If It Don’t Fit.
There is a classic song (yes music) called If it Don’t Fit Don’t Force It by Kellee Patterson and that has absolutely nothing to do with this.
However, the metaphor holds true because a good thing
can go bad in a hurry when you don’t take into consideration the person’s
enjoyment of what you have to offer without throwing in an unappreciated
complication. In other words, it’s like you were dancing in a very dim room.
There is a string quartet playing her favorite song that had always brought her
to tears (the good kind). The smell of dozens upon dozens of rose peddles fill
the air and the light from numerous candles surrounded the room giving it a
dreamlike soft glow. You pull a small box out of your pocket and she whispers
yes with all her emotions coming to the surface at the same time. You now move
in slowly to plant a big one on the woman of your dream and when you pull away
after the kiss, she is no longer that world famous supermodel that cause dry
mouths and sweaty hands, but Ms. Crowfoot with a bushy mustache and long
underarm hair who smell like mothballs and lives down the street. If that
wasn’t bad enough, consider this. There is a classic song (yes music) called If it Don’t Fit Don’t Force It by Kellee Patterson and that has absolutely nothing to do with this.
The special
moment wasn’t real and the kiss wasn’t really a kiss, but you being delirious due
to you drowning the neighborhood’s community pool and Ms. Crowfoot is the only
one who knows CPR and it is written in the newspaper, you were reading just before
you bumped your head and fell into the pool, that the supermodel doesn’t. Although,
Ms. Crowfoot is the correct person, for a happy outcome, she was a forced fit
only because it was a sudden departure from what you were anticipating. It’s
easy to see that “If it Doesn’t Fit” the proper placement of thoughts and ideas
instantly go against the grain of your overall plot line. Sometimes we all try
to force something in where it doesn’t fit, but it can be avoided in several
ways, but here are three that I pay very close attention to. These problems
occur when there is little or no character development, absolutely no transitions,
and moment that definitely has no reason to exist or take place.
Character Development
Who the heck is this guy (or girl). As with the example, Ms. Crowfoot is a drastic departure from the anticipated supermodel happy ending outcome. Things like this occurs when the need to place a character in a story came before the reason for the character to be in the story, and their overall development used as part of the overall storyline. Even with the best intentions, introducing a new character can throw your story for a loop. For those who have watched the Sci-Fi TV Series called Farscape, they know about this. They had introduced a new actor with absolutely no background and it was a mess. Farscape is still in my top 20 Sci-Fi show, but because of that one substantial… course change it would’ve been in the top 10. I have a strong suspicion (I wasn’t in the room with the writers) that they wanted to shake the audience up, especially those who had missed and episode. The truth is that they had accomplished what they had set out to do, and they got more than they had expected. Remember that old saying about being careful what you wish? I believe the writers on Farscape knows that old saying intimately. For a writer who introduce a character with little or no background has very few avenues to do this and not lose the attention and trust of the reader. This is accomplished by using transitions from one scene to another.
Who the heck is this guy (or girl). As with the example, Ms. Crowfoot is a drastic departure from the anticipated supermodel happy ending outcome. Things like this occurs when the need to place a character in a story came before the reason for the character to be in the story, and their overall development used as part of the overall storyline. Even with the best intentions, introducing a new character can throw your story for a loop. For those who have watched the Sci-Fi TV Series called Farscape, they know about this. They had introduced a new actor with absolutely no background and it was a mess. Farscape is still in my top 20 Sci-Fi show, but because of that one substantial… course change it would’ve been in the top 10. I have a strong suspicion (I wasn’t in the room with the writers) that they wanted to shake the audience up, especially those who had missed and episode. The truth is that they had accomplished what they had set out to do, and they got more than they had expected. Remember that old saying about being careful what you wish? I believe the writers on Farscape knows that old saying intimately. For a writer who introduce a character with little or no background has very few avenues to do this and not lose the attention and trust of the reader. This is accomplished by using transitions from one scene to another.
Transitions
One of the deadliest sins is broken continuity or flow of a story line. It can cause your work to suffer from the delete button (e-book joke) or your book used as kindling for the fireplace. The reason for the fireplace, then donating the book (a good thing) is because the person who purchased the book doesn’t want others to suffer as they had (not a good thing). Here’s a good two part example, where the second part if place before the first would work as a transition point and smooth out your story line and remove a nasty little hiccup your reader might not take too kindly to.
When the police arrived at the jewelry store, they saw the robber run out carrying a black knapsack on his back. They nearly didn’t see it because the robber was wearing a black jacket. Just as the cops jumped out of their car the robber took off running to a black convertible sports car, jumped into the driver’s seat, and took off down the street with the car’s tires laying down a thick throat choking smoke. The police took off after the robber and called in for assistance. The robber’s car was extremely fast and maneuverable and easily evaded the police cars whenever it looked as if they had cornered him. Soon there were a long line of police cars with their light flashing, siren blaring, and angry shouts over the cars PA System for cars and pedestrians to get out of the way. Things were looking dangerous with the speeds that were being reached in the madden chase. Soon it was apparent that the robber was making his way down to the marina. They were so close to capturing the robber that they could see the tag hanging out of the collar of his red jacket and his eyes in the rearview mirror. The next thing the police knew they were weaving in and out of warehouses on the dock and had to suddenly slam on their brakes to avoid crashing into the black convertible. The robber was at the far end of the dock a hundred yards away on a speedboat and was sailing away with the black backpack on his back, his white jacket opened, and a bright smile on his face. –End of A-
The transition isn’t obvious at first, but this might help. –Start of B- There were several robberies in town and the robber wasn’t all too bright. Each jewelry story had video surveillance and it was easy to see that they guy was very busy. Unfortunately, each of the video evidence was showing a time clock on the film and they would have to remove over two-thirds of what they had gathered because of a small technicality. The store owners didn’t set the times correctly and they could only use one out of every three tapes as evidence. It was physically impossible for the man to be robbing three different Jewelry stores several miles away at the same time. Not only that, the guy must have kept spare jackets in the backpacks because there was a black one, a red one and a white one. It didn’t matter, they had his face on camera and all they had to do was catch the little thief in the act. Suddenly there was a call over the radio. The guy was at it again. Luckily, this time the second call was from an alarm company and not the store owner. It seemed as if a few of the story owners would gather up their information or clean up before they called in the robbery. It was impossible their statements that they had called as soon as the robber had left. For now, they had a real opportunity to snatch the guy while he was still in the store. –End of B-
As you can see, with a little background you know that they were after a robber who was a triplet. I know this was a long example, and I wish I could’ve made it a bit more disjointed (worked real hard to get rid of that habit and it would seem hard work had paid off). The main point is that you are not forced feeding your reader to take an outcome that is either wrongfully spontaneously, or has no reason to exist. Just me being clever in transitioning to the next subject.
One of the deadliest sins is broken continuity or flow of a story line. It can cause your work to suffer from the delete button (e-book joke) or your book used as kindling for the fireplace. The reason for the fireplace, then donating the book (a good thing) is because the person who purchased the book doesn’t want others to suffer as they had (not a good thing). Here’s a good two part example, where the second part if place before the first would work as a transition point and smooth out your story line and remove a nasty little hiccup your reader might not take too kindly to.
When the police arrived at the jewelry store, they saw the robber run out carrying a black knapsack on his back. They nearly didn’t see it because the robber was wearing a black jacket. Just as the cops jumped out of their car the robber took off running to a black convertible sports car, jumped into the driver’s seat, and took off down the street with the car’s tires laying down a thick throat choking smoke. The police took off after the robber and called in for assistance. The robber’s car was extremely fast and maneuverable and easily evaded the police cars whenever it looked as if they had cornered him. Soon there were a long line of police cars with their light flashing, siren blaring, and angry shouts over the cars PA System for cars and pedestrians to get out of the way. Things were looking dangerous with the speeds that were being reached in the madden chase. Soon it was apparent that the robber was making his way down to the marina. They were so close to capturing the robber that they could see the tag hanging out of the collar of his red jacket and his eyes in the rearview mirror. The next thing the police knew they were weaving in and out of warehouses on the dock and had to suddenly slam on their brakes to avoid crashing into the black convertible. The robber was at the far end of the dock a hundred yards away on a speedboat and was sailing away with the black backpack on his back, his white jacket opened, and a bright smile on his face. –End of A-
The transition isn’t obvious at first, but this might help. –Start of B- There were several robberies in town and the robber wasn’t all too bright. Each jewelry story had video surveillance and it was easy to see that they guy was very busy. Unfortunately, each of the video evidence was showing a time clock on the film and they would have to remove over two-thirds of what they had gathered because of a small technicality. The store owners didn’t set the times correctly and they could only use one out of every three tapes as evidence. It was physically impossible for the man to be robbing three different Jewelry stores several miles away at the same time. Not only that, the guy must have kept spare jackets in the backpacks because there was a black one, a red one and a white one. It didn’t matter, they had his face on camera and all they had to do was catch the little thief in the act. Suddenly there was a call over the radio. The guy was at it again. Luckily, this time the second call was from an alarm company and not the store owner. It seemed as if a few of the story owners would gather up their information or clean up before they called in the robbery. It was impossible their statements that they had called as soon as the robber had left. For now, they had a real opportunity to snatch the guy while he was still in the store. –End of B-
As you can see, with a little background you know that they were after a robber who was a triplet. I know this was a long example, and I wish I could’ve made it a bit more disjointed (worked real hard to get rid of that habit and it would seem hard work had paid off). The main point is that you are not forced feeding your reader to take an outcome that is either wrongfully spontaneously, or has no reason to exist. Just me being clever in transitioning to the next subject.
Reason to Exist.
Was the back cat in the one of the Matrix movie really necessary? The answer is yes, because it had a reason to be there. It has shown that there was a glitch or a Deja vu moment that spelled they were in deep dodo. Even when the absurd is mentioned, it can still have a reason to exist. Take for instance a classic Groucho Marx joke; This morning I found an elephant in my pajamas. How he got there I don’t know. Just the thought of an elephant being able to wear a man’s pajamas is crazy enough, but for you to consider it for a split moment is even more fun and yet it fits the context and flow of the joke. When there is places in your work that holds no value to any story line or move your story forward, then it has no reason to exist and can cause the reader to lose interest. These sometimes occur when you and fillers to pad the size of your manuscript or add something you had in mind to add, but think you can just slide it in and no one will notice it had somehow magically appeared and then suddenly disappeared. Places like this show up more in books that it is known will have another installment and the author is trying to add a bit of interest so the reader will consider purchasing the next book. It is a very common tool to use to drum up interest, but if there is a new character or a special event or new wrinkle to the main storyline, then it cannot be forced onto the reader, but gradually build up steam through character development and transitions that ease its way into the fabric of the story and not burn a hole in it and shot I am here so deal with it. There was an old term were taught in creative writing and it’s called the pie syndrome.
Think of a family with five people and they are like five slices of pie. Take one slice away and gradually that opening slowly closed. Now consider that a fifth piece from a different pie wishes to join this pie. If he forces his way in, there will be one hell of a mess. However, if he gradually works himself in slowly, things will smooth itself out in time an opening will occur. Just like a new member of your family (or story) it takes time for all the pieces to make room so they can all fit correctly. Don’t short change your readers with a crummy pie, give them something they can gorge themselves on as a hole. Have a great weekend! SD
Was the back cat in the one of the Matrix movie really necessary? The answer is yes, because it had a reason to be there. It has shown that there was a glitch or a Deja vu moment that spelled they were in deep dodo. Even when the absurd is mentioned, it can still have a reason to exist. Take for instance a classic Groucho Marx joke; This morning I found an elephant in my pajamas. How he got there I don’t know. Just the thought of an elephant being able to wear a man’s pajamas is crazy enough, but for you to consider it for a split moment is even more fun and yet it fits the context and flow of the joke. When there is places in your work that holds no value to any story line or move your story forward, then it has no reason to exist and can cause the reader to lose interest. These sometimes occur when you and fillers to pad the size of your manuscript or add something you had in mind to add, but think you can just slide it in and no one will notice it had somehow magically appeared and then suddenly disappeared. Places like this show up more in books that it is known will have another installment and the author is trying to add a bit of interest so the reader will consider purchasing the next book. It is a very common tool to use to drum up interest, but if there is a new character or a special event or new wrinkle to the main storyline, then it cannot be forced onto the reader, but gradually build up steam through character development and transitions that ease its way into the fabric of the story and not burn a hole in it and shot I am here so deal with it. There was an old term were taught in creative writing and it’s called the pie syndrome.
Think of a family with five people and they are like five slices of pie. Take one slice away and gradually that opening slowly closed. Now consider that a fifth piece from a different pie wishes to join this pie. If he forces his way in, there will be one hell of a mess. However, if he gradually works himself in slowly, things will smooth itself out in time an opening will occur. Just like a new member of your family (or story) it takes time for all the pieces to make room so they can all fit correctly. Don’t short change your readers with a crummy pie, give them something they can gorge themselves on as a hole. Have a great weekend! SD
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