Quote:
Originally Posted by E.M.DuBois
Well, either way, I think I have a way to fix a lot of The Savior Libra. What I'm going to do is open a separate doc, and put the titles of all chapters. Then, I'm going to put the synopsis of each one. Then I'm going to put TSL next to it (literally) and skim through the story. Using bullet-points, I'm going to summarize each scene. If it can be cut, it gets cut. This way I boil the plot down to the meat-and-taters. Sound practical, or risky (like I might make it too linear and simple?) I've always been a fan of sub-plots, but if no one else is, then I guess they have to go. Bear in mind that all my sub-plots, logically, contribute to the main-plot and, therefore, the ending.
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This made me look up
. It's sort of what I've just done. Well, I do not have quite such extreme intentions but...
I've just finished the first draft of a novel* and the first thing I did was a read-through during which I collected the outline**. And from the outline I can better see the overall arc of the story and how it hangs together. I get to review the timing and flow and see where there may be pieces that I've explained twice, and so on. Quite a lot of that happened just as part of assembling the draft, but more will happen when - after putting it aside for a while - I come back and do another read through with the aid of the outline.
So I can relate to what you're doing.
Don't be too quick to cut sub-plots. I am not a fan of the trite advice you see scattered around the 'net of "cut/delete/destroy your darlings" - which is usually described as meaning you should cut everything that doesn't belong to the main story. It isn't that simple. Any novel that tells only the main plot with no asides is very likely to lack interest, and without time for the thoughts and events that we all know intrude on our lives***, will seem artificial and will fail to get the reader involved.
The art is in working out which sub-plots you should keep. You want enough to make everything work and seem real and interesting to the reader, but you don't want so many as to distract the reader for too long, or to confuse them about what the main story really is.
But the real point,
the real meaning, of the "destroy your darlings" advice (which it should just say) is:
keep the story moving. Try not to let your sub-plots hold up the movement of your main story. Every chapter (as far as practical, without being silly about it, every page) should keep your main story moving.
Keeping moving is one reason why long and/or complex preludes can be a problem. At the time of the prelude there isn't a story, so there is no context for the reader to fit the pieces you are giving them, and no reason for them to care. It needs to focus the reader on what is important, and then get on with the story - incidentals can be told later. (Again, such trite advice should not be taken to extremes. It's a guideline, something to consider when you review your work, not an absolute rule.)
* I'm not sure if it is a novel or half-a-novel. It's definitely a discrete chunk of story, but let's not get side tracked.
** Collecting the outline last will seem backwards to many people, but I don't do detailed outlines in advance. Usually I collect it as a write, but that didn't happen here for reasons I won't go into now.
*** Which reminds me of a quote made famous in John Lennon's song, Beautiful Boy: "Life is what happens to you while you're busy making other plans." Apparently the quote is older than that, should be attributed to Allen Saunders.