How To Write: Tackling the First Draft Part Three – Thinking In 45 Degree Angles

In tackling the first draft part one we talked about how putting words on the page is like  making clay— creating malleable material that you can later sculpt through revisions. It’s not important in this stage to be good, but you’ll find that the more experience you have writing first drafts, the better quality your clay becomes.

In part two we talked about picturing the sculpture underneath the clay.  Though details and outlines up front are sometimes helpful, it’s not always the case. Story and character arcs are often revealed as you write and it’s your job to pay attention.

In part three I want to talk about tension and raising the stakes. I’ve mentioned in the last post that you are always asking yourself, What happens next? Even if you know the answer to that question for the big picture, there is always each chapter and scene. But, you don’t want to fall into the trap of this happened and then this happened and this happened.  You can’t just give us a day by day accounting of your characters life. Each event has to happen for a reason.

You’ll remember the three act structure from the post The Bones It Hangs On. Here is a version of it on a 45 degree angle.

                                                        

Each scene, each plot point all way to the climax must raise the stakes for your character.

Picture your character building a snow ball while rolling it up hill. The bigger it gets, the higher the angle the more difficult life becomes for your character until ultimately, he or she gets to toss the thing off the cliff—also known as the climax.

Conflict builds tension, whether it’s inner conflict or external.

Theodor Taylor was a master at this. In his middle grade novel THE CAY, every moment is used to create tension. The story starts out with Philip’s mother telling Philip that their island had been bombed the night before and that he needs to stay close to home. Of course he doesn’t. Tension. This stirs up anger in his mother but mostly fear. Tension. This causes her to convince Philip’s father that they must leave the island. But Philip’s father refuses to leave. Tension. He then relents, but only Philip and his mother will go, he stays behind. Tension. 

You get the idea. Everything happens for a reason. Each scene is necessary to propel the story forward. Life must get increasingly difficult for your protagonist.

You will probably write scenes in your first draft that don’t raise the stakes and have to be cut later on and that’s alright for now as you write your first draft. The point is that while you’re writing it, keep in mind that you want to go up hill.