PART 3 – Always Ask Yourself

                                Does it advance the story?

                                Does it enhance the story?

                                Is it redundant?

Writers find ways to advance their story by dropping new bits of information or enhancing the story by giving a terrific description of a person, place or thing, but do they ever check to see if they visited the same place too many times or discussed the same bit of business in their story with way too many other characters?  When that happens too often it starts feeling like the writer ran out of material and is just filling up a few blank pages.

In the old Murder She Wrote episodes, good ol’ Jessica Fletcher would drop a clue early on during any given episode only to remember that incident later and realize it was, indeed, a clue to the killer. Now you might call that procedure “redundant” since it happened in every episode, but if you were a fan and watched a lot of the re-runs you would probably be looking for those hints at the beginning of the show and see if you can catch the clue before Jessica does.

I’ve been watching the old episodes and actually watch for those subtle hints so I can beat Jessica to the killer.  They do a good job having all the actors in any given episode give subtle looks that might indicate they are the bad guy, but since all of the actors do it, you have to pay closer attention to what each person says both before and after the killing. But they seldom trudge over the same clue or drag in the same person more than once. Therefore, there is no redundancy as such.

As for what a writer should do, unless you’re writing a TV series where every episode is a carbon copy of the previous one, don’t keep throwing out the same bits of information. Figure a way to move the story along with something innovative like a new character or take the main characters in a different direction even if it’s a dead end. That’s a better use of those words you’re putting on paper.

Even redundancies as simple as having all the conversations happen around the same dinner table or office desk or even the neighborhood bar or restaurant gets old. Maybe try taking your characters for a walk in the woods or for a drive in the country. The fresh air or different scenery will be a nice background for new revelations.

Even if the characters are trapped in a cabin in the woods during a snowstorm, let the people find a quiet corner, or the sofa in front of the fireplace, or maybe have your characters climb a ladder up to the attic for some quiet conversation. Just don’t have them constantly returning to the same place. As they say: “Been there. Done that.”

Your goal isn’t to say the same thing in half a dozen different ways. It’s to say new stuff. See new things. Meet new characters. Say new stuff…See new things…Meet new characters…Say new stuff…See new things…Meet new characters…

Remember the point of this post: Don’t repeat yourself.  Write On!

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Author: gbpool

A former private detective and once a reporter for a small weekly newspaper, Gayle Bartos-Pool (writing as G.B. Pool) writes three detective series: the Gin Caulfield P.I. series (Media Justice, Hedge Bet & Damning Evidence), The Johnny Casino Casebook Series, and the Chance McCoy detective series. She also penned a series of spy novels, The SPYGAME Trilogy: The Odd Man, Dry Bones, and Star Power. She has a collection of short stories in From Light To DARK, as well as novels: Eddie Buick’s Last Case, Enchanted: The Ring, The Rose, and The Rapier, The Santa Claus Singer, and three delightful holiday storied, Bearnard’s Christmas, The Santa Claus Machine, and Every Castle Needs a Dragon. Also published: CAVERNS, Only in Hollywood, and Closer. She is the former Speakers Bureau Director for Sisters in Crime/Los Angeles and also a member of Mystery Writers of America and The Woman’s Club of Hollywood. She teaches writing classes: “Anatomy of a Short Story,” (The Anatomy of a Short Story Workbook and So You Want to be a Writer are available.) “How To Write Convincing Dialogue” and “Writing a Killer Opening Line” in sunny Southern California. Website: www.gbpool.com.

7 thoughts on “PART 3 – Always Ask Yourself”

  1. Excellent advice as always, Gayle. I try not to repeat things except those where reminders are necessary, such as from earlier books if I’m writing a new one in the series. And I haven’t watched a Murder She Wrote episode for a while, but maybe I will now–more than one!

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    1. I recorded several Murder She Wrote episodes and watched them back-to-back. Eye-opening, but I try to have my connected short stories have very different plots so the reader has something new to experience. And anyway, how many dead bodies does Jessica Fletcher have to trip over before people stop inviting her to their house?

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  2. A great reminder, Gayle. Series writers, whether for books or TV, must rely on formulas to keep the stories consistent, but too many fall into the redundancy you describe. The best start with great characters, interesting plots and a good dose of freshness to keep us tuning in or turning the page.

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  3. You always make such good points, Gayle. I especially like the “Is it redundant,” point. And I also watch Murder She Wrote reruns and follow the basic, but obvious, plot points. Thanks Gayle.

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  4. You have definitely been there and done that. I mean that in a very good way. You’ve studied the repeats, caught them, and now you are sharing your knowledge with us! Cautioning us to watch out for writing errors that are so easy to make. Thanks!

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  5. One editor suggested that my sleuth not conduct ALL her conversations in restaurants and coffee shops. So I changed a few scenes to walks in parks, around lakes, and the like.

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