I'veerad a bunch of people's takes on how to plot. I found that useful for me.
I also read somewhere (of course, I don't know how now so I apologize if this is your idea and I'm pirating) that people set up each of their scenes with little "black moments." So, that every scene heightens the tension.
I think that would definitely make for a page turner but I'd be worried about wearing out the reader. You almost have to have those for anything with suspense.
I'm not sure I could sustain it that much in my own work. As long as every chapter matters, that's what I'm looking for. I read one recently where I wished they would have edited a ton of stuff out. It came very close to being a wall banger pretty much for that reason alone.
I may be showing my lack of expertise here but what are black moments?
It's the climax basically. That moment when everything goes terribly wrong and the reader yells, "They'll never be together now!"
In my story, the h/h have come so far and one second undoes it all. Major betrayal, heroine in tears, reader in tears (hopefully!) and it looks impossible for these two to ever find a HEA. That's when the story is at its blackest.
Thank you Terrio for the explantion. I am at my happiest when I'm writing angst which I guess is another word for a black moment:)
Yep, angst can be a major part of it but it could also be when the serial killer shoots the FBI hero or the "ton" has found out the heroine is not who she claims to be. Basically, the most pivotal scene in throwing a wrench into things.
Question does every story usually have more than one black moment?
Marnee you said you have two little black moments, are these twists to deter the H/H along the way. For example another woman, or maybe interference from a work related situation or an external source? And do these work up to the large black moment?
I think most good stories have more than one and Marnee has a great way of putting it.
I'll use romantic suspense for an example. FBI dude protecting innocent chick pursued by serial killer.
Shots fly at her car - little black moment.
They go on the run and end up in car chase where they go over the side of a bridge - little black moment
They sleep together then hero explains he's not the settling down/marrying kind so don't get any ideas - little black moment
Serial killer shoots hero and kidnaps heroine - big black moment
Yep, you got the idea. They're twists. Like Hellion always says, they're the moment when the proverbial guy runs in with a gun. Something pretty big to throw a wrench in the works. Things that keep the story going. I just have three, usually. Two smaller ones and a big one at the end.
Gotcha, very good example. Two little wrenches and then the plumber's wrench.
I don't use "black moments" as the bridgers, I just use sex. LOL. I have lots of little black moments and then have my huge one right at the end in Sadie and Ash's story. Not so sure about the sex yet. I've tweaked my plot a little and now it's possible for them to have sex and make it possible for them to work together in the next book, but I'm unsure. I'll just see where the fingers take me as I'm writing. LOL.
But you're right Lis, the "filler" type parts (what I call bridgers) are the hardest to write. Especially if I can't patch it with a little sex and call it done.
Marnee- I'm so sorry I didn't have a chance to read or comment yesterday. I'm about to now :)
Sin you slay me...sex as a bridge. That's so spot on for you, and I might have been guilty of the same thing a time or two myself...
And Marnee forgive me also for not commenting. I was scrubbed in on a long case yesterday and wasn't able to log on.
Very nice topic, I've always felt the same way about the way romance writers are portrayed, and RTS is a perfect example.
is ok, guys. I totally understand. Some days my internet surfing is interrupted by real life. Drat that RL.
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