Hello Inkpotters!
Here is a question for our illustrious bloggers, direct from the mailbag:
Hi,
Y’all had offered such useful advice about narrators and my dog last semester, that I’ve returned with more problems. I apologize in advance… What are your opinions about narrative time–specifically the time frame in which a novel unfolds. My story begins on a Friday and ends on a Tuesday. Stuff happens. So, what’s my problem? Aside from the two love birds who sit in the back row of my classroom and make-out during conversations about the legalization of marijuana (apparently weed is a gateway to the dirty deed)–my story “feels” stuffy. I anticipate that someone will suggest extending the story’s time line. Here’s the downfall: If I extend the story over weeks, or months, I will lose a great deal of narrative tension. Much of the story’s tension comes from its five day timeline. I would appreciate any advice/solutions/medications. Oh, and I’ll also accept advice about the love birds before they return to their nests and tell their momma birds about the egg they created in English class.
Thank you, (Still) Desperately Seeking Snoozin’
Dear Inkpot,
I had sent this message as "D.S.S." last semester before y'all invited me on board. I am writing my way out of these issues. I think…
–Mell
Narrative time and the way we manipulate it to build tension fascinate me and remains one of many issues with which I continue to struggle. Thoughts?
p.s. The "love birds" still fly together. Ahh, young love…
Stuff needs to happen and main character needs some kind of inner transformation. This can happen in a short time frame if events are major like death or destruction. I am wracking my brain right now for an example of a YA novel that takes place over a few days. Any suggestions? But the transformation needs to feel earned to the readers. Not tagged on to a quick resolution. Don't give up on your narrative time frame. Just keep in mind as you revise, the need for inner and outer arcs that build to a resolution and hopefully connect.
Thank you so much for your feedback, Claire! I will print your advice and post it above the desk for when I totally annihilate this draft post-graduation. Sometimes, the narrative time frame feels like a ticking clock because so much does happen in the protag.'s life and in the story, that extending the timeline feels like the ticking clock turned into a pocket watch with a dead battery…Would you mind explaining inner vs. outer arcs for bloggers and/or new students who do not know the terminology?
Thanks so much for your "Claire-ness!" :0)
The outer arc is the main story line, the outside events that build to a crisis and climax. The inner arc is the transformation and changes in the main character as the story unfolds, it is the emotional anchor of the story. AT the crisis, the MC has to make a choice on an important plot point that leads to the climax – will she change or keep the status quo or even worse slide backwards? The closer the resolution of both the inner and outer plot lines to the climax, the stronger the emotional resonance in the story. This is always complicated. But in Looking for Alaska, Miles needs to find the answer to whether Alaska committed suicide or not (outer arc) and what kind of love she had for Miles and whether that is enough to keep going (inner arc.) They come together well for a powerful emotional punch.
You say so much in so few words, Claire! Thank you! You rock! :0)
Claire, I believe Margaret Mahy wrote a novel that took place over 24 hours — and it is called 24 Hours: http://www.teenreads.com/reviews/0689838840.asp
Hope that helps!
p.s. It's Melinda — for some reason this site will not let me sign in with my raccoon avatar, though other Blogger sites will!
Thanks, Melinda. Can't wait to read. have been on the road, so behind on comments.
Thank you, Melinda! And maybe the raccoon avatar will sneak her way past the site's blockers. :0)