How to Fix the Uh-Oh Moment
Recently I had a conversation with Sarah Higbee (@sjhigbee) about planning. I’ve made it clear before that I am an obsessive planner. I have to outline the plot, the subplots, the character arcs, the whole shebang before I even think to write. And while for those organized folks out there, this style would work, for someone like Sarah, who prefers to go into writing and see where it takes her, plotting out each step isn’t on the to-do list.
Of course everyone has their own style of writing and their own system of how to approach the daunting undertaking. No matter what your technique, at some point we all face a speed-bump. A moment where you say, “Uh-Oh, that wasn’t supposed to happen.” I’ve found there are five extremely common events that prompt this saying, and I’m going to show you the four fixes for your flub.
Uh-Oh Moment: Out of Character
Fix: If you’ve noticed one of your characters is behaving in a way that is contrary to their fundamental personality, you have to weigh the situation. Is this behavior caused by a traumatic incident? Or is it plain wrong? If you feel the OOC is the effect of a benchmark in the story, keep it. If it just doesn’t fit you must edit it out.
Uh-Oh Moment: Unexpected Plot Twist
Fix: For us planners, this may be a striking surprise. When your writing takes over and steers the plot in another direction, it’s not always a bad thing. I actually find this moment endearing. It’s as if your novel is telling you what you had planned is OK, but this will be awesome.
Uh-Oh Moment: Dead End
Fix: Akin to Writer’s Block, this affliction occurs when you accidentally pen your characters into a dead end. Either literally or figuratively. Readers enjoy sudden changes, so writing an escape route or a piano falling from nowhere to stir the pot is one way to get the train back on track.
Uh-Oh Moment: Unexpected Romance
Fix: Even if this subplot was known to you throughout writing, sometimes characters just grow together. Admit it, at some point, your little darlings take on a life of their own. And they may begin to choose someone you hadn’t intended. That’s ok. As Rafiki says, “You can either run from it, or learn from it.”
Each problem has its own solution, but as a general rule of thumb, go with 3 A’s: Assess it. Address it. Alter or Accept it.
When you come across an “Uh-Oh” moment, don’t fret. It happens to amateurs and professionals alike. No one is immune. First, take the time to understand what type of problem lies before you and how it needs to be approached. Acknowledge your writing is trying to tell you something and it doesn’t necessarily have to be a negative comment. You can fix it if you so choose, but sometimes the unexpected shock is exactly what your writing needed.
What was your biggest “Uh-Oh” moment and how did you resolve it?
Targeting Your Audience
The most important variable in storytelling is the audience, your readers. As extensive as your expertise may be regarding your narrative, once readers take over, the interpretation is entirely up to them. Suggestive lines you had implanted to hint towards one thing might be read as pointing to another. Don’t be alarmed, that’s bound to happen.
Another pitfall is when a collection of readers take up your story when it’s not a genre they’re interested in. Then again, that’s also bound to happen. Once the book is in circulation, how readers view it is entirely out of your control. Yes, it’s natural to hyperventilate now. This condition of authoring can cause anxiety. However, there’s 
one vital strategy you can use to prepare your writing for readers. Target your audience.
Before: As you begin brainstorming your novel, take your readers into account. Who are you writing for? What do they like to read? What topics will they be interested in reading? These are a few general questions you can ask to help define your audience. Of course you’ll reach people on the periphery, but your main concern should be your ideal readers.
During: Now that you’ve started to write, pay attention to the diction you use and how you explain your concept, as these are also pieces of the puzzle to communicating with your ideal readers. It is advantageous to have your main characters fall within the age-range of your audience, as this will allow them to relate easier. Of course don’t limit yourself—people love reading about unique characters.
After: When the book is completed, be sure to have beta readers that exemplify your readers review the material. If your audience demographics are diverse, have a variety of people read it. Simple enough. Before choosing which of the several paths you could take towards publishing, create a stable platform that also reaches those you envision reading your story. At each step, always think of your readers.
Readers are the reason authors write. Of course we enjoy expressing ourselves and our ideas through a symphony of words, but generally speaking, if you ask any writer why they write, it’s for other people. We want to give the world something to hold on to and remember us by. And perhaps inspire future generations as classic tales once did for us. With that said, clarify your audience and target your material, after all, they are the root of your success.
Oh Where, Oh Where Has Originality Gone?
What’s with movies these days? They’re either a reboot, a musical reboot, or franchise related (reboot). Ok, I forgot the formula rom com, overdone spy adventure and the cross-genre identical plots. Where has all the originality gone? Don’t tell me that the world of screenwriters cannot create a unique and entertaining movie. Seriously, don’t try it. There’s something like 50,000 scripts written a year, a measly 50 of which get produced. Why are the 50 worst movies being chosen for production recently?
Okay, I know why. Because they’ll sell. It’s a big gamble running with an idea that might be too complicated or high-concept for the mass population to swallow. So, instead they choose what works. A plug and chug, stereotyped narrative or a fresh view on an old classic. For one, they’re called classics for a reason. Don’t mess with it! It did well on its own (when it was original…). The few movies that slip through the cracks that offer the audience a way to exercise their brain are more often than not, written by well respected (read: already popular) screenwriters or directors. Where’s the love for the kid from Iowa who has been pounding on his keyboard for years? Or the Manhattan socialite who has a bone-chilling expose? Are their stories not worth telling?
Am I talking about book writers, too? Sure! Why else would there be such a booming industry of self-published and independently published authors? Because Nora Roberts has a bajillion and one romance novels that practically write themselves (read: ghostwriter). Honestly, the books that are published look like carbon copies of each other half the time. I mean, everyone loves a sexy vampire, right? Oh, yeah…wrong complaint. My point is that the mass market audience would enjoy an original plot as much, if not more, than something that’s predictable or rebooted. Juno is a great example. Or Hitchhiker’s Guide to the Galaxy. Greatness is out there!
Yes, I’m well aware the reason many books and screenplays aren’t brought to the next level of production is because they aren’t good. That’s fine. But believe you me, there are plenty of stories that made it that also are not good. Give creativity a chance. Please, for the sake of our entertainment. Show me the originality.
Battle of the Views: There’s No I in Them
It seems there’s been a heated debate surrounding point of view (POV) in novels lately. What’s better: First person or third person? What do readers enjoy more? What is most effective? The questions are endless, just as the arguments for and against each avenue. Even as you read this, I can hear people shouting , “First!” and others yelling, “Third!” in support of their favorite outlet. I’ve written this to end the squabble. So here it is. The version that is the optimum choice. The answer to all questions about POV:
It depends.
Sorry, but that’s the truth. It depends. You can write any story from the first person point of view of the main character or from a limited “over the shoulder” third person perspective. You could even use the omniscient third if you so desire.
Before you decide, you should ask yourself about the plot delivery and how you want it to sound and be portrayed. But I believe the most important question is “How do I want my readers to relate to my protagonist (and the other main characters)?” If you’re not sure, here’s a pro and con comparison of POV to help facilitate your decision:
First Person
Pros: Know thoughts and emotions. Easily relatable. Live the story. Consistent narration.
Cons: Limited knowledge. Unreliable. Biased portrayal of events. Diary-like.
Third Person
Pros: Unlimited Knowledge. Reader privy to events before MC. Sneak peeks of other characters. Open-ended questions.
Cons: Other characters may become more interesting. Too many POVs. Lack of mystery. Too much info.
As you can see, there are good and bad aspects of each POV. Personally, I’m a fan of third person limited. Although I bend the rules a bit and keep it limited to whoever I’ve chosen to write about (for my series: protag, other MCs and antag). Once you decide what fits best with your goals for your story and its readers, you’ll be able to choose a perspective with a well informed decision.
Share your own pros and cons of these perspectives by leaving a comment!
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