Wow, I'm amazed at your ability to put this into words. I agree that the 3rd act is the hardest to convey. I guess that's why I do lot of visual teaching tools to get the point across. Heh.
Like you said...drawing those subplots out as long as possible is key to keeping reader interest. Otherwise, a 300 page book could feel like it ended on page 275.
Stacia said: This why I stop adding new subplots to the book after the first third (again, I may make an exception if a new character is introduced, but chances are that's actually more of a setup for the next book).
Setup for the next book is one reason. Also, the only reason I might introduce something new here is because I'm giving another clue that pertains to a subplot thread that I've carried throughout several books.
I'v spent two days being unfocused because of odds and ends (mostly odds...) at home. Everytime I get back to the story I just stare at the screen, but here's my kick in the butt. (thanks!) Reading this was like turning up the dimmer switch to full. You and Patrice both made very good points that, even if these styles may not be the way everyone works, seems that these are good 'keep in mind' notes. Thanks for sharing!
Like Linda said above, this is great motivation to dive in and get things turbo-charged. I've been teetering on that Act 2/3 precipice for about a week, and things have sloooooooowed down (mostly wordcount wise, and plotwise to a lesser degree).
One "problem" is that I just figured out a missing piece (a tiny thing: the villain's motive ;-). It's taking a while to process how this discovery changes the course of Act 3's events from my preconceived plans.
Wondering if I should skim all 67K so far just to refresh my memory on those subplots....
Oh, for some reason I always find myself a little blocked at the end of each act. It used to take me a week or so to get back into it; I don't have the luxury of that kind of time anymore but I do still find myself taking a day or two or making a very small word count for a day or two.
I usually give each act a very quick skim before I start the next, to get everything straight in my head. Not always but often.
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Like you said...drawing those subplots out as long as possible is key to keeping reader interest. Otherwise, a 300 page book could feel like it ended on page 275.
Stacia said: This why I stop adding new subplots to the book after the first third (again, I may make an exception if a new character is introduced, but chances are that's actually more of a setup for the next book).
Setup for the next book is one reason. Also, the only reason I might introduce something new here is because I'm giving another clue that pertains to a subplot thread that I've carried throughout several books.
Patrice
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Yes, that's very true. With a series some of the subplot issues are different. More fun, I think. :-)
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Feel free to let me know how it works for you!
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One "problem" is that I just figured out a missing piece (a tiny thing: the villain's motive ;-). It's taking a while to process how this discovery changes the course of Act 3's events from my preconceived plans.
Wondering if I should skim all 67K so far just to refresh my memory on those subplots....
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I usually give each act a very quick skim before I start the next, to get everything straight in my head. Not always but often.
Thank you! :-)
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