Combating Character Clutter—Whose Story Is It?

One of the problems with the early drafts of my novel was that I had too many characters. This is a common problem for many new writers. I became so absorbed in each new character I developed that the story quickly became a series of rabbit trails with no clear protagonist. In my workshop classes, peers had wildly different preferences on how I might develop the story and what characters to keep or toss. The reason was because I had failed to choose a direction for the story and to assert the character the reader was meant to vie for. Instead, all of my interesting people where pulling readers in too many directions and exhausting their attention. I needed to focus.

Part of the problem was that I will still in the early stages of the project. I didn’t know what the story was yet. I was just writing scenes with the same characters in them and letting my imagination run wild. Now, there is nothing inherently wrong with this when a story is just emerging from its primordial ooze. That is important, especially for a large project. You don’t want to edit too early. In fact, it can be useful to check out all the people who show up for open auditions before committing to the select few who will carry the narrative forward. However, eventually, often pages and pages into the process, the auditioning must stop and cuts have to be made. Continue reading

The Quickening – Michelle Hoover

You Can’t Pick Your Neighbors

Michelle Hoover’s first novel, The Quickening, enters the gritty, high-stakes relationship between two women building homes and raising families on the austere Midwest prairie at the turn of 20th century. Sturdy and determined Enidina “Eddie” Current has been rescued from spinsterhood by her quiet and faithful husband Frank. Her farm skills and solid work ethic promise to yield a satisfying but hard life, until the neighborly interference of Mary Morrow begins to affect the course of Eddie’s family. Mary is Eddie’s opposite, a delicate urban transplant. Jack, her loud vivacious husband, can be something of an abusive brute, but nothing seems to happen to Mary unless she is a part of his whirlwind. Ironically, Mary is the partner with a dark past and a history of destructive self justification. Jack shares her propensity toward interference in others’ affairs, specifically when he kills the Current’s hogs in response to the difficult economic conditions, but against Eddie and Frank’s wishes. Throughout the course of the novel, compromise becomes a method of survival for both families. Continue reading