Who/What is the Tale About?

The tale is about?

When you’ve finished the first draft of your novel and looking to strengthen it and even lengthen it, who or what your tale is about is a good question to ask. This may seem quite simple-minded. You might think, “Well, my tale is about Minisha because she’s the main character.”

You’d be right, of course. Your novel has taken Minisha in a particular direction. She might have traveled to experience the world. She might have never left town, but longed to. Or she didn’t want to leave—just more leeway from a strict mother. Any of these and many others could be interesting paths.

Who/what the story is about shapes choices

I am a great proponent of just writing whatever comes up. Minisha meets a smarmy charmer. She almost gets run over in the street. She realizes that she can tackle the mountain after all. Whatever interests you.

But somewhere near the end of the first draft or when you are editing, you need to consider who or what the novel is really about. For example, is the story about Minisha discovering who she is on her journey (whether physical or mental) or is it about her romance with the professor she meets along the way?

Which path you choose can and should shape your thoughts on what scenes can be kept; which deleted; and which rewritten or reoriented.

The novel is about self-discovery

So, let’s say you’ve decided that the novel is primarily about Minisha’s self-discovery. Review your scenes to ask questions like:

• The romantic scenes are appropriate still but do the number, length or even emotional impact of these scenes outweigh those of the self-discovery? If they’re very prominent, does the relationship overshadow the self-discovery?
• How do you make the self-discovery more show than tell? This is an important way to signal your main theme. What does she DO which indicates her changes? Much of self-discovery happens in the character’s mind. But can you have her taking a physical risk or buying clothes more fashionable than she usually buys? This can show increasing self-confidence.

The story is about love

But what if the story is primarily about falling in love? You might ask similar questions:

• Can you/do you want the self-discovery to revolve around the falling in love? E.g. she didn’t realize she could be lovable; she is getting in her own way in romance. If so, do you need to tone down the angst and revelation around her faith or career?
• How much of the self-discovery do you need to show on stage, as it were? Slowing down enough to give a thorough picture of the internal struggle Minisha is undergoing should be compelling and hopefully, more intense than the scenes about the love interest.

Why do I have to make a choice?

Well, of course you don’t have to. It’s your novel after all. But considering the question helps to bring focus to the novel. It also helps decide what scenes you need to write in SHOW mode and what can be TELL or shorter or perhaps not needed.

Decide later or at the end

Again, ask yourself these questions when you’re near or at the end of your first draft. Examining this too early in the process will wreck the spontaneity of allowing the tale to take the path it needs to.

You do need to ask it. But only after the first draft is in the bag.