Riding along with my dad was like going on a Midwestern safari. Even while driving, he had an amazing knack for spotting critters as they peeked out from behind trees, perched on phone poles, or slid along the roadside.
He didn’t seem to pay any attention to the makes of other cars, or billboard messages, or what other drivers were wearing. His focus (with the exception of safe driving itself) was wildlife-centric.
That kind of exclusive focus can be key to successful story-writing. Many stories center around a core focus, a central idea or message. Many characters are built around a core motivation or driving emotion. Anything that pops up during the writing process — even good stuff — that doesn’t support that focus, may have to go. It’s not as easy as it sounds: even experienced writers are sometimes seduced by an intriguing side story, a brilliantly written description, a charismatic secondary character. But however brilliant or charismatic, if those things don’t help develop the core story or illuminate the main character for the reader, they need to be sent packing.
Here’s an example: in the novel I’m working on, my teenage character looks out over the water and speculates that perhaps the person he is searching for has “planted” himself in the lake. The image fits the rural setting and the moment of the story. But it doesn’t fit my character, who’s an urban kid. As one of my critique partners pointed out, my kid would never think in terms of an agricultural metaphor. However deft that description — and I’d received compliments on it from other readers — I had to acknowledge that it didn’t belong to the story I was telling.
Sometimes I think these things are hints of future stories or future characters, playing peek-a-boo from the depths of our subconscious. But it’s better to admit that they don’t belong in the spot they’ve popped up, and save them in a “great ideas file” for later.
Point out these peek-a-boo moments in your young writers’ stories. Encourage them to take another look at what’s at the heart of their story — at the heart of their character — and judge by that whether that great idea belongs to their current story, or needs to be set aside for another writing day.