So is it a situation where Emily grows through the process of having to prove to everyone what was done to her sister was deliberate? Because I'm seeing a set-up, and a conclusion, a certain amount of motivation that suggests you know more, plenty of conflict to get you going on a plot, but not rising action. And believe me, I struggle with rising action too. I was griping a while ago about my ability to make characters, premises, scenes, dialogue, even endings, but act II conflict, not so much. I'm finally getting somewhere with mine, slowly. And I've found the best thing is to just do the old fashioned brainstorm. I find it a lot of fun, too... The idea that just about anything could happen inspires numerous possibilities, and following the ideas that pique my interest moves me through the block. But I'm writing fantasy/sci fi (hence the ghostly triplet idea I tossed out). I'm also not sure how serious mine will be, whereas yours seems very serious indeed.
But that's my suggestion; Emily has to try to establish who did it, or whether it was an accident. That said, you'd be getting into mystery writing with that, even if it's more of a Columbo style where we already knew who did it. And I am the last person who should help write a mystery! Good luck. If you need more ideas, try the brainstorm or another, since yours is a historical fiction: research. I made a lot of progress with another story (I have a long series planned and work separate volumes at random in order to keep the facts consistent across the timeline) researching early U.S. mental institutions (bath anyone?) and the history of the treatment of shell-shock in WWI soldiers (they told them not to think about it! Dang.).
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"Pack up my head, I'm goin' to Paris!" - P.W.
The world loves diversity... as long as it's pretty, makes them look smart and doesn't put them out in any way.
There's the road, and the road less traveled, and then there's MY road.
12 May 2010, 12:41 pm
