A Slice of Orange

It’s called ‘development hell’.

That writing path that causes you to wish for a coffee pot that’s always full of hot java, when connecting the dots in your story drives you crazy, how they jump around in your mind like impish video game icons, taking you down one path then another, then golloping up our words in a big gulp and we start again.

I first came across this phrase when I was writing for TV — kids’ cartoons, daytime drama, kids’ musical show, cable. You submit an idea to the producers, they love it, then spend three hours telling you how to change it.

You rewrite it.

They love it. Then more notes.

You rewrite it…. well, you get the idea. As a king in a famous musical comedy once said, ‘Etc. Etc. Etc.’

Writing the sequel to ‘Sisters At War’ (Paris WW2 — the story of two sisters and how sexual assault on a sister by the SS affects both their lives), is maddening. If I were writing a TV drama and continuing the story from the following week, you put together a recap: ‘Previously on [name of show]’ and you show clips that give the viewer enough of the story so they can jump right in and enjoy the episode.

Try doing that in a WW2 historical novel set in Paris.

Mon Dieu…

I’ve written the opening chapters several times — the goal? Add enough backstory so the reader continuing the story enjoys revisiting ‘Sisters At War’, while the new reader gets enough information so they’re excited about reading the sequel while… here’s the kicker… you KEEP THE ACTION GOING.

You can’t stop the story in midstream with nothing happening but ‘backstory’ in the opening chapters of the sequel. For example, that’s like the heroine sitting on a raft in a river and watching the clouds roll by.

Boring. You need action.

Let’s try this:

A rainstorm with hail pelting her in the face… her baby sister in a big basket crying… then a north wind blowing and the raft nearly capsizes… causing the heroine to nearly fall into the river and a hungry alligator, jaw wide open, swims toward her… while a river bandit shoots at her with a repeating rifle. Then the raft falls apart and dumps the heroine into the river while her baby sister in the basket is about to go over the waterfall…

Oh, my.

There’s a lot going on and it could work, but only if the reader is invested in the heroine. If they care. Why is she on the raft? Is she running away from an abusive father? Is her baby sister sick with the colic? Does she have an important letter to deliver that will change their lives? Is she praying she’ll survive so she can tell the man she loves ‘yes’, she’ll marry him?

So many possibilities.

Blending together backstory and action is the challenge I faced while writing the sequel ‘Sisters of the Resistance’. Keeping my facts straight, talking about what happened when the Nazis occupied Paris, foreshadow where the story is going. And most important, up the stakes on the dynamics between the two sisters who are not only at war with the Nazis, but each other.

I’m happy to say I’ve climbed out of the hole, that the story is humming, rolling along with a lot of action and character development and scenes ‘that make you cry’.

Now to finish it… thank God there was a sale on Starbucks coffee at my market.

Thanks for listening! And I’ll be back next month with my progress…

Sisters At War:

US https://a.co/d/eZ25gZb      

UK https://amzn.eu/d/0LEWy2z

Who are the Beaufort Sisters?

They’re beautiful

They’re smart

They’re dangerous

They’re at war with the Nazis… and each other.