Lately, the sequel for Steel Rose and When Blood Reigns has been haunting me. Okay, I’ll confess, I used the pantser style for writing this book. I tried to outline—actually summarized chapters but then found myself lapsing into writing scenes, and I couldn’t work from an outline. The balloon lady in me wants to work on everything else—chapters for Darkness Within Magazine (love doing this); blogging, documenting my latest Mylar Balloon adventure on Facebook.
Why this sequel should give me a problem I can’t say. One of the protags thinks about, buys, and sleeps balloons, but she can quiet zombies in short order. When you get down to it, a book consists of nine types of scenes. The opening is the hook should be written within the first few paragraphs. This will set your story in motion. For the Night to Dawn magazine, I’d better see some tension on page one—you can’t pussyfoot around with a short story. All the same, I find opening scenes the hardest to write, and each book requires multiple revisions for the opening scene.
Set-up scenes are used to feed in primary background information such as the characters’ careers or motivations. It’s nice to know where your protag works, especially if the bloodletting takes place at the work site. What’s more, your protag’s career and family life may influence how he or she approaches the horrors in your story.
Verifying scenes establish the evidence for others you’ve set up and will reinforce the information you already included. I’m thinking along the lines of foreshadowing, but also if you mention that your protag is a nurse on page one, you might want to include reminders especially if that detail is essential to the story.
Conflicts are critical for every fiction work. The battle could be with another person, an inner demon, or nature—perhaps a snowstorm, hurricane, or earthquake, and your character’s reaction to it. It must come across natural; with what you know about your character, ask if he/she would really act in a given way.
In the hindrance scene, your protag takes one step forward, then one or two steps back. Every time he/she making progress, throw a wrench into it. For example, maybe your protag finds an escape route, but the villain, being one step ahead, plants a minefield along that path.
In your turnaround scene, you’ve got the darkest moment. The character thinks he/she’s come thus far when something horrible happens, and it appears all is lost. For example, the serial killer traps the protag, their spouse, and children and pulls out a gun.
Flashback scenes should be used only if necessary. Perhaps something happens which causes the protag’s mind to flash back to previous events. This should appear in the early part of the story and have more dramatic action than what is happening in the present. If the flashback is too long, you may have started your story in the wrong place. Consider weaving this information into the story some other way.
During the climax, all conflicts are resolved. Perhaps the protag managed to slay the villain responsible for releasing the zombie infection; in a romance, the hero and heroine reach a commitment.
You’ve got your conclusion once you’ve reached a satisfying ending and have tied up all the loose ends. Endings are really tough to write. I’ve used up two or three of my best curse words, plus several Mylar balloon purchases to get the ending right.
I will be sending a $10 Amazon gift card to a random commenter.