This is part of an ongoing series where I’m documenting the development of my serial novel, Razor Mountain.
You can find my spoiler-free journals for each chapter, my spoiler-heavy pre-production journals, and the book itself over at the Razor Mountain landing page.
This was a slow and painful one.
I started writing this chapter three weeks ago. I wrote a couple paragraphs, then it sat. I write a couple lines of dialogue, then it sat some more. I felt that vague guilt that I should be writing, but I went and did something else. I even wrote some other things, but I just couldn’t seem to get back to the chapter I was putting off.
Then I had to ask myself, is this because I’m in a mood where I don’t want to write this thing, or is there something wrong with my outline or my plan? Is there something blocking me that I need to figure out to make this easier?
In this case, my outline had Christopher talking with this group of people (who I think of collectively as “the exiles”), but didn’t have any detail around what they would talk about. I hadn’t thought through what mysteries I could advance here, or what new mysteries needed to be defined. So I spent some time thinking about that, and soon enough I was able to write.
Sometimes, the hardest part about overcoming a block is realizing you have one, and identifying what the actual problem is. I find that it often comes down to whether I have enough information to start. There are always some things that I end up deciding or changing as I write, but I need enough confidence in the scene I’m embarking on to get started.
After all this time with Christopher having no dialogue, this chapter was almost entirely dialogue. I tried to use these conversations to flesh out the secondary characters and reveal more information. I also wanted to reenforce the idea that Christopher still doesn’t entirely know what’s going on, and his situation may not actually be improving.
You can think about dialogue as a form of conflict, with each character trying to direct it a certain way, trying to get the information they want, and sometimes trying to make things more difficult for their conversational partners. That framework worked well here, because both the exiles and Christopher have a lot of questions, while the exiles are hesitant to reveal too much to Christopher. Amaranth, as a sort of outsider among outsiders, is Christopher’s only foot in the door.
While the exiles’ reticence makes sense within the story and the situation they’re in, it’s also useful to me, because it allows me to limit how much I reveal about what exactly is going on. If we find out too much in the middle of the book, there won’t be as much drive for us to keep going to the end.
I’m finding that one of the challenges as I get into the middle of the book is walking that line of revealing new things, but not revealing too much. In some ways, the beginning of this kind of story is easy: just pose a lot of interesting questions. The end will be the real fun, revealing all the answers. But the middle is tough because it needs a little bit of both to keep the story going.
Next chapter, we jump back to God-Speaker, where I’ll need to lay out the structure of his chapters for the entirety of Act II.