Son of Ninja - Making More from Less: Growing a Story

[Ctairo]

I did something I've never done before with my latest project: I went ahead and committed words to screen, good, bad, unintelligible—mattered not—which means I'm staring at pages with a fair number of placeholders and scenes that can be expanded. Once I clear the glaring omissions, I'll pound out grammar errors, then move on to show where I can. The problem? I suspect I'll still come in below my projected word count. I'm only concerned about count because I'm looking to fall in line with genre conventions; I'm open to having length dictate genre since right now, the project could potentially fit three categories.

Given I'm a spare writer, that is, I tend to underwrite scenes, what would be the best way to expand the text? Are there methods, techniques for teasing out more story? How do you decide what's necessary and/or missing subplot or character-wise? Ninjas may be the universal answer, but is there such a thing as a ninja-proof novel? There's definitely enough there thematically for more pages than I've written thus far.

As much as I'd love a formula, I won't ask this time around. :tongue

[Palmfrond]

I tend to be a spare writer as well - I edit out twice or three times as much as I leave in - and end with relatively low word counts for my genre. Write what you want to read! If it feels right to you, you have written enough. If it feels rushed or incomplete, expand on whatever you feel is missing. Trust your own opinion of your work.

[maestrowork]

I underwrite as well. One of the things I've learned is to look for places where I am telling, or using cliches/placeholders... and see if I can polish those. The next thing to do is to look at pacing. Perhaps you're rushing through some scenes. Perhaps the dialogue can be expanded to make them more realistic and more developed? Perhaps you need to develop the characters and their relationships more instead of just focusing on moving the plot forward -- so build some scenes to do just that.

If you're still under, the next step is to look for subplots. Perhaps you're too focused on the main plot that your story is too single-thread?

- Are their minor characters whose stories maybe interesting or related to the main one, or they offer nice diversion?

- Are there subplots that are related the main plot -- like these loose threads -- that can be tied back to the main one later?

- Can you build more back stories to enhance certain aspects of the main plot so you can expand on things (without relying too much on flashbacks or info dump)?

- Can you introduce more plot twists? They're like wonderful detours that can add length and experience to your road trips: if you find yourself a day too early getting to Los Angeles, you may want to take a detour to the Grand Canyon along the way...

[Danthia]

I always write less, then flesh out. I write using layers. I’ll do a rough draft of a chapter to see how the story plays out. If I’m not sure about details, I might do a quick line like, “Bob leads the guards on a merry chase through the city until he loses them.” When that’s done, I go back and add stage direction and exposition, and the one-line chase becomes three pages. Next, I add setting, internalization, etc. Finally, I do the details; polishing awkward phrases, tweaking scene goals and narrative drive, laying in foreshadowing or any groundwork needed.

My first drafts are short-ish, but after I layer in everything they turn out where they need to be. It isn't until I'm done that certain themes appear and I can see where I can deepen a plotline or character. Or what links well, and where I can foreshadow, or mirror something that occurs later, or the myriad of things we can do to deepen a story.

Don't worry about it right now, especially since this is an experiment. Just write and see what happens.

[Bukarella]

I write text as I'm working on the scene, but sometimes I know it needs something else. Then I do the same thing as Danthia. I will insert <discussing his past> or <buying the outfit> and then move on.

Once I type in "the end", I probably will have about 45K, which is still under the desirable word count.

After I go back and fill in the gaps, I will be doing chapter by chapter fix-up. At least that's the plan for now. :tongue

[Bryan M Stephenson]

I have found that a secondary character having a side problem is really good for building word count. and can help the plot.
Why is your MC without backup at the crucial moment? because the SC has been having marriage problems and picked that night to be late after fighting with his wife?
SC has a drug problem he fights through the whole story and does not tell the MC. many plot twists there.

[Aggy B.]

I find that as the story really starts to take shape I find natural places to expand. My characters surprise me, do things I didn't expect, show sides of themselves I didn't know they had, and that always results in more pages/chapters.

When I'm really in a bind though I find a dash of reality will sometimes do the trick. Sort of the opposite of ninjas (though that is not a bad way to get things going either). I look at the MC's actions and figure out places where I have them succeeding but they should actually fail. (Missing a connecting flight, losing a gun battle, not finding the person they are looking for, etc.)

If I'm still not getting the word count I feel is necessary I would look for secondary characters who could be a little less secondary. Also examine setting. Some scenes can be moved to different locations that produce conflict that the previous setting did not. (Imagine the difference between a fight/chase in a warehouse vs a mall.)

You can also let someone beta-read and look for things that could be expanded. Oftentimes there are scenes I think are great that a reader tells me doesn't make sense because they don't have all the info/backstory that I do.

In the end the story will be the length it needs to be even if it is not quite what the average wordcount dictates.

[Garpy]

can someone explain to an unhip old fart like me, why the word 'ninja' keeps popping up in reference to writing technique. I'm sure it's some obscure meaning association that I'm too dim witted to get.

[Ctairo]

I find that as the story really starts to take shape I find natural places to expand. My characters surprise me, do things I didn't expect, show sides of themselves I didn't know they had, and that always results in more pages/chapters.

When I'm really in a bind though I find a dash of reality will sometimes do the trick. Sort of the opposite of ninjas (though that is not a bad way to get things going either). I look at the MC's actions and figure out places where I have them succeeding but they should actually fail. (Missing a connecting flight, losing a gun battle, not finding the person they are looking for, etc.)

If I'm still not getting the word count I feel is necessary I would look for secondary characters who could be a little less secondary. Also examine setting. Some scenes can be moved to different locations that produce conflict that the previous setting did not. (Imagine the difference between a fight/chase in a warehouse vs a mall.)

You can also let someone beta-read and look for things that could be expanded. Oftentimes there are scenes I think are great that a reader tells me doesn't make sense because they don't have all the info/backstory that I do.

In the end the story will be the length it needs to be even if it is not quite what the average wordcount dictates.I've had similar experiences with characters :) I love when they reveal themselves.

Oh, I like the anti-ninja approach! Great suggestion!

I hadn't thought about a beta-read. The story is not in shape for eyes other than my own as it stands, but maybe once it's cleaned up. Thanks so much, Aggy! Appreciate it!
I always write less, then flesh out. I write using layers. I’ll do a rough draft of a chapter to see how the story plays out. If I’m not sure about details, I might do a quick line like, “Bob leads the guards on a merry chase through the city until he loses them.” When that’s done, I go back and add stage direction and exposition, and the one-line chase becomes three pages. Next, I add setting, internalization, etc. Finally, I do the details; polishing awkward phrases, tweaking scene goals and narrative drive, laying in foreshadowing or any groundwork needed.

My first drafts are short-ish, but after I layer in everything they turn out where they need to be. It isn't until I'm done that certain themes appear and I can see where I can deepen a plotline or character. Or what links well, and where I can foreshadow, or mirror something that occurs later, or the myriad of things we can do to deepen a story.

Don't worry about it right now, especially since this is an experiment. Just write and see what happens.My approach is very similar, but I guess I don't have as much faith in the process since it's new to me. I'll relax, give the text breathing room. I've been hammering it pretty hard, and I know better.

Thanks, Danthia! Appreciate the advice. :)
I tend to be a spare writer as well - I edit out twice or three times as much as I leave in - and end with relatively low word counts for my genre. Write what you want to read! If it feels right to you, you have written enough. If it feels rushed or incomplete, expand on whatever you feel is missing. Trust your own opinion of your work.
Thanks, Palmfrond! It's hard to trust an opinion when the opinion is still in-form. :( I suspect I need to figure out what genre bests suits the story and go from there.
I underwrite as well. One of the things I've learned is to look for places where I am telling, or using cliches/placeholders... and see if I can polish those. The next thing to do is to look at pacing. Perhaps you're rushing through some scenes. Perhaps the dialogue can be expanded to make them more realistic and more developed? Perhaps you need to develop the characters and their relationships more instead of just focusing on moving the plot forward -- so build some scenes to do just that.

If you're still under, the next step is to look for subplots. Perhaps you're too focused on the main plot that your story is too single-thread?

- Are their minor characters whose stories maybe interesting or related to the main one, or they offer nice diversion?

- Are there subplots that are related the main plot -- like these loose threads -- that can be tied back to the main one later?

- Can you build more back stories to enhance certain aspects of the main plot so you can expand on things (without relying too much on flashbacks or info dump)?

- Can you introduce more plot twists? They're like wonderful detours that can add length and experience to your road trips: if you find yourself a day too early getting to Los Angeles, you may want to take a detour to the Grand Canyon along the way...(Bolding to force myself to remember.)

I'm absolutely plot driven as a writer. Pacing is something I need to look into. I always want to get to the good stuff as quickly as possible.

The suggestions are awesome! Loads to think about, Maestro! In the best possible way. :) I should probably dump any lingering interiority too. Talk about telling!

Thanks so much for weighing in!

I write text as I'm working on the scene, but sometimes I know it needs something else. Then I do the same thing as Danthia. I will insert <discussing his past> or <buying the outfit> and then move on.

Once I type in "the end", I probably will have about 45K, which is still under the desirable word count.

After I go back and fill in the gaps, I will be doing chapter by chapter fix-up. At least that's the plan for now. :tongue

Hee! Let's hope it works - for both our sakes! :tongue

I have found that a secondary character having a side problem is really good for building word count. and can help the plot.
Why is your MC without backup at the crucial moment? because the SC has been having marriage problems and picked that night to be late after fighting with his wife?
SC has a drug problem he fights through the whole story and does not tell the MC. many plot twists there.Interesting. Once I get my MC together with SC, I tend to join them at the hip. Could be part of the problem. Thanks, Bryan! Appreciate you weighing in! :)
can someone explain to an unhip old fart like me, why the word 'ninja' keeps popping up in reference to writing technique. I'm sure it's some obscure meaning association that I'm too dim witted to get.Ah, Garpy! Hipness has nothing to do with the ninja thing. It's a reference to a device writers use to keep things interesting. As in "Gee, these characters are talking, talking, talking. I know! NINJAS!" If you haven't read this thread: http://www.absolutewrite.com/forums/showthread.php?t=138634. It's definitely worth a look. And really, your dimness is highly suspect.