Showing posts with label first draft. Show all posts
Showing posts with label first draft. Show all posts

February 18, 2014

Lighting A Fire

My wonderful critique partner, Ryan Graudin, saw the launch of her debut novel, All That Glows, this past week! (It is so very good! Get yourself a copy.)

While I wasn't able to head down South to party with her, I of course rushed out to buy a freshly minted copy (or two).

I wanted to buy all the available copies, but figured
that would make me greedy.
This long-anticipated event has filled me with pride and warmth and all the good feelings. It has also lit a hot, hot fire under my posterior to finish my current WIP and get it out into the world. Anyone who's allowed me to chatter in their ear about my writing knows that finishing this WIP has been one of my biggest challenges in the past (wow, almost two) years. I wrote the first 65,000 words in four months - a new record for me - and then two jobs started happening, and moves and trips and crazy deadlines, and I started having to get up at 5AM just to carve out that little bit of extra time. It's been a molasses-slow crawl, even at the best of times.

It's not because I don't love this novel. In fact, I love this novel more than anything else I've ever written. It's the number of hours in a day. It's how cold it is at 5AM.

But I can feel that fire under me, burning away at my writerly skin. I'm so, so close to being finished.
So I am making a proclamation.

I am 78,392 words into this novel. I have entered the portion of the story that I like to call the Everything Explodes period, where everything comes to a rather startling head. I am ALMOST THERE. And so, I have decided that I absolutely, positively must finish this book by my brother's birthday: March 15th. I started this book in the spring, it is set in the spring, and it will be finished before the first breath of spring.

And with that, I give you some writer's quotes I enjoy quite a lot.

“the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars.”
- Jack Kerouac

"Don't sit down in the middle of the woods. If you're lost in the plot or blocked, retrace your steps to where you went wrong. Then take the other road. And/or change the person. Change the tense. Change the opening page." - Margaret Atwood

"The main rule of writing is that if you do it with enough assurance and confidence, you're allowed to do whatever you like. (That may be a rule for life as well as for writing. But it's definitely true for writing.) So write your story as it needs to be written. Write it ­honestly, and tell it as best you can. I'm not sure that there are any other rules. Not ones that matter." - Neil Gaiman

"Be without fear. This is impossible, but let the small fears drive your rewriting and set aside the large ones ­until they behave – then use them, maybe even write them. Too much fear and all you'll get is silence." - Al Kennedy



May 25, 2012

What Rough Drafting Looks Like

I'm halfway through the rough draft of my third novel. First drafts are a strange and special animal that seem to roll out differently for everyone. Some people love drafting; some people hate it. As for me, I keep waiting for the whole process to become easier and more streamlined. To stop making me feel like a self-indulgent crazy person who talks through plot problems while stuck alone in traffic. I think to myself, "I've done this a few times. So, clearly, I have learnt my lessons. I will know my ending in advance. All of my characters will behave and be nice to me."

Every book has been a different experience, but I'm finding that my drafting process has developed a predictable pattern. Let me illustrate.

0 - 10,000 words: 
My characters are vivid and interesting. Everything I write is vivid and interesting. I can't wait to see where this story is going! And this novel writing thing?...pure magic.

10,000 - 35,000 words:
I can kind of see where this story is headed, but I have no idea how I'm getting there. That end point seems really, really far away. My characters are being tempestuous. I was a fool to think I could make a novel out of this crazy premise. It's hot out here. I'm thirsty. I'm going to send this to my critique partners so they can tell me if it's awful. This novel writing thing?...the hardest.

35,000 - 55,000:
I understand my characters now; they're starting to tell me when I've got them wrong. In fact, they're keeping me up at night trying to dictate their stories. All of these plot possibilities seem worth exploring, but I'm angsting over which ones are the right ones. Let's go left!:

...maybe I shouldn't have taken a left...maybe I shouldn't have written this, period...

...wait, this is nice, but I think the creepy woods were more interesting...

...and here we are again. I remind myself that my crit partners assured me that this story isn't awful. I force loving friends to read pages and promise me that isn't awful. 

55,000 - 75,000:
So this isn't awful; I'm liking this. I know where I'm going! My characters are starting to make big decisions as they stumble towards the finish line. My plot is revealing new twists. Or maybe they're not new: hey, look, I planted the seeds for them in chapter three! This is scary! This is exciting! Someone pass me my oxygen tank!

75,000 - 80,000:
I'm in love with this story. I hope others will also be in love with this story. In a few weeks, I'll probably reread this draft and moan about how much work it needs but right now, for me, it is perfect. 

 Five minutes after typing THE END:

Current Writing Soundtrack: "Stubborn Love" by The Lumineers

May 21, 2011

How To Plot Your Novel (H&S-style)

When I write stories, I don't often know how they end. Or how they middle, for that matter. All I have are specific scenes or characters, and everything I write sort of flows out of those. This method is not one that leads to stunningly-paced and coherent plot lines. My characters do weird things (sometimes twice) that don't make sense in the grander scheme of things. There are weird holes that I can't seem to figure out how to fill. But novels can be such big, unwieldy things. They make it hard to step back and see them simply and honestly. Enter the Health & Safety Spreadsheet.

My Manfriend helped me trial a new kind of plotting procedure. It's what he uses when doing an incident report in which he has to piece together what went wrong in a sequence of events. I'm not going to lie, I was skeptical. It sounded businesslike and un-fun. But I was told there would be colorful Post-its. And there were lots!

The green ones were for major plot details. The blue ones were for important emotions going on in the scene. The pink ones were for incidental happenings that couldn't be classified as 'major events'. I really can't tell you how helpful this process was. I'm pretty visual, so seeing my story laid out in its entirety let me see what was happening too soon, what wasn't happening at all, and what plot points needed strengthening. It helped me realize that some of my scenes were in there because... well, they were pretty. But they weren't serving a function, so off those Post-its came.

I'll definitely be using the Incident Report method again. Just add a bottle of red wine and you've got yourself a pretty fun little party.


Novel #2: Done!

We crazy creatives all have our rituals for when we reach a pivotal moment. In Stephen King's Misery, the writer's thing was Dom Perignon and a Cuban cigar. For me, it was champagne and brownies.

The pivotal moment being: I finally finished Novel #2! Which means I can stop calling it that and start calling it by its actual name: Torn.

I started Torn early in 2010. It's seen me through some rocky times, and has been a constant source of solace. It is my first book in which I tackled multiple viewpoints, which was challenging, but very fun. Of course, it's not really done. I've got a LOT of editing to do before I can do anything with it. But, 86,500 words later, I'm still in love with my characters and I still believe in what I've written. It's stuffed full of shape shifting, blood spilling, good looking people brooding, and a whole lot of public nudity.

And that, in my opinion, is worth some very decadent baked goods.

Mom and I used to make 'midnight brownies', an oh-so-bad-for-you mother/daughter bonding ritual that marked many a teenaged night. And, since I was celebrating, here, I decided to go for Peanut Butter Brownies.

And they were worth every thigh-jiggling bite.

April 15, 2011

Novel #2

2010 was the year of many things for me. One of those things was Novel #2 (which, technically, I started at the very end of 2009). I'm feeling a little frustrated with myself because #2 (also called Torn) is taking sooo muuuuch loooonger to finish than I thought it would. But that's not to say I'm not excited about it. I'm really excited about it. I love my characters and my setting a lot, and I'll be excited when I can share it with whoever I can convince to read it over for me.

It's just that I'm feeling a little embarrassed. After finishing Novel #1, I thought I'd learned so much about plot and character arcs and streamlining. That I learned what I'd need to do to make sure I didn't end up with a lumpy, patchwork first draft when I gave this whole novel-writing thing another go. But I can see, without even having finished it, how much work I'm going to have to do to get Novel #2 where I want it to be. But I'm beginning to think that maybe this is my process: write madly, stop and pace and plan, write madly, then copy/paste/partially rewrite my merry way to a story I'm truly proud of. Maybe I'm not the kind of writer who ends up with a first draft that doesn't need to be half shredded. Maybe that's okay.

After more than a (very tumultuous) year, I've got about 20,000 words left to go. So, for the purposes of inspiration, I thought I'd Wordle the 50 most-used words in my manuscript.

Here's to finishing my draft by June!

November 3, 2010

Nanowrimo 2010


I had mixed feelings about Nanowrimo last year. Nanowrimo (National Novel Writing Month, wherethe goal is to write a 50,000 word novel in a month) is all about amassing what seems to me to be a coma-inducing, sanity-quashing daily word count. It seems to be more about putting random words on a page than striving for thoughtful writing. I don't like writing a really crappy first draft, because that means having to go back and rewrite most of it. Editing is hard enough without having to work with half-ass material that wasn't well thought out.

That said, Nanowrimo DOES present an ambitious deadline and an infectious collective writing spirit. So I'm doing it again. Except this time (wait, I did this last year, too) I'm working on a manuscript I'm already 20,000 words into AND I'm not aiming for 50,000 words. I just want to double my word count by the end of the month. That means I'll have reached 40,000 words by November 30th. So there, I've said it. Work and social life be damned, I'm going to get to 40,000. That means about 660 words a day.

... I guess I should probably get going on that.

May 6, 2010

The Right Beginning

Recently, I had a critique partner tell me that my first attempt at a novel (Spellbound) 'didn't really start' until around page 7. I was, initially, thrown by this. Those first seven pages were (I thought) filled with important context and building tension. But then I got to thinking about those slippery things, beginnings: how do you know if where you start your story is where your story actually begins?

This seems like it should be a simple question, but it's one I continue to grapple with. Kristin, an American literary agent, says that maybe 70% of her slush pile is filled with stories that don't 'start' until 30 or more pages in. She attributes the fact that these manuscripts are slow out of the gate to two things: backstory and minutiae. She thinks that a lot of writers (especially beginners) feel the need to set up the story- character, tension, motivation, setting- before the story can really get going. She also blames the writers' desire to cover up slow starters by giving too much detail up front. Both of these tactics bog down the story- not good when you're trying to get a reader hooked. And that's the thing about beginnings. It doesn't matter if it's a friend, an agent, or a stranger- you want them to pick up your story, skim the first few lines, and find it difficult to pull their eyes away. I'm beginning to think that my story doesn't do that.

Take, for example, the beginning of Mudbound by Hillary Jordan:
Henry and I dug the hole seven feet deep. Any shallower and the corpse was liable to come rising up during the next big flood: Howdy boys! Remember me? The thought of it kept us digging even after the blisters on our palms had burst, reformed and burnt again. Every shovelful was an agony- the old man, getting in his last licks. Still, I was glad of the pain. It shoved away thought and memory.
This opening plunks us in the middle of the action; it also tells us volumes about the speaker. The fact that he's digging his own father's grave is enough to get you interested. But besides that, the reader is shown Jamie's detached feelings towards his father, his light but bitter tone, the hardship of his current position in life, and the aching desire to forget. Tension. Backstory. Character. All without once slowing down the story.

I've found plenty of suggestions for how to make sure your story starts where it should. Someone suggested that the 'moment of change' is the best place to start, or by opening with a scene that serves as a kind of case study for what is wrong with a character's life. But that leaves me wondering how a reader can appreciate the significance of that change if they don't know anything about the character it's happening to?

One writer advised cutting your prologue and first chapter, then manually circling the crucial things in it that readers needed to know and threading that information into the rest of the story. Readers aren't dumb- they'll pick backstory up as they go along, as long as you're skilled enough to thread it in. That, to me, seems like the trick here: to thread all of that crucial backstory into the ongoing story in a way that keeps the plot ever moving. Terry Brooks said something along the lines of 'nothing starts at the beginning- everything starts in the middle of something, so do yourself and your readers a service and start in the middle of something interesting.'

I've read a lot of advice along the lines of 'when editing, focus on the story your readers want to enjoy- not the story you wrote to get to know your characters'. I suppose, since this was my first shot at a novel, I never thought of those two as mutually exclusive. I assumed that readers would want, even need, those pages of character building in order to appreciate the drama that comes next. The more I think about it, though, the more I see the wisdom there. First drafts are about finding the story. It's like treasure hunting, really. You to dig through lots of literary dirt before you get to the heart of the story you're trying to tell.

For me, the crucial question is this: is the first seven pages of my manuscript just so much literary dirt? Or is it necessary, interesting context? Where does my story actually begin?

In an earnest attempt to answer this question, I'm attaching the beginning of Spellbound below (I know it's full of cliches and too much description and slightly stilted dialogue. Ignore it for me, mmmK?). If any of you feel inclined to cast your eyes over my current beginning, all I want to know is this: when, for you, does it start to get interesting? Where do you think my story begins?
***

I heard it before we turned the corner: the familiar crank and rattle of rusty rides, the tinny plinking of the merry-go-round. I could smell the sickly-sweet cotton candy, almost taste it on the moist twilit air. The Summer Carnival was spinning to life behind our high school, filling the growing dark with happy shouts and jeers. The happy crowd buzzed and hummed by the ticket booth, laughing their oh-so-familiar laughs. I fought the urge to turn around and go home.

It wasn’t that I was entirely unsociable- I just understood what I was heading towards. My entire school would be there, all four hundred and eighty two of us, picking like carrion birds over who had changed two months into summer break. In teenage time, two months could make or break you: new muscles and a good tan could get you an all-expenses-paid trip into a new life. Summer hadn’t gifted me with anything to shout about: just bigger feet and a fresh patch of pimples. I was still an unimpressive, scrawny 5’9. Carnival was a glaring reminder of how much everything hadn’t changed.

“Come on, Jack, quit dragging your goofy feet,” Spence called.

I lengthened my stride to try and catch up with him. Keeping up with Spencer was becoming a challenge. His legs had stretched out like rubber bands, pushing him into another stratosphere. Hard labor on his family’s farm had given him biceps and bulked-up shoulders. Standing next to him all night wasn’t going to do me any favors. We snaked through the line at the front entrance, the music getting louder with every step we took.

“Time to check out the fresh meat!” Spencer said, spreading his hands out as if surveying an untouched buffet. “There’s going to be some prize pickings coming up this year. You know that little redhead who had gym with us in eighth?”

“The Langley girl? She’s, like, twelve years old.”

“Untrue. Tracy’s fourteen, going on available. You’ve got to get them young before the Big Dumb Football Animals.”

“Honestly, Spence,” I laughed. “Standards.”

Once we’d bought our tickets, we made our way to the crowded, dusty strip of grass that ran down the Carnival’s spine. The sun slipped down behind the hills, dragging the humidity in its wake like a cloak. The tops of the bigger tents and food stalls were black outlines against the orange sky. Families were heading home to their beds, kids wilted over their shoulders like sacks full of flour. I recognized every one of them as they passed, even some of the relatives that had come in from the next town over. Our town was that depressingly small. You were constantly surrounded by the same faces, circling around you like bad TV reruns.

I surveyed the crowd as it thinned out, leaving my classmates behind. The Carnival was about to become their personal playground; I could feel the knowledge spreading outwards like a fog. The Big Dumb Animals had begun to prowl, looking in their red and black Hominy Hummingbirds jerseys like a pack of slithering eels. Girls gathered in laughing herds, plucking fussily at short skirts. They weaved in and out of sight around us, making me feel strangely boxed in, despite the crowd’s thinning. As we made our way past a line of brightly-lit games stalls, a group of sophomore girls floated by us. Marjorie Allen batted her large, startled-looking eyes at us. The spillover happening at the top of her shirt made my cheeks feel warm.

“Hey, Spence,” she said, gazing at him over her shoulder.

“Hey, Beautiful,” he called after her. “You going to ride with me on the Wheel later, or what?”

“If you’re lucky,” she said. The other girls giggled, then huddled together.

Spence turned on me and frowned.

“Why didn’t you say anything to Jenny?”

“Who, Jenny Morris?” I said.

“Um, yeah,” Spence said, giving me his oh-Jack you idiot face. “She’s staring at you like she’s thinking of unhinging her jaw and swallowing you.”

I used my sleeve to wipe at my glasses, which had picked up a film of reddish dust. They were goofy and old-fashioned, but I couldn’t afford contacts and was halfway blind without them. I pushed them up my nose and looked at the girls again. Jenny was definitely looking in our direction, but not at me. I was probably blocking her view of someone else.

“Don’t think so. I appreciate the optimism, though.”

“What am I going to do with you?” Spence said. “I’m never going to find you a girl when you insist on being hopeless.”

I was uncomfortable with what I knew were the beginnings of a familiar argument, so I groped for something to distract him. It didn’t prove all that hard.

“So, you’re into Marjorie now? I thought you liked Janet?”

“Who says I’m not allowed to like both? Did you see Marjorie’s assets?” Spence held his hands out in front of his chest as if clutching two invisible gourds. “A man can’t ignore that kind of treasure.”

I let Spence go on as we walked down the dusty strip, comparing Marjorie’s assets to those of the hundred other girls that Spencer flirted with, nodding periodically. We worked our way around the merry-go-round. The colored lanterns hanging above us cast us all in a fog of red and blue.

We’d made our way to the Carnival’s heart, which was lined with small tents and game stalls. I saw Rob Bowman and the rest of his set standing by the duck shooting range, talking to a couple of freshman. I instinctively peeled the other way, around a strength-weighing machine and out of his line of sight. I hated myself for it, but that didn’t stop me from doing it. I headed for one of the less crowded laneways and waited for Spence to catch up to me before I started walking on. He gave me a questioning look, but said nothing.

“Hey, this one’s new,” Spence said, pulling up short.

We stopped in front of a dark green tent whose flaps were closed, unlike the others. There was a wooden sign above the entrance scrawled with ornate gold lettering- ‘Rosemary’s Tarot Readings: $10’. Spence was looking at me with that glitter in his eyes that meant trouble.

“No freaking way, Spence.”

“Come on! It’ll be funny.” He nudged me in the ribs. “Don’t you want to know your future?”

“From someone who relies on a deck of cards to make major life decisions? I’ll pass.”

“Come on,” Spence said, wagging his eyebrows. “I want to know whether Marjorie’s worth the effort.”

“Remind me why we’re friends again?” I said.

“Because without me, you’d lose the will to live.”

I blew out a frustrated breath, which we both knew was just for show.

“Fine, but you’re paying,” I said.

Spence smiled and pulled back the tent flap.

A thick cloud of incense assaulted my nostrils from the depths of the close, cave-like space. Lit candles covered every surface, making it feel church-like, almost like a shrine. A woman in a dark Renaissance-style dress sat behind a velvet-draped table. Her dark green eyes were huge and cat-like. They looked me over as if deciding whether I was worth the effort it would take to digest me.

“Welcome, boys,” she said, her voice dripping with practiced smoothness. “Which of you will be going first?”

“He will,” Spence said, shoving me forward. I glared back at him. He had his hands out in a gesture that I assumed was meant to stop me from fleeing. I sat down, crossing my arms across my chest.

“Welcome, my child,” she said, shuffling a stack of cards against her palm.

I wondered if I could bail out without being blatantly rude. I studied the woman’s cakey makeup, the grin so hard it looked as if it would shatter her cheeks, and felt instantly on guard. What kind of a name was Rosemary, anyway? She must have figured that something from the spice rack would make her sound more authoritative.

“Whenever you’re ready,” Rosemary said, “we’ll begin.”

“Alright,” I mumbled. I heard Spence chuckle behind me and I cursed myself for being such a pushover.

Rosemary laid three cards face down on the table. “Each one represents a different chapter of your life,” she said. “One is your past, one your present, one your future.” She pointed at the cards in turn with purple, talon-like nails. “We’ll flip them over one at a time and see what they have to reveal.”

***

January 14, 2010

How to Start Over?


So, in 2008/09, I wrote my first novel. It's a sprawling, rough-around-the-edges first novel, but it's there: thousands of words in what I hope is an interesting sequence. I've proven to myself that I can sit down and do it without driving myself, and my Manfriend, completely insane.

Now that the last of the celebratory brownies are gone and I've gotten over the "Look what I did!", let's-hang-it-on-the-fridge stage, I find my mind whirring with shiny new ideas. One has become particularly sharp. Over Christmas, three main characters materialized in my head, waking me up at weird hours, distracting me from conversations in which I should be participating (that job interview probably wasn't my best...). This is the exciting part, when ideas bloom freely, unimpeded by ability or the strictures of practicality, trembling with promise. I've got a pile of haphazard notes about my setting, plot, and main themes. I think I'm ready to start again.

I find myself staring at the beginnings of an outline and thinking... how did I do this again?

Every writer has a process for getting from idea to completed first draft. You'd think, after writing my first novel (titled Spellbound until further notice), I'd know all about what I need to do. And yet, I find myself wondering if the way I did it last time was actually the best way for me. It took me a year and a half to write Spellbound (in retrospect, about eight months too long). It was a jerky process of stop-and-start, stumbling forward with only a vague idea where the plot was headed. My main character, Jack, morphed from age 13 to 16, the point of view from third to first person. I patchwork-edited as I went, which means that the story sometimes feels like a inexpertly sewn quilt, lumpy and puckered. This is making the editing process much more difficult, which is something I want to avoid in future. But how?

Here's what I think Spellbound taught me about how to write a great first draft:

1. Write every day, preferably at the same time. This seems like a no-brainer, but an important one. One of the reasons SB feels so patchwork is because there were weeks in which I wrote intensely, and some in which I didn't write at all. I allowed my fear-of-suckiness to keep me from pushing through the parts that were hard. Stopping pulled me out of the story, making it that much harder to get back in.

2. Make a relatively coherent outline before starting to write. This also seems like a no-brainer, because who can tell a story without knowing its beginning, middle, and end? Apparently, I thought I could. Other writers do this, I thought. Good writers like to fly by the seats of their badly worn, I've-been-sitting-in-my-office-chair-for-two-weeks-straight pants. I've discovered that winging it IS an important part of my process. That's when characters come alive and start to do things I didn't tell them to (naughty minxes). I've discovered that while I don't need to know how it ends, I need to understand the heart of the story- what the story is REALLY about and what major events are going to drive it forward- in order to get anywhere. There need to be gaps in my outline- but not gaping holes.

3. Know thy characters. I vividly remember writing the first scene in which Jack and Lorna, my main characters in SB, meet for the first time. I knew exactly how Jack was feeling because I was stuck inside his head. His dialogue came out pretty easily, but when I tried to coax words from Lorna's mouth, they came out flat. It took me a week and countless re-writes to figure out where I was going wrong. Lorna was only an idea, not a person: I knew as much about her as Jack did, which was very little. I didn't know what her motivation was, or how she felt about Jack, so I couldn't know how she would react. I had to go back and get to know her (everything past, present, and future) to understand what she should say. I mean, if someone asked you "What would so-and-so say if you told her that?" -and you didn't happen to know this so-and-so- how would you respond? Probably by saying something like "Umm... dunno?". I have to know my characters very, very well before I can write about them with anything like authority.

4. I like pretty pictures. It took me a while to realize this, but I'm a very 'visual' person. Photographs and illustrations that capture the essence of what I'm writing make all the difference when it comes to inspiration. This is especially true when I live in a tropical locale that blurs and generally wilts my mind's picture of my New England setting. I've put up two massive cork boards on my wall and filled them with Novel #2-inspired cut-outs: snow-draped forests, foggy fields, topaz gems. These pictures provide an important creative push on those days when I'm just not feeling it.

5. It's OK to go back- just not too far! I've read a lot of writers who say that, when writing a first draft, you shouldn't look back. Just keep writing and save the editing for when the thing is finished. Even when properly caffeinated, I need a little recap of what I wrote the day before. Reading back just a few pages helps to pull me back into the story and keep me on track. It also reminds me, on those days when every word I type feels like drivel, that there are really good things hiding underneath the crap. Your writing is always better than you thought it was.

The other thing I've learned? You need to stop allowing yourself to procrastinate via Facebook and Gmail and... blogs.

And so, back to the drawing board!