There are times of passage in everyone's life: times when we leave the old familiar self-image and move to a new understanding.
Author Janet Lee Carey, from her workshop Plot and Passage,
2014 Whidbey Island Writers Conference
Unable to afford the real thing, I've pulled myself through a DIY-MFA these past few years, attending workshops and conferences; reading books on craft; subscribing to magazines and writing blogs; stuffing my Readability account, Pinterest boards, three-ring binders, and file folders with articles on writing craft, the publishing industry, and creative inspiration.
At a certain point however, all the craft advice, the bullet point lists, the twelve different ways to structure a plot, began messing with my brain and disrupting my writing. And it only stands to reason, more time studying my craft means less time working on my art.
Gradually this past year, I've unsubscribed from all but a few choice craft blogs and I've stopped clicking article links—except for the brilliant essays on art and creativity Maria Popova writes and curates for Brain Pickings and the occasional New York Times series Draft. Leaving a day job for the full-time writing life means a budget of one conference a year, one workshop a quarter.
Easing up on the intake of information allows the real gems of guidance to sparkle, as they did at the recent Whidbey Island Writers Conference, where author Janet Lee Carey tilted my writing life ever so slightly, but significantly, on its axis. In her workshop Plot and Passage, Carey introduced us to the concept of the Janus Gate. Janus is the Roman god of Passages, both literal—the history of Ancient Rome describes a long temple with two arched gates on opposite ends and a statue of Janus between; and temporal—our calendar year begins with the month named in his honor.
But as a literary device, the Janus Gate represents an emotional passage for your characters. One side of the Gate is safety, the familiar, home. It can also be a trap, stasis, stagnation. Your plot may push a character across the Gate's threshold into risk or danger, or perhaps into opportunity, new relationships, and a greater understanding of himself. Your plot may also hold your character captive on the "safe" side or force her to return to the old way of life, thwarting her efforts to change.
Of course, it's the writer's job to make life difficult for our characters—that's Storytelling 101. But if we just throw events and situations at our characters without taking time to consider how choices, passages, cause our characters to evolve, the story will read like a series of Post-It Notes. As Carey states, "Character Changes Story. Story Changes Character."
I'm never certain when I begin writing a story how my characters will change by the end. I am learning that delicate dance between my expectations of/plans for the plot and the characters' actual responses and actions. With Janet Lee Carey's metaphor of the Janus Gate, I have this simple tool—a beautiful visual, really—of character arc and plot progression.
Recently, a character I've been thinking about for years made the passage from my mind onto the page. I watched as she wobbled on unsteady legs, turning this way and that, toward the unknown, back at the familiar, before she finally stopped in front of me and asked, "Which way do I go?"
We'll find that out together, she and I.
