Linear vs. Non-Linear Construction

[meg_evonne]

Many of you know that I didn't learn to write in a traditional program. I've cobbled together my writing toolbox by attending writing conferences, reading about the craft, participating in blogs like this, and generally keeping my eyes and ears open. Every so often, I run across a 'writer's school term' that I just don't get. (That might be my age.)

Most of the time, i don't let it bother me. I'm a big, "A rose would smell as sweet... etc. etc." type person. As long as I recognize it, I'm good to go.

Any advice on linear vs. non-linear construction? This is the only thing I found online: http://www.writersbootcamp.com/non_linear_approach.asp

It came up because my editor found a couple spots in my writing that she considered 'linear'. She asked me to pull out the stops in those few spots since most of my writing was non-linear--I guess. She likes that--a lot. I want to keep her happy, but honestly, I don't know what she means. So it's good, I'm doing it, but much better if I recognized linear writing and could correct it before it gets to her?

The work is a contemporary YA crime fic--so for the most part, I consider it all linear. I've asked her to help me understand, because they've offered a two book deal, and it would be nice to keep them happy. Obviously, in writing terms, linear does not mean from point A to point B.

I notice the link talks about breadth. I take that to mean to write depth. There was an exercise at DNRS where an instructor had four people stand up and act out a scene. The male protag, the female protag, and then the other two were the male's thoughts and the female's interior thoughts. It was funny as hell and a terrific power tool for my writer's box. I think this is one example of non-linear?

But obviously there is so much more. Can you all expound on the concept a little? Maybe with enough discussion the term will find an organic home in my brain. If you do, THANK YOU!

[superpsycho]

Many of you know that I didn't learn to write in a traditional program. I've cobbled together my writing toolbox by attending writing conferences, reading about the craft, participating in blogs like this, and generally keeping my eyes and ears open. Every so often, I run across a 'writer's school term' that I just don't get. (That might be my age.)

Most of the time, i don't let it bother me. I'm a big, "A rose would smell as sweet... etc. etc." type person. As long as I recognize it, I'm good to go.

Any advice on linear vs. non-linear construction? This is the only thing I found online: http://www.writersbootcamp.com/non_linear_approach.asp

It came up because my editor found a couple spots in my writing that she considered 'linear'. She asked me to pull out the stops in those few spots since most of my writing was non-linear--I guess. She likes that--a lot. I want to keep her happy, but honestly, I don't know what she means. So it's good, I'm doing it, but much better if I recognized linear writing and could correct it before it gets to her?

The work is a contemporary YA crime fic--so for the most part, I consider it all linear. I've asked her to help me understand, because they've offered a two book deal, and it would be nice to keep them happy. Obviously, in writing terms, linear does not mean from point A to point B.

I notice the link talks about breadth. I take that to mean to write depth. There was an exercise at DNRS where an instructor had four people stand up and act out a scene. The male protag, the female protag, and then the other two were the male's thoughts and the female's interior thoughts. It was funny as hell and a terrific power tool for my writer's box. I think this is one example of non-linear?

But obviously there is so much more. Can you all expound on the concept a little? Maybe with enough discussion the term will find an organic home in my brain. If you do, THANK YOU!

Often when writing a story in sequence, the depth of characters and moments can get sacrificed to the pace of the storyline or plot. When writing scenes individually you're more likely to focus on perfecting the scene itself, bringing out a character or a moment in time to let the reader feel the full impact of the character's emotions and what they are going through. Some people can do it even when writing in sequence, some only when writing the scenes separately, and others do it by pounding it in during the editing. 

 

[meg_evonne]

And that I understood. Thank you superpsycho. And that also explains the links saying that non-linear can be lots of different things. Basically, it's the author's willingness to let the scene expand in some way that entices the reader in, right? There are several ways to accomplish that depending on the scene, the characters, and what the author wants to accomplish.

I'm going to let that gel a bit and then look at my writing to find the concrete examples where I've done that and compare to the two spots she's indicated do not...

It's kinda like Parelli's line concerning horse training, "You have to slow down to go faster." JB and several authors I know do this powerfully at points you'd least expect it. I think I can pull out some thriller type books that don't do it as well during fight scenes for example. Occasionally their this, then that, then this, then that becomes something I'll skip, but if they add in a sentence of reaction to the this, that, this, that--I stick with it and want more...

[superpsycho]

And that I understood. Thank you superpsycho. And that also explains the links saying that non-linear can be lots of different things. Basically, it's the author's willingness to let the scene expand in some way that entices the reader in, right? There are several ways to accomplish that depending on the scene, the characters, and what the author wants to accomplish.

I'm going to let that gel a bit and then look at my writing to find the concrete examples where I've done that and compare to the two spots she's indicated do not...

It's kinda like Parelli's line concerning horse training, "You have to slow down to go faster." JB and several authors I know do this powerfully at points you'd least expect it. I think I can pull out some thriller type books that don't do it as well during fight scenes for example. Occasionally their this, then that, then this, then that becomes something I'll skip, but if they add in a sentence of reaction to the this, that, this, that--I stick with it and want more...

Poe is one of the best examples I've ever seen of going beyond the story and into the soul of a character or event. A lot of it has to do with not breaking the reader's immersion into a scene.