| One of my favorite aspects of novel writing is | | | | characters at this point, and basically asking, "Do |
| experiencing those moments when my characters | | | | you need a novel of your own, then, so your |
| come into their own - assuming lives seemingly | | | | story can be told, or do you just need to pipe |
| independent of me - and begin doing and saying all | | | | down?" |
| manner of unexpected things. | | | | Pulling in the reins on our characters requires a lot |
| At times like these I get the feeling that I'm | | | | of discipline, especially when all the side trips they |
| dabbling in something deeper than what I can | | | | lead us on can make for some interesting material |
| understand, and all I can do is play referee on the | | | | in its own right. My advise, if you encounter this, is |
| sidelines and watch as the drama unfolds. | | | | to save the material - don't delete it from the |
| Obviously the problem here lies in trying to | | | | universe - but just find another place for it. A lot |
| maintain some kind of order and structure. I took | | | | of secondary matter in my own novel ended up |
| a writing class a couple years ago in which the | | | | as the backdrop for short stories. Other incidents |
| teacher described a phenomenon that happens | | | | I saved for the sequel. It's less painful this way, |
| towards the end of many a (hopeful) novel. | | | | but sometimes we have no choice but to say |
| Suddenly hitherto-minor characters start taking a | | | | "Enough!" |
| much more active role in the story and the writer | | | | My old teacher summed up the average writer's |
| wallows in page upon page of diversive material | | | | tendency to indulge by saying: "I've rarely read I |
| when he or she should be ploughing ahead to the | | | | novel that I didn't feel could've been improved by |
| climax and resolution. | | | | a cut of a hundred pages. |
| She suggested having some dialogue with these | | | | |