Everyone has to find thier own right ways to write. (I'm sure that could be carefully crafted in a terrible pun, but I can't be bothered.) It's as individual as your writing style, and it (sadly) means that swapping tips about method rarely works as well as you feel it should.

My first draft is more me muttering about character motivation while I drive home. "No, no, there's no good reason for him to be there, why the hell would he walk into the lair of someone who hates him? And dammit, I wanted to kill her off, but it just doesn't make sense!"

This is eerily familiar. "They've got to keep that guy on, but after that, why would they? And then he's got have that dream, and realise what he's really feeling, and then they have to be pulled away on a journey together. How shall I do that? Oh, I know, I'll kill his mother!" evil cackle

That's one of the hardest parts of plotting and planning--how do I get characters from Point A to Point B so that a) the reader doesn't hear the plot machinery creaking and b) I don't have to hit the characters with a stupid stick to get them to make certain choices.

Yes, the Evil Cackle of Epiphany! Gods, that's such a lovely feeling.

Gods, that's such a lovely feeling.

It is.

Note: I'm not the same person as connie. I know I keep agreeing with her, but I swear we're not a sock-puppet, either of us.

There's nothing like the feeling when you think of something truly awful you can inflict upon your main character in the name of literature. Sometimes, it'll happen while I'm driving along the highway, and I'll wind up smiling all the way home.

Oh, yesss, my precioussss. What I'm gonna do to Xander .... Gives me happy chills and is the primary motivator in getting through slow sections. I keep wanting to write those sections, but I know if I only do the good parts I'll forget to do the boring (for me) set-up sections.

I'm writing in first person, with a character who has to gradually fall out of love with one man and fall for another. I'm trying to clue readers in that Julius is really arrogant and patronizing behind his superficial kindness, and that once you get past James's impulsive nature and vain streak, he's actually a much nicer guy. James treats people well because that's the kind of person he is, at bottom, while Julius treats people well because he likes to think of himself as good. The trick is to give cues for the readers, but make them subtle enough that my heroine doesn't look stupid and blind for not picking up on them immediately.

I still need to work on it. Too many people from my writing group are disappointed when they realize Julius isn't the hero, because "he's such a nice guy." And I'm all, "But he's smug! And pompous! And takes everything, including himself, way too seriously!"

There's nothing like the feeling when you think of something truly awful you can inflict upon your main character in the name of literature.

I'm now picturing Thomas Hardy, planning Tess: "What shall we do at the end? Let her live with Angel in another country? Send her to Brazil alone? I know- let's hang her!"

He'd have a good smile at that, driving home from London to Wessex.

He'd have a good smile at that, driving home from London to Wessex.

One of my literature teachers said that Kafka used to read his bleaker stuff out loud to his friends, and he'd keep cracking up in the middle of things.