Forward momentum

[le_kitty]

Hey again!

How are the stories going?

I'm curious, do you ever get bored writing? Sometimes I feel like I want to skip the 'boring stuff', and then it strikes me that if I'm having that thought, what could possess me to think someone else will want to read it.

So, my question is, do you "cut to" scenes in order to hop to the main event? (Which doesn't have to be sex, it can be a major turning point in the story) And if you do, how do you do it?

I don't want to write every boring detail in a process of showing that time is moving forward, but I cannot pull the characters from one context to another that skips a chunk of 'well how did they get there?', so I find myself stringing scenes together like vignettes to show the process of going forward, and I wonder how everyone else does it. How often do you do that and how often do you write, "Two days later" etc.

My biggest uncertainty is how do I go from place A to place B. How do you work out traveling scenes?

Effectively, do you make it relevant without being boring?

Have I asked the right questions?

 

[Hypoxia]

My biggest uncertainty is how do I go from place A to place B. How do you work out traveling scenes?

Why do you face uncertainty? Can you visualize places and movements?

Many of my stories are road-trip tales. Characters may drive from place to place (as in Left Behind), or hitchhike (as in many Ron's Journal episodes), or walk hundreds of miles (as in The Botanists). I rarely have problems shifting scenes, moving players from A to B. Details of the journey may be sparse or dense, depending. As sparse as "She caught the next flight to Boston." As dense as, well, every frigging little squeak and squawk the bicycle makes churning uphill, every bug bite and drop of sweat, every roadside marker. What does the story need? Go for it.

 

[Ewobbit]

Hey yourself!

I had to give up on a second VD contest submission since it just wasn't going to be done in time. So, I threw it in the slush pile (2000 and counting) to work on next year, but other than that, going fine.

I understand your question completely as I wrestle with it myself. I wouldn't say I get bored, exactly. But, I do find myself scanning over sections and wonder if I should cut it if I am not even interested enough to read it during proofing.

The thing is, there are times when including every precise detail is almost necessary as well as times they can be glossed over.

She took a drink of water and looked me in the eyes. "No, I don't know anything about it."

versus

I watched as she reached for the crystal goblet with a trembling hand. As the brilliant crystal touched her succulent lips, a droplet of water escaped. Her pink tongue flashed between ruby lips to catch the rogue splash.

"No, Mr. Fielding." She said as she watched her hand replace the glass. "I'm quite sure that I don't know anything about that."


Same thing happened, but with a different tone, setting, and characterization. Granted that both were poorly written hastily scribbled examples, I think the second leads down a very different mental path than the first.

As far as travelling. Whoosh. There is fertile ground there for sure. IF, that is, you and your target audience are willing to farrow the fields.

HOW are they travelling? If it's by motorcycle, that's going to be different than if it's by car. Which is going to be vastly different than if it is by some mode such as plane or train. For one thing, if it's on a motorcycle, while she might have a really good time for the first thirty miles, after a long trip if she even wants to let you near her nethers, they are going to be a little numb!

So, let's assume it's by private car. What kind? Are they travelling in luxurious comfort that could only get better if they had a driver?

Who IS driving? Do they switch off? Or does one absolutely have to be the one in control? IS it a control thing if they don't switch?

Is the radio on? If it is, "In a Gadda Da Vida" or "Bohemian Rhapsody" are going to paint a really different picture than this.

What is the passenger doing? Singing along with the radio? Talking? Watching the passing scenery? Reading a book? Sleeping? Each would give a very different view of the person and their relationship.

What does the passing scenery look like to the narrator? Are there trees? What do the leaves look like? Does the narrative voice even notice?

And, of course, there is always the potential for road head or his fingers down her panties as she feels the wind from the open window blowing through her hair.

I think the thing to keep in mind, at least I try to, is that there is more than just the plot to be advanced. If a section drives any of the five elements; characterization, setting, plot, conflict, or theme, then why would it fail to push the story forward?

Then again, I never said I did it well.

But, best of luck. And hopefully someone else with a little better idea what the hell they are talking about will come along and tell us both what they think.

 

[Hypoxia]

Depending on how many are in the vehicle, long drives are great opportunities for insightful reflection (one person), dialog or sexing the driver (two or more), backseat action (three or more), a full-blown orgy (van or bus or pickup), and of course describing the passing scene and any amusing asides.

The triad daisychain in the back of the Ford pickup whilst rolling under coast redwoods on The Avenue Of The Giants, ah, that was great...

Hitchhikers get laid wherever. Bicyclists dismount for sex at convenient locales. Hikers are bent over logs. Even urban pedestrians can find discreet fuck-stops. I once fucked in a prim suburb sitting cross-legged under a newsboy bag. (The newsboy was tight.) And there was that session on the back seat of the Tulsa-to-San-Bernardino Continental Trailways bus. The driver pretended not to see.

 

[SamScribble]

Do I ever get bored with writing? Not so far.

Do I have trouble transitioning? I don't think so. I used to try to 'fill in the gaps'. But then I started working in film - and the transition bits usually (not always, but usually) ended up 'on the cutting room floor'.

These days, when I write a short story, I tend to think in terms of a film or TV script. Tell the story in scenes, and leave it to the viewer (reader) to stitch the scenes together. I don't think that I've ever had any complaints about my craft. But I do get a few complaints about 'not enough sex'. Oh, well.

 

[NotWise]

So, my question is, do you "cut to" scenes in order to hop to the main event? (Which doesn't have to be sex, it can be a major turning point in the story) And if you do, how do you do it?

I don't want to write every boring detail in a process of showing that time is moving forward, but I cannot pull the characters from one context to another that skips a chunk of 'well how did they get there?', so I find myself stringing scenes together like vignettes to show the process of going forward, and I wonder how everyone else does it. How often do you do that and how often do you write, "Two days later" etc.

Transitions are my biggest problem writing. I've been blocked for weeks at a time knowing where the story was and where it needed to be while I struggled to find the transition. I don't want to write a string of vignettes to make a transition because I don't want to read that.

Usually there's no significant story content in the transition. Now I try to jump to the the next significant episode and maybe fill in a few details as flashbacks or remembered events. The best transitions I've written (as far as I can tell) happened within a single paragraph that started in one place and ended in another.

 

[NOIRTRASH]

Bored? Naaaah. I learn more every day.

What stuns me constantly is how many writers resist improvement, especially when theyre stumped and frustrated. But this is common in every activity I know of. Around puberty most people stop learning or actively resist learning.

Transitions:

Fill transitions with interesting, collateral, stuff.

Like: RUBY OFFERED ME TWENTY DOLLARS TO GO TO HER HOUSE AND PLAY MY GUITAR FOR HER FRIENDS. I AGREED AND WE WENT OUTSIDE TO HER CAR. HER NEPHEW TOM JOINED US, TO DRIVE. I PUT MY GUITAR ON THE BACKSEAT AND GOT IN THE FRONT. RUBY SAT IN THE MIDDLE WITH HER LEGS PRESSED SNUG AGAINST ME AND TOM. AS WE PASSED UNDER STREET LIGHTS I NOTICED TOM'S RIGHT HAND WAS RESTING ON RUBY'S THIGH, AND IT WASNT LONG BEFORE I FELT RUBY'S HAND SQUEEZING MY PACKAGE. I EXPECTED MORE BUT THATS AS FAR AS THINGS WENT THE REST OF THE WAY TO HER HOUSE.

 

[lovecraft68]

I always write in order. The reason being I'm not an outline type and aside from a an ending and general idea how to get there, I let the story tell itself.

If I were to jump ahead now the rest of the story is locked in to having to get to that point in that manner and make sense with what I wrote.

If I get bored getting to the crucial point, I take a night or two off until the feeling comes back to me.

 

[NaokoSmith]

I do get anxious and bored when it comes to sitting down to write out the story. I find the exercise of actually writing it all out dull. It's cramping to crouch over my desk spelling it out, and I wish it would just pour out of my head - where the story is perfect - onto the page, where it appears from my cramped fingers with such a load of unsuspected issues and imperfections!

Since I have very little time for anything much, I have to be so frustrated with the story sitting in my head that I am bursting to get it out by the time I manage to find half a day or a day to start writing. If I'm writing quite a short story, this can be helpful since the story is very well formulated in my mind and gushes out onto the page near word perfect. If the story is longer, it has this tendency to change while I write it - OMG! where did that character spring from? He is taking over ... Goddammit, I didn't realise he was so important, now he needs his own damn story

 

[Hypoxia]

OMG! where did that character spring from? He is taking over ... Goddammit, I didn't realise he was so important, now he needs his own damn story

And there's the OP's answer. Players take over and make their own transitions and sexual positions, thank you very much. Dexter or Rosa or Randy or Jenny want to go somewhere or do something, they Just Deww It by their own logic and impulse. Any authorial difficulty arises from assessing motivation. WHY did they make that move? Find the driving force and the action almost becomes inevitable.

 

[NOIRTRASH]

I haven't had idea one thru all of January but awoke today with a fully formed tale in mind. Its a lesbian-incest story that's plenty noir. I may post it with my Gail-Storm alt. In a nutshell a woman cucks her wife with a son the state took from her when she went to prison for murder (killed her pimp). Her wife was the prison psychologist she seduced. The son aged outta state custody, spent 4 years in the military, and got curious about his ma. He looked her up.

 

[GforGraham]

Depending on how many are in the vehicle, long drives are great opportunities for insightful reflection (one person), dialog or sexing the driver (two or more), backseat action (three or more), a full-blown orgy (van or bus or pickup), and of course describing the passing scene and any amusing asides.

The triad daisychain in the back of the Ford pickup whilst rolling under coast redwoods on The Avenue Of The Giants, ah, that was great...

Hitchhikers get laid wherever. Bicyclists dismount for sex at convenient locales. Hikers are bent over logs. Even urban pedestrians can find discreet fuck-stops. I once fucked in a prim suburb sitting cross-legged under a newsboy bag. (The newsboy was tight.) And there was that session on the back seat of the Tulsa-to-San-Bernardino Continental Trailways bus. The driver pretended not to see.

He wasn't tight, the newspaper got caught up with you.

 

[BuckyDuckman]

I don't want to write every boring detail in a process of showing that time is moving forward, but I cannot pull the characters from one context to another that skips a chunk of 'well how did they get there?', so I find myself stringing scenes together like vignettes to show the process of going forward, and I wonder how everyone else does it. How often do you do that and how often do you write, "Two days later" etc.

My biggest uncertainty is how do I go from place A to place B. How do you work out traveling scenes?

Effectively, do you make it relevant without being boring?

Have I asked the right questions?

Show the trip if it adds to the story. If it's just filler, cut it. Otherwise, mentioning the upcoming break in time before and after it happens will usually work. Here's an example:

"Okay, I guess I'll see you later," I said, standing and heading for the door. After a short drive, I arrived at her mansion.

See? I just mentioned "There's going to be a break" and then "Okay, break is over." Don't over think it, just do it. Hope that helps!

 

[Zeb_Carter]

Hey again!

How are the stories going?

I'm curious, do you ever get bored writing? Sometimes I feel like I want to skip the 'boring stuff', and then it strikes me that if I'm having that thought, what could possess me to think someone else will want to read it.

So, my question is, do you "cut to" scenes in order to hop to the main event? (Which doesn't have to be sex, it can be a major turning point in the story) And if you do, how do you do it?

I don't want to write every boring detail in a process of showing that time is moving forward, but I cannot pull the characters from one context to another that skips a chunk of 'well how did they get there?', so I find myself stringing scenes together like vignettes to show the process of going forward, and I wonder how everyone else does it. How often do you do that and how often do you write, "Two days later" etc.

My biggest uncertainty is how do I go from place A to place B. How do you work out traveling scenes?

Effectively, do you make it relevant without being boring?

Have I asked the right questions?

Do I get bored writing some scenes? Of course. It's inevitable, happens at least once a week, sometimes once a day.

Do I skip ahead and write some of the good stuff? Hardly ever. What I do is switch to another story. I always have 5 to 10 stories going at one time. Right now I have six of a series of seven. I finished the first one, and I'm almost finished with the second and I just couldn't bring myself to write the ending, even though it's a happy ending. I got bored.

So I switched over to the next one in the series. Wrote about 1,000 words and got bored. Then wrote a 1,200 in #3. Right now I'm 500 words into #4, waiting for the mood to hit me to finish #2.

 

[CharlieB4]

I'm with Bucky and Zeb.

Show the trip if it adds to the story. If it's just filler, cut it. Otherwise, mentioning the upcoming break in time before and after it happens will usually work. Here's an example:

"Okay, I guess I'll see you later," I said, standing and heading for the door. After a short drive, I arrived at her mansion.

See? I just mentioned "There's going to be a break" and then "Okay, break is over." Don't over think it, just do it. Hope that helps!

I get bored with stories all the time. I generally have three or four at various stages of completion so I'll leave one and go onto another. Often after re reading what I've written previously I chop the last section out and start down a different road to get to my desired ending.

One of my tests when reviewing my work is if what Ive written doesn't advance the story then I cut it out.