Within my novel, which is a series of novelettes, are bridges between each novelette. Until recently these bridges were written in the second-person PoV i.e. “you wake up, stretch and crawl out of bed.” Now, obviously this is a problematic literary device in many ways. Readers typically reject being told what they do, and, more so, how they feel–even if the You character is specified to be an actual person other than the reader. In an attempt to serve the novel rather than my own literary eccentricities, I’ve rewritten these bridges in the third person PoV i.e. “He does this, he does that.” Not only this but I found myself adding great swaths of backstory for my protagonist, who turns out to be something of an anti-hero, unintentionally.
Wow. I had no idea what this characters, what this guy, had been through. I mean I know he had a tough childhood, but he was seriously emotionally abused–completely on accident. But he was also sorta a weird kid to begin with.
I find relating each bridge thematically to the novelette before it a perfect way in which to guide me in this revision process. So, I think a great rule, or at least guideline, is, when revision and noticing the lack of verisimilitude, if you just re-read the chapter or story, that chapter or story will actually let you know what happens next. It will feel right when it is connected thematically and emotionally. I think that’s what I’ve been able to accomplish in the last week, and it’s been extraordinarily satisfying. Sometimes writing through something only gives you more things that don’t fit. Sometimes you have to read your way through it, and stop trying to think critically about technique and craft. That’s what I’ve found, and thus far, it feels right.
Winter Station 