A Little Writing Help?

Do you ever hit one of those moments while writing and think, “Okay. I know where I’m going. But what’s the next step to getting there?”

I have three POVs in my current WIP–Victoria is kind of the main one, but Ursula also gets herself in there and so does Beatrice, Victoria’s younger cousin.

I  finished Chapter Nine like this (excerpt below the cut):

It’s got a lot of tension–a lot of feels. So then where do I go with Chapter Ten? I began writing a Beatrice scene. Beatrice is 14, so she’s at that age where she knows things but doesn’t really know things, y’know?

So I’m like, does it give us a break from the high drama of Victoria’s parts? Or does it just make the tension in the previous chapter fall flat? Is a tone shift too jarring?

 For some reason, I’m especially neurotic about the basic story structure with this story, so yeah, I’m writing chapter ten the way I started it, but something’s nagging me about it.

Yes, I know, I know, it’s up to me, what does the story need, blah, blah.

Victoria’s Father had several magnificent items made for Mother in India. They weren’t the Koh-i-Noor Diamond, but the gems were glittery and colorful, if her distant memory recalled correctly. Valuable, too. They’d been in the vault here for all that time.
            If they were Mother’s, then weren’t those jewels really hers?
            They were. They had to be, legally. They’d been bought with Father’s money, given to Mother, and kept here in Malden Court for Victoria’s use, surely. Wouldn’t it be part of her inheritance? At the very least, common courtesy would suggest that she ought to be informed.
            That night, Victoria could not sleep for tossing and turning. The next morning, she distractedly ate breakfast and after a half-hour’s gathering of her thoughts, knocked on Uncle Malden’s study door.
            “Enter,” he said in a gruff voice. She opened the door and found him sitting in an armchair in the small, wood-paneled room smoking a pipe. “Victoria. Goodness, I thought your aunt was coming after me about something. What brings you here?”
            She closed the door behind her and clasped her hands together. Then she said, “The jewels Conrad means to sell.”
            “It’s what’s left of the jewelry that aren’t entailed, I’m afraid. We’re keeping some pieces back to give to Ursula and—”
            Victoria put a hand up. It was the first time in her life that she’d silenced her uncle.
            “They’re my mother’s,” Victoria said. “Aunt described a piece last night—a necklace with sapphires and a diamond clasp. I remember that necklace, Uncle. Mother wore it when meeting with the Viceroy when I was five.”
            Uncle Malden sighed. “Darling, do you know why they were sent on with you?”
            “No. Why?”
            “Because when your father died, he died without a will. Your mother sent you home because you were legally my ward after his death and it was thought that England would be healthier for you. She sent the jewels on to pay your way, in case something happened, but also for safekeeping—they became part of the estate.”
            “But not entailed. They’re Mother’s personal effects. And she’s still living!” She was standing still, muscles rigid, except for her hands. One of her hands’ nails was digging into the other. “They’re mine.”
            He heaved a long sigh. “Yes. They are yours. They’re not entailed, so I can leave them to anyone I want. I didn’t sell them with the last round because I knew they weren’t necessarily mine to sell.”
            Well, good. Because they weren’t. Her father had paid to have them made and Mother had worn them and Victoria was their only child.
            “Then he can’t sell them,” Victoria said. But Uncle did not answer right away. He stared into space for a long second. “Uncle! He can’t…you could tell him he can’t. They’re not his.”
            “Victoria, they’re already gone to Sotheby’s. Them and the art. We cannot retract them. I understand Conrad’s instinct to make Ursula feel welcomed here—and the house needs work, you know that.”
            All through it, Victoria felt the bite of her corset as her breathing grew uneven, then ragged. They were already sent to the auction house, so there. There was nothing to be done. He’d let Conrad sell her mother’s jewels to pay for something for his little American chit. Her chest felt like there was a boulder on top, crushing everything, her whole body, her whole world.
            “Victoria,” Uncle said, sounding alarmed. He stood and came to her. “Breathe, darling, breathe. My one goal in this life to preserve this estate. It’s also my biggest burden.”
            She gave a short nod.
            “Which I must pass on to Conrad.”
            She nodded again.
            “By any means necessary.” He searched her face and gave her a small, sad smile. “My brother would not be best pleased with me, failing his only daughter. But you’re a strong one, Victoria.”
            She shook her head, not even bothering to hide the tears that were dropping from her eyes.
            “Don’t placate me, Uncle,” she said. “There’s nothing you could say to make me feel better.”

            She turned and walked out of his study, wondering if she could pry one of the swords off the front hall’s wall and ram Conrad through with it.

4 thoughts on “A Little Writing Help?

  1. Yes!! Run Conrad through with a sword! ^_^(Feel bad for Victoria! Yikes, that's the sucks!)I can get super neurotic over tension and pacing within a chapter, but I can't say that carrying tension over from another chapter is something I think about too often. I have a possibly jarring shift in tone between chapter one and chapter two in my current project, though the feedback I've gotten is that it's possibly jarring in a good way? In any case, it's a great fit for the overall tone of the story, if nothing else. Personally, I like breaks in tension and I like to give people breaks, but it might depend on just how different or extreme the shift in tone is and how it plays into the bigger picture. If it matches the tone of Beatrice's scenes, or feels like Beatrice, at least, I can't see how that would be a problem. So without knowing at all what you're doing (haha), I'm thinking it's probably fine. Or you can do what I have to do sometimes, flag it for review for when you get to the editing stage and just keep going. Sometimes that's the only way I stop thinking about it.


  2. I think I'mma flag it and see what chapter eleven brings. Beatrice is, on the whole, a heck of a lot lighter to write than Victoria, but of course, all this drama is affecting Lil' Bea as well–so it may not be *as* drastic a thing as I was thinking it was earlier today (ha. A writer being totally neurotic about something? When does *that* ever happen?)But I am still wondering how it'll read, but I can't answer that until things are written. Of course. Funny how twelve hours later, I'm back to being Rational Writer again.And, um, she really should just run him through with a sword. But then, this story would be very short.


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