What to Do When You’re Stuck in Your Story
Photo by Brett Jordan on Unsplash
This week, I’m feeling stuck in my manuscript revision. I have some big decisions to make that will affect the rest of the story. I have ideas, but they will take the story in different directions. I’m feeling bogged down and anxious as to which direction will make the most sense and be the most interesting for the story.
Which just goes to show, even when there’s a plan for editing your book, it’s easy to get sidetracked and lose focus.
I’ve written about my process, based on the Author Accelerator 3D Revision method. It’s a great tool for making sure you do holistic, deep revision, and not just rearrange some words and call it a day. If you need a refresher, see these posts:
The Stoplight Method for Revision, Part I: Red Light Issues
The Stoplight Method for Revision, Part II: Yellow Light Issues
The Stoplight Method for Revision, Part III: Green Light Issues
5 Questions to Ask Before You Start Your Novel Revision
The Next Step for Revision: Create Your As-Is and Revised Story Maps
However, I still need to make decisions – and at this point, they’d better be final decisions. There a few elements of earlier drafts I kept in this one, and now I have to decide if they fit. In some ways, I’m still figuring out how much of this book is fantasy, and how much is realistic.
This is where revision comes to a screeching halt. I have to throw out my goals, and accept that I need to do more ruminating than writing.
That’s okay. Sometimes writing is “thinking about writing.”
More specifically, what do I do when I’m stuck and need to figure things out?
This is where having a full Revised Inside Outline can be so helpful. Because otherwise, trying to think through all the ramifications of every decision is overwhelming. It’s easy to procrastinate writing when it feels like a terrible Gordian Knot you can never unravel.
I ask myself the following questions:
Does what I’m thinking of fit with the story? Does it fit with the Point I’m trying to make? Is it brand new? Or is it a piece from an older draft that I’m still attached to?
Does it move the story forward? Is it integral to the story? Does it add tension or increase inner or outer stakes?
What would happen if I got rid of it? What would I need to change if I kept it? Here, I can take the Revised Inside Outline and the possible change red, and weave it in everywhere I can see it needs to go. If it peters out halfway through, why? Sometimes it’s fine to have a (literal) red herring - a path the protagonist goes down that doesn’t work out - but sometimes it’s simply unnecessary. This allows me to see exactly what needs to happen where, without having to rewrite entire chapters. A blessing! This also allows me to think about the element, to think through the implications, and maybe even come up with a better idea.
I talk it over with a writing friend or coach. Sometimes just talking about it with someone – even if they don’t offer suggestions – is enough to get my mind moving in a new direction.
I try to think of 2-3 concrete reasons why this element or character is needed - i.e., how it might create more suspense, raise the stakes, etc. This can prompt new ideas, but beware – you don’t want to insert a brand-new element without thinking it through, especially if you’re in revision. This is again where the Inside Outline can help you plot out the ramifications of any new element.
I don’t rush this process. At this point, it’s worth taking my time to put the story together in the best possible way.
If I’m still stuck, I don’t let it worry me. I tell myself, “I will figure this out.” Giving my brain that message lets it know it’s time for the unconscious to get to work. Often the solution pops into my head while I’m taking a walk, in the shower, about to go to sleep, or doing mindless housework. This is where having a notebook handy can be a lifesaver. If I do get that Perfect Answer I don’t want to lose it!
The point of all this is, don’t let questions derail your process at this stage. Take a deep breath, and keep going. Don’t avoid working on the story. That will just lead to days or weeks of procrastination.
Yes, sometimes it’s good to take a step back. If you really feel like that would be the best move, determine the amount of time you will take – anything from one day to one week – and deliberately take it. You might work on something else, or play with writing during that time – or do something completely unrelated to writing. The big thing is to
Make it a deliberate choice
Return to your manuscript on the appointed date, no excuses
Again, this signals the brain that the story is still important to you. The unconscious can work on it while you focus on something else. At the very least, you come back to it with fresh eyes. And in revision, that can be very hard to do! You know the story inside out, you know the characters, you have lots of ideas set on the page and in your head. Taking a quick break can help reset all your assumptions and lead to new breakthroughs.
Note: in can be hard to come back to your story after a break, especially if you don’t feel you’ve had that “aha!” moment yet. You may feel discouragement, even a sense of dread. Push through it. Come back on the appointed day, even if you don’t feel like it. You never know when the breakthrough will occur, but it’s a mistake to think it will happen without concerted focus. Leave it too long, and the brain lets it slide into the “maybe never” pile.
For right now, I’m going to keep working on it. Reworking the Revised Inside Outline, figuring out how best to make it fit my Point and my Premise. It’s hard work, but fun, because I know it’a all in the cause of making my story the best it can be.
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