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When You’ve Written the Right Scene in the Wrong Place

When You’ve Written the Right Scene in the Wrong Place

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 Here’s this week’s episode, which we accidentally tucked behind the paywall in the first send. Friday #AmWriting is always free—but if you’re already a paid sub, thanks! And if not… maybe now’s the time?Every draft gets messy. Characters show up too early, reveals happen too late, and suddenly nothing’s where it “should” be. In this episode, Jennie and KJ talk how to tackle the chaos and keep your words flowing.Episode is free for all and romping through podplayers everywhere. Transcript is below—for paid subscribers only (because they cost $$ to make—thanks for helping us keep them coming!)(Hearing impaired? Shoot us a note and we’ll work it out.)Because Free Doesn’t Cover TranscriptsTRANSCRIPTKJ Dell’AntoniaI had written about 13,000 words-ish, and sort of vaguely call it the first five chapters, sort of. I have my loose, rickety Inside-Outline, which gets to the end and becomes almost an only emotion outline, because I’m not entirely sure I know what’s going to happen. I’m not entirely sure how. And, you know, we talked about that, so that’s fine. Like, I’m working—I’m working from that. I’m not working—it’s not like, and next I will write this. It’s more like, here’s the—what—whatever scene I write next, here’s why it has to happen, plot-wise, and here’s why it has to happen, emotion-wise. But it may not be exactly what I outlined. So I’m actually making an outline of what I actually wrote as I write it, which is kind of fun. But then as I’m—so as I’m doing that, and kind of comparing what I think is going to happen to what I’m writing, I realized, after I sent you a big chunk, which we’re partly excited about and partly not—and then it was—it was great—I realized that I needed something. Some things were out of order. Like, I started to write the thing that was the next up in my kind of vague plan, and then I was like, oh, wait. Like, I can’t have—this person can’t be doing this before—or they’re—like, I need—I need—anyway, so I’ve ended up—I went back, but I’m not revising. I’m actually sticking in new things already. So it’s like that 13,000 words is stretching out into, you know, probably 20,000 words as we approach. So I’m still in the world before the big death happens, because there were things... but also, in part, because it was getting too long. Like...Jennie NashYeah. Yeah.KJ Dell’AntoniaSo I needed things—so I needed to move some action. I was like, oh, well, now I’m supposed to have, like, five more things happen before the death. I can’t put another 10,000 words in here. Those things have to go back up. They have to start happening within what I’ve already done. So some of it was that as well.Jennie NashWell, it was super fun to read your pages, because I can just feel the wheels turning, I guess, or the engine of the whole thing. And there were parts of it that felt super assured and like, oh, this is going to be good. And you really know this character now, which is what you’ve been circling around—like, really, who is this and really what’s going on here? And that was so fun to see. It was like, oh, yeah, more of this. This is great. This is—this is going to be good. And then there were other parts, it was like, well, what’s happening here?KJ Dell’AntoniaYeah, well, that was one of the parts that was like this. That was—it was in the wrong place. It was like; I was trying to do too much sort of introductory throat clearing.Jennie NashSo, KJ, I want to stop and ask you a question about something you just said, because you whizzed by it and it’s—it’s like an incredible skill that you have. Where you said something was out of order. It wasn’t that the thing was—what you wrote was not good or not right for the book. It was that you determined it was in the wrong place. And there’s so much that goes into that, like it’s about thought, but it’s also about rhythm and pacing and feel. And I just feel like that’s something a lot of people don’t know how to do. Like, can you talk about that for a hot second?KJ Dell’AntoniaI can try. Some of this I learned from Sarina [Sarina Bowen], and from reading her thriller draft while she was still working on it, and talking about the process of paying attention to what the reader learns when—both from a thriller... this works—it’s not just from a thriller perspective, it’s also—I think we all have this urge to sort of, like, introduce—like you—when you read Save the Cat and you read all this, there’s—there’s an introductory period where you have to establish that you know your protagonist, everything is going wrong in their home life, their work life, and their emotional life. And the reason for that is—the you know—their emotional flaw. I’m probably mashing together a lot of different systems here. So you learn that, and then, you know, you want to write, like, 30,000 words ...
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