Yep, time for another of the Great Detective’s insights into writing: “It is easier to know than to explain why I know.”
Holmes’ point was that it was much easier to make a lightning-fast deduction than to break down his chain of thought for Watson or Lestrade. I’ve often had the same experience writing: at some level, my unconscious mind knows what the story needs even if I can’t explain why it’s right. Sometimes I can’t explain what it needs, only that it’s not what’s on the page.
I think the first time I had the experience was writing my second novel. I’d had a big major fight scene midway through the book, and it was decent, but then I found I couldn’t write the next scene. My gut seemed to clench up and obstruct me every time I tried. Finally I realized it was because what I’d written was wrong. Oh, it was perfectly adequate, but there was a better alternative, if I could only find it.
Eventually I did. It was a lot better. The book didn’t sell, but it was still a better novel.
I’ve had that sense of “something’s wrong” since, though not usually as strongly. And more generally I find a lot of choices and decisions I make in writing are intuitive: choice A simply feels better than choice B. My gut is a good guide.
But unlike Holmes, not a perfect guide. In writing new drafts, I spend a lot of time thinking and studying the previous draft’s structure and pacing. And after I’m satisfied that a story feels right and the logic holds up, then I go get feedback from my writer’s group or other beta readers.
For example, when I wrote The Savage Year I thought a lot about the story’s structure, giving Diana and Artemis multiple encounters with the villain. I thought about the talismans that would make logical sense for him to hunt for. But I also trusted my feelings about the story. As I was dealing with quasi-Lovecraftian horrors, I felt the sensations the magic triggers in Artemis needed to be weirder and more horrible. So I wrote at one point about how the magic made Artemis feel like rats were running around in her stomach, and trying to climb out. Other magical efforts triggered similar unpleasantness.
Then I showed it to the group and got lots of feedback. Including that the bad guy needed to come on stage sooner and that the effects of his magic weren’t creepy enough. I took those suggestions both into account. Eventually the story sold to Lorelei Signal (unfortunately the web site’s been down so long, I wonder if it will ever come back up).
I don’t know if this is true for all writers, and it doesn’t need to be. Everyone’s got their own method. As long as the story works for readers (or listeners, or viewers), it doesn’t matter whether we get it by following a formula or improvising based on intuition.
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