I’m writing the Great American Novel. All nonfiction writers have a Great American Novel bubbling below the surface. Because I creatively shut down when its time to write the next scene, my strategy is to write from defined plot points. You see, a while back when I started my GMA (like three years ago), I scribbled list of 30 numbered scenes.
- This happens,
- Then this happens,
- Then this.
Here’s an example of one:
13. At the Sunday dinner table, Frances thinks something is fishy about Jackie’s new job. “You never talk about your work, Dear,” Frances says. Jackie’s Dad is oblivious, waxing poetic about his only daughter’s bright future.
OK so it’s not Hemmingway. It’s a scene description for God’s sake. I stick it at the top of my page and start writing. The scene point drives me. I don’t worry about smooth transitions. I just write the scene, almost like an exercise.
Sure it’s a bunch of crap. A lousy, smelly, no-good, terrible book. Worst writing I’ve ever done. Yada yada yada. But some of the dialogue can be snappy and it’s organic. It has life force. The good shall emerge triumphant.
