Editing a work-in-progress
Most of the past week was spent looking again at the early chapters of the book I am currently working on - 'The Man from Bruges'.
Writers are often asked about the extent to which they plan a new book. Some hardly plan at all, but just put pen to paper or finger to keyboard and see where the story takes them. Others plan down to the final detail. I am certainly more of a planner, but the planning is fairly vague at the beginning of a novel - a synopsis, a rough chapter plan of only a few chapters, a location and a character list. I will also usually know who dies, sometimes why they die, but rarely, at the start of a book, who is going to kill them.
About 25 000 words in to The Man from Bruges I have landed in that swamp of unease that I find myself in about 1/4 to 1/3 of the way through any new book: I feel like I'm losing control of the characters and have no idea how I'm going to get to the end of the story. It's a time for discipline, honesty, and rigorous early editing. I go through each chapter again, look at the characters in it, ask myself what they're really doing here and whether they are justifying their place in the book or whether they need a lot more work. I look at the plot and ask, is this enough? Do we need another strand? Basically, starting a new book is a bit like starting a new job - you find yourself in a room full of people whose names you have only just learned. You like the look of some of them more than others, but you're not entirely sure yet what any of them do. After a few days at work, you will have a better idea of who they all are, what they do, who can be relied upon and who is a bit shifty, or shiftless. You also (and this is the plot bit) start to have a better idea of what your own job is. This week I have learned that I really like a wily old nun called Sister Janet, and I need to find more for her to do, a character called Marchmont Ellis needs a good deal more work, and that I set far too many scenes in taverns.
This type of long, hard look at what I've already written is something I always put off for longer than I should, but after which I always have a much clearer idea of my characters and story. Its what enables me to drive the story forward. At about 2/3 of the way through the first draft, I go through the process again, but this is much more a case of checking that everyone is playing the role they are supposed to be playing, and that I haven't 'dropped any stitches' in my plotting.
It's been a good week in other ways too: professionally, the highlight has been learning that the 3rd Seeker book, Destroying Angel has been longlisted for this year's CWA Historical Dagger. Everyone will have their own views on literary prizes, and ultimately, listing for such prizes is down to the faith of your publisher in putting you up for it, and the personal preference of a sometimes relatively small judging panel. However, the chief value for me is the reassurance a writer gets from realising someone thinks she is doing her job well. When you spend your days in a room by yourself, trying your best to write something entertaining and to write it well, the reassurance of being listed is invaluable.
Highlight of the week, non-professionally, was probably a Sunday afternoon walk, just me and my dog, along the shore of the Beauly Firth from Ardersier to Fort George and back. We were passed by two old men on bikes - no helmets, lycra or racing bikes - just two old men who remembered being young boys and were still, in their heart, young boys. Having access to such amenities is, again, priceless.
Currently reading Stuart Kelly's Scott-Land: The Man Who Invented a Nation This book is an utter delight, the kind that is full of lines and observations you want to share with everyone you see.
Writers are often asked about the extent to which they plan a new book. Some hardly plan at all, but just put pen to paper or finger to keyboard and see where the story takes them. Others plan down to the final detail. I am certainly more of a planner, but the planning is fairly vague at the beginning of a novel - a synopsis, a rough chapter plan of only a few chapters, a location and a character list. I will also usually know who dies, sometimes why they die, but rarely, at the start of a book, who is going to kill them.
About 25 000 words in to The Man from Bruges I have landed in that swamp of unease that I find myself in about 1/4 to 1/3 of the way through any new book: I feel like I'm losing control of the characters and have no idea how I'm going to get to the end of the story. It's a time for discipline, honesty, and rigorous early editing. I go through each chapter again, look at the characters in it, ask myself what they're really doing here and whether they are justifying their place in the book or whether they need a lot more work. I look at the plot and ask, is this enough? Do we need another strand? Basically, starting a new book is a bit like starting a new job - you find yourself in a room full of people whose names you have only just learned. You like the look of some of them more than others, but you're not entirely sure yet what any of them do. After a few days at work, you will have a better idea of who they all are, what they do, who can be relied upon and who is a bit shifty, or shiftless. You also (and this is the plot bit) start to have a better idea of what your own job is. This week I have learned that I really like a wily old nun called Sister Janet, and I need to find more for her to do, a character called Marchmont Ellis needs a good deal more work, and that I set far too many scenes in taverns.
This type of long, hard look at what I've already written is something I always put off for longer than I should, but after which I always have a much clearer idea of my characters and story. Its what enables me to drive the story forward. At about 2/3 of the way through the first draft, I go through the process again, but this is much more a case of checking that everyone is playing the role they are supposed to be playing, and that I haven't 'dropped any stitches' in my plotting.
It's been a good week in other ways too: professionally, the highlight has been learning that the 3rd Seeker book, Destroying Angel has been longlisted for this year's CWA Historical Dagger. Everyone will have their own views on literary prizes, and ultimately, listing for such prizes is down to the faith of your publisher in putting you up for it, and the personal preference of a sometimes relatively small judging panel. However, the chief value for me is the reassurance a writer gets from realising someone thinks she is doing her job well. When you spend your days in a room by yourself, trying your best to write something entertaining and to write it well, the reassurance of being listed is invaluable.
Highlight of the week, non-professionally, was probably a Sunday afternoon walk, just me and my dog, along the shore of the Beauly Firth from Ardersier to Fort George and back. We were passed by two old men on bikes - no helmets, lycra or racing bikes - just two old men who remembered being young boys and were still, in their heart, young boys. Having access to such amenities is, again, priceless.
Currently reading Stuart Kelly's Scott-Land: The Man Who Invented a Nation This book is an utter delight, the kind that is full of lines and observations you want to share with everyone you see.
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JJ wrote: "A very illuminating piece. No wonder there can be such long waits for readers for the next ‘instalment’. While we are champing at the bit the poor author is writing, reading, re-writing, re-reading..."Thank you.
I shall also seek out Scott-land. Ashamed I have read none of his books but what he accomplished is fascinating.
Congratulations on your CWA nomination.