I have found motivation the hardest part of writing; and several good men have told me that I am not alone. It takes work—plenty of work—to arrange things so that even a really smart man will be forced by circumstances to get into situations that make stories possible. It takes time and thought; and many times it requires extra words and background material whose purpose is not immediately apparent. To refer to an example with which I am thoroughly familiar, what possible motive force would make Kimball Kinnison, an adult, brilliant, and highly valued officer of the Galactic Patrol, go willingly into a hyper-spatial tube which bore all the ear-marks of a trap set specifically for him? I could not throw this particular episode into the circular file, as I have done with so many easier ones, because it is the basis of the grand climax of the final Lensman story, “Children of the Lens.” Nor could I duck the issue or slide around it, since any weakness at that point would have made waste paper of the whole book. Kinnison had to go in. His going in had to be inevitable, with an inevitability apparent to his wife, his children, and—I hope and believe—even to the casual reader.
and
From the first quarter of the broad, general outline, only a few pages long, I made a more detailed outline of “Galactic Patrol;” laying out at the same time a graph of the structure, the progression of events, the alterations of characters, the peaks of emotional intensity and the valleys of characterization and background material. Each peak was a bit higher than the one before, as was each valley floor, until the climax was reached; after which the graph descended abruptly. My graphs are beautiful things. Unfortunately, however, while I can’t seem to work without something of the kind, I have never yet been able to follow one at all closely. My characters get away from me and do exactly as they damn please, which accounts for my laborious method of writing.
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