Debbie Robson's Blog - Posts Tagged "tomaree-by-debbie-robson"
How Many Drafts of Your Novel Should You Do
This post was put up on wordpress on 2nd September.
My answer is six and that is probably my average. If the book proves problematic then I’ve reached eight but that’s generally my maximum. I’ve heard other writers speak of astronomical numbers such as 18, 27, 34 and even fifty odd. I immediately think how do they do that many drafts? But me being a suspicious person, when I hear such amazing figures I often wonder what they consider constitutes a draft. Say, maybe a quick adjustment of a few words here and there, a scan and then start again? Is that what they call a draft? Put the thing away for a week or so, pick it up again, flick through, change another paragraph and that’s draft 25 for you? I don’t know of course. I can only tell you what my methods are so here goes...
Draft 1 is obvious of course. That’s where you get the main storyline down including what scenes to put in, what to leave out and from whose point of view. Last Tuesday I completed the first draft of my work in progress The Grey Silk Purse. Strictly speaking it is not a complete first draft. It is missing one final chapter and the epilogue which is a letter. Both I can’t do at this point until I’ve done heaps more research.
And this is where the 2nd draft comes. I will now go back, look up and check 95 # points of research such as the uniform of staff working in a stationery shop in Newcastle in 1920. In my novel Tomaree. In Crossing Paths I actually don't remember that I had as as many things to check. I managed to do most of my fact-checking as I went along.
Before I generally start writing a novel I have already done a fair amount of research. Whilst writing the first draft I’ll check as many points as I can but when fact checking starts to really slow me down that’s when I put a # in and move on. With the second round of research I will often have to change the narrative slightly to accommodate facts I have recently discovered. I will also tidy up my prose and check overall length of chapters. Is that scene really necessary kind of thing. With The Grey Silk Purse I have a massive construction problem two thirds of the way through. I will tackle that and will also have to keep a good eye on it in the next draft.
In the 3rd draft I will usually start drilling down, checking my word usage (okay for that particular character or time etc) my paragraphs (are they too long?) I also check how the writing flows. This is a good time to actually really look at any scenes or chapters that still trouble you. Can I do without it altogether or do I need to rewrite? Any extensive rewrites at this stage will have to be checked closely because they will not have been read anywhere near the amount of times of the rest of the work. This is where I often check odd things like the colours of the diaries in The Grey Silk Purse. There are four different diaries that feature in the manuscript and they are all different colours. I will probably check the word count of each diary and that I’ve got the colour correct for each one (particularly as these are referenced later in the novel).
It is usually around the 4th draft that I like to print the whole manuscript out and work at it on paper, pretending I’m a ruthless editor working through page after page, slowly but very carefully. It’s where you really get to see how the manuscript will look in hard copy.
It’s funny how many things you can pick up and fix in this different format. You’ll find it is very handy when looking at dialogue. I also generally write my edits on the page and then do another draft putting them in to my word document. This will then be the 5th draft.
In this draft I will not only put in my changes but do a global search for a particular word that I think I might have used too much. (This is why it is a good thing to keep your manuscript all in one document!) I’ve done this with all my novels and it is never the same words that keep cropping up. It is generally different words for different books. When you realise you’ve got 162 “wondered”s you can then push yourself to find alternatives. (In this 900 word essay I have 13 “check/ed/ing”s. Maybe too many but hey this us what this piece is about.)
The 6th draft (if all is going well) is the final read through. It’s a chance to read the manuscript for the umpteenth time. (Because if you are like me you will often re-read it a lot of times before you even start the second draft). You can check every word for typing errors and watch out for those slippery little suckers the closing quotation marks which (for me anyway) have a habit of disappearing at a great rate. Are there any missing? Can you find any more typos? Realistically you will not find them all so that’s where a friend can come in handy and do a read through for you. Another pair of eyes will always pick up things you’ve missed. That’s my experience anyway.
And now your baby is ready for an amazing journey. Kiss it goodbye and wish it luck.
My answer is six and that is probably my average. If the book proves problematic then I’ve reached eight but that’s generally my maximum. I’ve heard other writers speak of astronomical numbers such as 18, 27, 34 and even fifty odd. I immediately think how do they do that many drafts? But me being a suspicious person, when I hear such amazing figures I often wonder what they consider constitutes a draft. Say, maybe a quick adjustment of a few words here and there, a scan and then start again? Is that what they call a draft? Put the thing away for a week or so, pick it up again, flick through, change another paragraph and that’s draft 25 for you? I don’t know of course. I can only tell you what my methods are so here goes...
Draft 1 is obvious of course. That’s where you get the main storyline down including what scenes to put in, what to leave out and from whose point of view. Last Tuesday I completed the first draft of my work in progress The Grey Silk Purse. Strictly speaking it is not a complete first draft. It is missing one final chapter and the epilogue which is a letter. Both I can’t do at this point until I’ve done heaps more research.
And this is where the 2nd draft comes. I will now go back, look up and check 95 # points of research such as the uniform of staff working in a stationery shop in Newcastle in 1920. In my novel Tomaree. In Crossing Paths I actually don't remember that I had as as many things to check. I managed to do most of my fact-checking as I went along.
Before I generally start writing a novel I have already done a fair amount of research. Whilst writing the first draft I’ll check as many points as I can but when fact checking starts to really slow me down that’s when I put a # in and move on. With the second round of research I will often have to change the narrative slightly to accommodate facts I have recently discovered. I will also tidy up my prose and check overall length of chapters. Is that scene really necessary kind of thing. With The Grey Silk Purse I have a massive construction problem two thirds of the way through. I will tackle that and will also have to keep a good eye on it in the next draft.
In the 3rd draft I will usually start drilling down, checking my word usage (okay for that particular character or time etc) my paragraphs (are they too long?) I also check how the writing flows. This is a good time to actually really look at any scenes or chapters that still trouble you. Can I do without it altogether or do I need to rewrite? Any extensive rewrites at this stage will have to be checked closely because they will not have been read anywhere near the amount of times of the rest of the work. This is where I often check odd things like the colours of the diaries in The Grey Silk Purse. There are four different diaries that feature in the manuscript and they are all different colours. I will probably check the word count of each diary and that I’ve got the colour correct for each one (particularly as these are referenced later in the novel).
It is usually around the 4th draft that I like to print the whole manuscript out and work at it on paper, pretending I’m a ruthless editor working through page after page, slowly but very carefully. It’s where you really get to see how the manuscript will look in hard copy.
It’s funny how many things you can pick up and fix in this different format. You’ll find it is very handy when looking at dialogue. I also generally write my edits on the page and then do another draft putting them in to my word document. This will then be the 5th draft.
In this draft I will not only put in my changes but do a global search for a particular word that I think I might have used too much. (This is why it is a good thing to keep your manuscript all in one document!) I’ve done this with all my novels and it is never the same words that keep cropping up. It is generally different words for different books. When you realise you’ve got 162 “wondered”s you can then push yourself to find alternatives. (In this 900 word essay I have 13 “check/ed/ing”s. Maybe too many but hey this us what this piece is about.)
The 6th draft (if all is going well) is the final read through. It’s a chance to read the manuscript for the umpteenth time. (Because if you are like me you will often re-read it a lot of times before you even start the second draft). You can check every word for typing errors and watch out for those slippery little suckers the closing quotation marks which (for me anyway) have a habit of disappearing at a great rate. Are there any missing? Can you find any more typos? Realistically you will not find them all so that’s where a friend can come in handy and do a read through for you. Another pair of eyes will always pick up things you’ve missed. That’s my experience anyway.
And now your baby is ready for an amazing journey. Kiss it goodbye and wish it luck.
Casting the characters in your novel
This post was originally blogged at wordpress on 30th May.
Do you, I'm wondering? I'd love to find out what other writers do. I’ve written six novels now. Three are as yet unpublished and I'm starting the rounds next month for my sixth. Strangely though, I’ve only ever cast one of my novels with “real” actors as opposed to descriptions in my head and on the page. Why is that?
I’m not sure except to say that the only one I have cast, is set in contemporary times - 2004 to be exact and I don’t think that is a co-incidence. In Crossing Paths there are eight main characters and they all have approximately 20,000 words each, which is a lot of “air” time. My main character Jane Townsend is the beautiful but fragile Rose Byrne. I just couldn’t imagine anyone else playing the role although she is in her thirties now whilst my Jane remains (in the inimical way of fictional characters) still in her twenties. John Cusack is Jeremy Braithwaite. No-one else will do and the same goes for the psychic medium and retired librarian Ruth Moon. She is none other than the indefatigable Miriam Margoyles who was part of Newcastle’s inaugural Writer’s Festival and did a brilliant and very entertaining Catherine de Bourgh for the discussion panel (see pic above) celebrating 200 wonderful years of Pride and Prejudice.
When you are picking actors to play your characters I think it is essential to aim high. Don’t bother with B grade, inexperienced actors. Grab the stars and that’s just what I did for my characters, particularly Mary Darling. Mary has just changed her surname and decided to run her family home on Vancouver Island as a B & B at the start of Crossing Paths. She is an excellent cook and the perfect person to run a B & B - she just doesn’t know it yet as she is lacking self confidence. Now I know Meryl Streep likes a challenge. Here’s one for her! Play a woman who is shy and seriously lacking in self confidence! Not sure I’ve ever seen her do that!
In Cornwall a gay, New Age writer is looking for love and I pretty much envisioned Rupert Penryn-Jones in the role of Jonathan Fairlight. His widowed mother and new bookcrosser Daphne is not one of the eight main characters but I’m sure Helen Mirren would have fun with the role, particularly with her new friend Miriam Margoyles aka Ruth. Have they ever acted together? I don’t think so.
Now the last three characters I didn’t actually cast but that was because suitable actors, I believe, are in abundance for those three roles. A pretty Greek actress who has rudimentary English for Eleni, a sophisticated French actor in his late fifties for Pascal, a French biographer. And lastly a good looking, enigmatic African American actor in his thirties for Russell, a Boston bookshop owner. Too easy!
As for my other novels - my first I don’t think it entered my head to chose actors. It was enough to actually be writing. My second unpublished novel was peopled mainly with my ancestors so it was kind of impossible to make casting decisions. As it was I used my family tree to create the extensive family histories of both the Kittos and the Wearnes and as a result I have messed up my knowledge of actual facts. I’m no longer an expert on our family on my father’s side! Fact and fiction has been irreparably combined in my mind.
For my third unpublished book I was dealing with two sisters from two different times . Both sets of sisters - one beautiful and one plain were inspired by a photo of two sisters from the thirties and with these real women in my head, there was no way my mind was going to make the leap to actors. And I think that’s as it should be.
Likewise my first published novel, Tomaree was also inspired by real people so apart from studying the physical appearance of a real US Serviceman and creating a character around some aspects of him and making my female character a redhead, no one came to mind!
For my last novel, the recently completed manuscript of The Grey Silk Purse no actors have put up their hands. I’m of the belief too that it is often a good thing (particularly when the past is concerned) to let the reader reconstruct the appearance of characters. I've had a lively discussion on the subject with Matthew Ward of Mary Celeste Press as to the pros and cons of putting a real person's face on the cover of a book. If there is no face, the reader can choose a suitable actor if they want to. Or they can decide on a full description in their head (from a few details supplied by me). Either works but it is fun as a writer (when it does happen) to play along with a real life actor, give them exciting action and dialogue and watch a novel spring to life with their help!
Do you, I'm wondering? I'd love to find out what other writers do. I’ve written six novels now. Three are as yet unpublished and I'm starting the rounds next month for my sixth. Strangely though, I’ve only ever cast one of my novels with “real” actors as opposed to descriptions in my head and on the page. Why is that?
I’m not sure except to say that the only one I have cast, is set in contemporary times - 2004 to be exact and I don’t think that is a co-incidence. In Crossing Paths there are eight main characters and they all have approximately 20,000 words each, which is a lot of “air” time. My main character Jane Townsend is the beautiful but fragile Rose Byrne. I just couldn’t imagine anyone else playing the role although she is in her thirties now whilst my Jane remains (in the inimical way of fictional characters) still in her twenties. John Cusack is Jeremy Braithwaite. No-one else will do and the same goes for the psychic medium and retired librarian Ruth Moon. She is none other than the indefatigable Miriam Margoyles who was part of Newcastle’s inaugural Writer’s Festival and did a brilliant and very entertaining Catherine de Bourgh for the discussion panel (see pic above) celebrating 200 wonderful years of Pride and Prejudice.
When you are picking actors to play your characters I think it is essential to aim high. Don’t bother with B grade, inexperienced actors. Grab the stars and that’s just what I did for my characters, particularly Mary Darling. Mary has just changed her surname and decided to run her family home on Vancouver Island as a B & B at the start of Crossing Paths. She is an excellent cook and the perfect person to run a B & B - she just doesn’t know it yet as she is lacking self confidence. Now I know Meryl Streep likes a challenge. Here’s one for her! Play a woman who is shy and seriously lacking in self confidence! Not sure I’ve ever seen her do that!
In Cornwall a gay, New Age writer is looking for love and I pretty much envisioned Rupert Penryn-Jones in the role of Jonathan Fairlight. His widowed mother and new bookcrosser Daphne is not one of the eight main characters but I’m sure Helen Mirren would have fun with the role, particularly with her new friend Miriam Margoyles aka Ruth. Have they ever acted together? I don’t think so.
Now the last three characters I didn’t actually cast but that was because suitable actors, I believe, are in abundance for those three roles. A pretty Greek actress who has rudimentary English for Eleni, a sophisticated French actor in his late fifties for Pascal, a French biographer. And lastly a good looking, enigmatic African American actor in his thirties for Russell, a Boston bookshop owner. Too easy!
As for my other novels - my first I don’t think it entered my head to chose actors. It was enough to actually be writing. My second unpublished novel was peopled mainly with my ancestors so it was kind of impossible to make casting decisions. As it was I used my family tree to create the extensive family histories of both the Kittos and the Wearnes and as a result I have messed up my knowledge of actual facts. I’m no longer an expert on our family on my father’s side! Fact and fiction has been irreparably combined in my mind.
For my third unpublished book I was dealing with two sisters from two different times . Both sets of sisters - one beautiful and one plain were inspired by a photo of two sisters from the thirties and with these real women in my head, there was no way my mind was going to make the leap to actors. And I think that’s as it should be.
Likewise my first published novel, Tomaree was also inspired by real people so apart from studying the physical appearance of a real US Serviceman and creating a character around some aspects of him and making my female character a redhead, no one came to mind!
For my last novel, the recently completed manuscript of The Grey Silk Purse no actors have put up their hands. I’m of the belief too that it is often a good thing (particularly when the past is concerned) to let the reader reconstruct the appearance of characters. I've had a lively discussion on the subject with Matthew Ward of Mary Celeste Press as to the pros and cons of putting a real person's face on the cover of a book. If there is no face, the reader can choose a suitable actor if they want to. Or they can decide on a full description in their head (from a few details supplied by me). Either works but it is fun as a writer (when it does happen) to play along with a real life actor, give them exciting action and dialogue and watch a novel spring to life with their help!
