So you’re all geared up for some more eye-popping, cringe-worthy gore and storytelling wizardry and – as always – delicious character development. The tension is positively aching. You’re ready for the jump-out-of-your-socks moment.
Then Daryl swings his crossbow over his shoulders, leans back on his Harley, looks up into a cloudless Tiffany-blue sky – and starts talking about the music of solitude and how the weight of one empty heart is greater than weight of the world.
I know. I mean, he might have all that in him but that ain’t Darryl’s voice. That ain’t even his character.
Writers do this all the time. Even published writers. In an industry where in-house editing is still smoking from the seemingly endless economic slash-and-burn, these mistakes slip by more and more.
So what’s going on? Well, likely the writer is the one who thinks about the music of solitude and the weight of the empty heart. And Tiffany-blue skies. Probably there’s even a notebook with this very phrasing scribbled out in woke-up-at-3am-giggling-over-this-idea handwriting. The writer has been dying to use it somewhere for quite some time, and when the protagonist is placed into a position where solitude and empty hearts become a focal point – BAM! There it is.
Don’t get me wrong. I’m not talking about the kind of earned wisdom that comes from working the land or an embattled life. Some of the most powerful words have come from the least powerful people.
The writer wants to philosophize and wax poetic to show off his or her ideas and some writing tricks, and uses a character to do something the story will otherwise not allow.
Don’t count on publishing houses to catch this for you. One editor might be juggling the whole list for a season where there used to be a whole team. Or you might get someone who isn’t experienced enough, awake enough, or interested enough in fighting over it. But, you might say, if it doesn’t bother them, then what’s the big deal?
Well, buttercup, once the book’s out there, readers will care. Sure, if you’re a good enough writer they will enjoy your novel or story but those weird inconsistencies will irritate like a sesame seed under dentures. In a hyper-competitive book environment, can you afford to lose credibility and authority? What about your next time out? Word of mouth is still the greatest form of promotion, so when talking (or posting) about your book, readers are more likely to feel less positively than they would have if you hadn’t barged into the story.
Let’s put it this way: The Walking Dead is the powerhouse that it is because the writers know their characters. Even when they do something out of character, it is consistent with the circumstances. It all makes sense together. There is more going on under the storytelling surface than meets the eye, but it is within the narrative scaffolding and not the writers’ whims.
But just watch. As soon as they forget what their story is about, and as soon as their characters go off the map without circumstances that make sense, the viewership will drop like a bird having a heart attack in mid-air. When the writers start intruding on the storytelling to say something they’be been dying to add for a long time, to make the story about something other than what it’s about, to play with the underlying driving factors, this show is done.
It’ll be Lost all over again.
Is that what you want for your writing career?
Know you characters. Know your purpose. Know what drives the whole. Stay the aitch-ee-double-toothpicks out of your own story.
Then you will be less likely to storybomb your own writing.
Want to know how to prevent storybombing through structure? Read my post about an exciting one-of-a-kind writing tool soon to be launched that will change the way you write. Subscribe to this blog for updates on this never-before seen product, and be among the first to get hold of a copy. In the meantime, download my free fiction-timeline-worksheet-3-0-sandrachmara to get your plotting on the right track.