Plugging the Holes

My son likes to watch a YouTube channel called How It Should Have Ended (HISHE). He likes to watch the remakes of his favorite Marvel movies. One of his favorite videos is the remake of Spider-man 3. He loves it when Bernard finally tells Harry that Norman killed himself. Harry fires him for not telling him the truth sooner. Many stories and movies have holes like these. If Bernard had told Harry at the end of the first Spider-man movie that Norman had killed himself, then what would happen in Spider-man 2 and 3? Harry wouldn’t make a deal with Doc Ock to bring him Spider-man and he wouldn’t need to attack Peter in Spider-man 3. Without those holes, the trilogy would become a stand-alone movie. Or would it? Maybe, the writers could have taken the Spider-man series in a totally new direction. Who knows what they would have come up with?

What if writers actually worked harder to plug those holes? Would the stories they came up with be deeper and more satisfying? In the plan of the novel I am currently working on, I decided that one of the main characters would be kidnapped. I didn’t want the protagonist to find this character too quickly, but I also wanted the kidnapper to use the victim’s phone to call the protagonist. In my original plan, it would take the protagonist too long to find the cell phone using cell phone towers. I discovered, however, that the police can find the location of a cell phone pretty quickly. Since the protagonist in my novel was not only the sheriff but also the account holder of the cell phone, she would be able to track the kidnapper even faster. How could I plug this hole? I could have the kidnapper, a devious serial killer, be too dumb to know that the sheriff could track the cell phone in a matter of hours. That led to a new hole. If the kidnapper is also a devious serial killer who has never been caught, how could he not know how long it took for the police to track a cell phone? In the end, I decided to plug this hole by having the kidnapper use the cell phone to lead the Sheriff and her deputies to his latest crime scene. Because the kidnapper no longer had the cell phone, the sheriff could no longer track him and the victim. Her problem became a lot more difficult to solve.

Writers might want to take their work in a particular direction that requires certain plot holes to remain in their stories. They might think that the direction they have chosen is the best way to go, but what if the hole, itself, is a warning that a story needs to change? When I plugged up my plot hole, the danger to my victim ratcheted up a notch and even led him to do something he didn’t think he would ever do. My story took a completely different direction. The plot hole in a story might exist, because the line of the story is flawed. By avoiding the plot hole, the story line can be strengthened.

Prodigal Son: Chapter 1

Elijah sat back and stared at the computer screen. Flexing his aching hands, he read the words he had typed, “extra set of hands for hire.” Three long years it had taken him to get to this point—to be able to read, to be able to write, to be able to use his hands. Madison said he didn’t have to work, but he knew she and Hal were having a hard time making ends meet with all his medical bills and the new baby coming. Whenever Madison convinced Hal to talk to him about working, Hal would pat him on the shoulder. His grey eyes that could be cold like a killer’s would get a warm twinkle, and he’d say, “Just make sure you keep up with your school work, son.”

He had a lot to keep up with. He had never gone to school when he was younger like most kids. He’d never even thought about school until he’d met Madison and Hal. His father had never…

He stopped that thought. He didn’t like to think about his father even though Dr. Ross said he needed to start facing some of the bad memories. She said they would haunt him forever until he learned to face them, until he realized he wasn’t responsible for the things his father had done.

Shaking his head, he focused on his Craigs list ad. He hoped someone would see his ad soon.

A couple of days after posting his ad, someone finally called him. A little old lady who needed some yard work done. He pulled up to the house on Emerson Street. The lady lived a couple of blocks from Washington Park. Unlike a lot of houses in the neighborhood, her house was really run down. The brown paint was peeling on the trim and one of her shutters hung askew. If you asked him, she needed a lot more than yard work. The yard was in pretty bad shape, too. The grass was at least a foot high, and the bushes in the yard were overgrown. Looking at the crumpled piece of paper in his had, he hoped he’d written down the address right. He was picturing a little lawn-mowing or maybe raking the leaves. He hadn’t pictured something like this. Slowly, he climbed out of his car. Madison and Hal had bought it for him when he turned sixteen. That was another reason he wanted to get a job. He wanted to be able to pay for his gas and insurance himself. He walked up the cracked sidewalk to the peeling screen. The mesh of the screen was ripped. Nervously, he knocked on the door. He winced a little at the ache in his knuckles. Little things, like knocking on a door, still hurt sometimes.

He could hear someone talking inside, then footsteps, as someone approached the door. The door opened and a beautiful girl looked through the screen at him. She had long dark hair like Madison’s and sparkling brown eyes. He swallowed. He kept his distance from girls. He didn’t know if he could trust himself around them, so he decided it was safer that way. That was another thing that Dr. Ross wanted him to work on. She kept trying to tell him that he wasn’t like his father, but he wasn’t sure he believed her. The girl frowned at him, and he realized that he was staring at her. He cleared his throat.

“I’m looking for Mrs. Roberts. I’m here about the yard work.”

“Grandma, the guy you hired to work in the yard is here.”

She opened the screen and let him in. He frowned. She just let him in without even checking to see who he was. He could be anyone, a psychopath with a razor sharp knife in his back pocket that he would…

He stepped into the house.

Prodigal Son: Prologue

Dear Drake,
I am in school now. I am learning to read and write. I don’t go to a real school. My teacher comes to our house. She gave me this cool computer, so I can write things down now. It’s hard. I’d rather play my 3DS games, but Madison said it was important to study. She made a deal with me. If I get all my work done, then I can play with my DS for an hour. Madison doesn’t know that I am writing to you. She told me that you didn’t want to hear from us, but I didn’t believe her. Hal told me he could get your address for me, and that he would mail the letter for me. You just can’t tell Madison. I think she would get mad that Hal and I have a secret that she doesn’t know.
I won’t be writing to you for a while. I’m having my first surgery in a couple of days. The doctor says that I’ll be able to use my hands once they get fixed. I’ll write to you again when I can.
Love,
Elijah

Deletion

After writing 50,000 words in a month, I’ve taken a little break from my novel. I thought that, on December 1, I would sit down and start revising, but I realized I needed a little break. I needed some distance from the piece. As a writer, it’s easy for me to become wedded to a concept–to believe that it is written in cement, unchangeable.

To produce my best work, however, I must commit myself to the idea that my novel can be erased with the click of the delete button. With one swipe, I can turn my world upside down. Right can become left. Left can become right. My main character can change gender, turn evil. I must warp my perspective.

My first consideration is changing my point of view. I tend to write in the limited third-person. I am most comfortable with this point of view because it distances me from the character and the action. I never have to come too close to the character, but what if I leaped into the character’s head? What if I became the character? What would he say if I allowed him to speak for himself?

Another consideration is removing an entire character–really using that delete key. What if I removed one of the main characters? Who would come forward that has been hiding? Would my story flip upside down?

When Picasso wanted to capture the essence of the bull, he did not layer paint on the page like Bob Ross. Rather, he stripped the unnecessary elements away until he laid bare the bones of the bull. With each rendering, he gutted his image until all that was left was the spirit of the bull.

How far am I willing to go to allow my creation to emerge? How much will I strip from my work?

Warm up the delete key–here I come.