I don't believe in doing full outlines, but I do like to know what the next few scenes are going to be, and what they need to accomplish. Is there information I need to give to the characters and/or readers? Is there a conflict to reveal/introspection to set the mood? Do the characters need to reach a decision or turn an emotional corner? Then once I've got an idea of that, I can sort of work outwards to choose/ refine the setting, and what moves the characters are making. And then I try to find ways to make all the extra stuff work for the story, too -- not just that it fits in, but that it moves things along, whenever possible. If I can seamlessly accomplish two different goals in the same scene, I'm very happy
Similarly, when I'm writing, I usually start with dialog, but then go back and add all the motion cues that were only in my brain, the first time through
I've been blocked with my "J" story -- I had 3-4 scenes written, and I know what plot to use, but this was all just set-up for when the story really gets going. And for a while there, I had the wrong goal in a scene -- I was pushing for them to get to a certain point, but they weren't ready for it, and they weren't cooperating
And the pressure wasn't doing my muse any good. After some brainstorming, it occurred to me that I didn't need to get to that point in those scenes, and it might in fact be better if I didn't, so I abandoned that goal, and chose a new, more realistic goal. I'm now feeling a lot more relaxed about putting this thing together
and it'll be a lot more fun to write.
Another trick I find that helps sometimes is to contemplate whether I've got the right POV for the scene -- should the reader be in Clark's head right then, to get his responses, or would that leave them just as bewildered as he is, so I should show them what Lois is thinking...?
Now, if only I could get my family to be utterly quiet and self-sufficient for a few hours...
PJ
whose muse tends to run away from cries of "Mommy!"
