2nd draft | authentic details | blockbuster Plots of Writers | Einstein's Dreams by Alan Lightman | plot whisperer
Authentic Details
Draft one, writers attempt to create a story with a Beginning, Middle, and End, filled with Dramatic Action that affects the characters in meaningful and coherent ways — a firm foundation.
Subsequent drafts, writers create more layers, each of which benefits from the use of authentic details. Authentic details “show” who the characters truly are by the objects they surround themselves with and how their actions support their dialog, and allow the reader to sink into the exotic, unusual story world.
For example: Einstein’s Dreams by Alan Lightman — “… In some distant arcade, a clock tower calls out six times and then stops. The young man slumps at his desk. He has come to the office at dawn, after another upheaval. His hair is uncombed and his trousers are too long. In his hand he holds twenty crumpled pages, his new theory of time, which he will mail today to the German journal of physics…”
Authentic details make the story unique, come alive, pulse with meaning.
Research reveals authentic details. How do you find yours?
I’m wondering if I’m using too much authentic detail on my first draft, which might be why it’s taking so long to get the first one completed. I may be trying to hit all the marks on the first brush stroke.
My detail comes from weaving actual ‘been there, done that’ experiences into my characters’ lives. Lately when something occurs, I instantly consider how to incorporate that (with discretion) into my story. I found my initial setting by actually being in the location and writing my observations. Imagination took over creating an entire neighborhood and characters. From there, the plot begins…
I’ve wondered the same thing myself. I find it difficult to move forward until the fine details are all in place. It’s a process of moving a few pages forward, then going back to fix what I’ve written. I’d like to complete a rough first draft and then go back to do the second, but I can’t seem to train myself to work that way.
DJ Lane and Janice, do whatever feeds your writing best. If layering works as you go, do it. Do what feels right to you. Don’t force yourself to try something else. It never comes from pushing…
I generally advise doing a really awful rough draft so if/when cuts need to be made, the process is less painful in that you haven’t invested all sorts of time in what has to be cut.
However, going back and reading the awful draft can be a stopper, too. Often writers who read their awfulness (I know that’s not a word, but…) lose their energy for the entire project and their belief in their own skills, too. I’m working with a writer right now who just suffered that jolt. Happy to report, he’s off and writing again, after cutting more than 30 pages from the beginning and combining two major scenes into one.
Do whatever keeps you showing up for your craft. Lots of successful writers write one draft only. It’s a matter of style, preference, need.