Whether it is drama, comedy, or invokes any sort of emotion from either you or even your readers, do you have any? If you have nothing like that in your own novel, think of another story or something that has that?
These are the moments when a character(s) does something without thinking only to realize it was too late. It can be funny, serious, or both or even something else entirely. Hell, you can even add a character who is based on such an idea…to an extent.
My Turn:
I have one in my story involving my character Aeris. She summons a warp gate to enter Rhellas which is against the law. Of course she didn’t know this because of her familial lineage she is not allowed to even be there. So, she had to be in jail for a bit. The first time a divine princess was placed in jail…ever.
Hmmm…well, the character doesn’t actually do anything wrong, but all the people around him do. They never realize it, though. Does that count?
☜(ˆ▿ˆc)
Treymor’s depressed because the upper classman he’s been shagging recently died, so his aunt summons a doctor to leech blood from him. Certain that he’s now cured of his melancholia, she sends him back to his boarding school overseas. Unfortunately it takes a few weeks for blood to replenish after a bloodletting.
While Treymor’s recovering, the proctor’s randy wife hears that he’s missing class because of illness, so she brings some laudanum and brandy up to his dorm while her husband is supervising a test in a classroom downstairs.
With no blood in his system, the laudanum makes Treymor hallucinate and he doesn’t realize she’s seducing him until the provost bursts into the room and finds them in flagrante delicto. The provost blames Treymor, and expels him from school. (♯^.^♯)
Spanky and Cricket, twin policemen, looking to be the brave ones in the situation, decide to form a special task force together to solve the serial murder mystery knowing there might be some supernatural aspects to it. They are completely not cutout for the job and learn that when they become absolutely stumped as murder after murder happens right under their noses. No eye witnesses, and no fingerprints.
The only thing they know is that a supposedly supernatural assassin organization is involved. The leader was never captured. It’s said they are possessed by or worship demons or both.
Well, Spanky and Cricket can’t back out of the case now. Doing it the conventional way is not working anymore. No one knows anything. They need to start talking to mediums, which they don’t exactly trust. Good luck, guys
The main reason why I haven’t worked on my novel for a while (aside from being distracted with life and shiny things) is the setup for a major event and incident in the current draft chapter makes no sense.
The diving pool that Karen’s villa has (for now) would be comically expensive to maintain, and too dangerous for family life. Krista remarks that even Karen’s mercenaries (experienced combat divers) don’t go in the deep end alone (eight-meters is near neutral-buoyancy depth), so there’s no way their kids would be allowed near the pool. However, in the current draft, Dov rescues Krista from the deep end with no hesitation or regard for his own life…Maybe with Freyja’s help as well, even though she can’t swim yet…The first (or second) time Dov unintentionally justifies the legendary status of Australia’s Commandos in Krista’s childhood bedtime stories, and when Krista begins to develop genuine affection and trust towards Dov (Krista’s supercharged hormones, “I flirt therefore I am” Israeli cultural background, and inconvenient ovulation cycle don’t help in this regard). Now I have to think of another mini adventure in the villa where, in a random accident, Dov saves Krista’s or Freyja’s life, almost at the cost of his own.
Another common issue I have is trying to write or think like characters who are smarter and wiser than I am. The plot issues that I worry about would likely be solved or explained away by such characters in an instant. So the problem becomes, how to identify and justify the characters’ unique thinking and outlooks to the readers.
so there’s a point in a hot scene where there’s uhh… emiction. it’s a surprise to the character who’s receiving it. he enjoys it. it’s a surprise to me. i don’t know how we got here, but it’s deffo happening.
Emotional quotient doesn’t give a damn about rational. So, if it’s emotionally needed, logic can object, but it still does the stupid thing. Can even have the logic reject it, and then sigh, but if I don’t do this, it’s going to be emotionally messed up.
