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The Plot Acrostic

Aspiring writers, rejoice! There really is a point when the plot tangle breaks.

I was sitting on a logjam the other day when it suddenly broke up beneath me. No, I wasn’t swept downriver to my doom. The logjam was the one that had been afflicting my plot almost since it became complex enough to constitute the skeleton of a book.

Every new idea for a plot development took the story forward, but almost every idea also implied a situation rendered impossible by what had come before. One character, for instance, was intended to instigate a lawsuit against a certain building project. His personality was unpleasant: in fact, he was intended to be the first murder victim. Idea! What if he was, in fact, the murderer? I found him a victim. Two victims.

But wait! To commit the first murder, he had to be in town. Unfortunately, at the intended time of death, he was elsewhere. (In prison, as it happens.) Well, that could be changed.

But wait! If he murdered for the reason I had come up with, he wouldn’t have taken the stand he did on the building project…. You see the problem.

For what seemed like aeons, I shifted and chopped and changed. The longer the manuscript grew, the more changes every new development required. I persevered.

And then, one day, the logjam broke

As it happened, I had been amusing myself with a book of acrostics the night before. When the logjam broke, I recognized what was happening, because it had just begun to happen in my acrostics.

(If you don’t do acrostics, they work this way: as in a crossword, you are given a definition and must come up with the word intended. Each letter in that word is assigned a number, which you then enter in a numbered space in a linear form. When all the correct letters are entered, they make up a quotation.)

I had reached the middle of the puzzle book, where the “medium difficulty” acrostics take on a new character. The definitions become vaguer, more allusive, slangy or punning. The quotations include longer and rarer words, names and complicated clauses.

At this point, the game shifts. Your ability to see the shape of the quotation’s prose, the rhythm of its clauses, its repetitions, lets you fill in words before you have guessed many definitions. The meaning of the quotation leads you to the detail of the words, not the other way around. And the puzzle goes much faster while also being much more fun.

Here is the beginning of the quotation I was working on when the game shifted. Have a go.

_ _L   _Y   L_V_    _Y   P__N   M_   P _SS_ _N

Just like that, as I drew near the end of the umpteenth draft of my mystery, the feeling of the changes changed. My solution worked, if only… and I clicked in my Scrivener binder to an earlier scene, altered three words, and all was well. Onward. The solution continued to work, if only…. Back up in the binder, cut a paragraph, and all was well.

I now have only two or three scenes to rewrite (plus a couple of new ones to tie up a subplot), and I will have, not a draft, but a book. Still deeply in need of editing, but a book.

Here’s the whole acrostic:

plot-acrostic

 

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