I first suggested it in my purple writing book Nail Your Novel, as part of the section on revision, and it must have struck a chord because time and again it gets picked up by other writers around the blogosphere. Here’s KM Weiland and here it is most recently being passed on by Larry Brooks, at all stations from Jenna Bayley-Burke to Porter Anderson.
Since it’s proving so useful, I thought I’d take a more in-depth look at why we might do this.
But first, here’s what you do (from Nail Your Novel)
Imagine you are writing a blurb or a review and that you have understood everything the writer was trying to do. Be specific about the story, the themes and the mood…
When might you do this?
You could do it when you embark on major revisions, to firm up your ideas before you hack and slay. Or any time you’ve got in a muddle and lost faith. What you do is step back and write how you would like the book to work if all problems were solved. If you step away from the details and look at the big picture, you often find you are not as lost as you think. Whether you knew it or not, you have strong, specific ideas about what the book would be.
What should you put in it? Everything distinctive and exciting about your novel. This might be any or all of:
- how the themes will work
- the influence of the setting and what it brings to the story
- the functions the characters might perform; perhaps whether they will be likable or not – and why that will be enjoyable
- what the set-pieces are
- why the big reveals will pack such a punch
- the literary traditions the novel might fit into, if that’s your bag
- the kind of readers who might enjoy it
- if you’re planning a non-linear structure or something tricksy like two narrators, why that was a clever move.
You can probably see you have to do a bit of head-scratching, so this exercise is good for making you justify – and understand – your creative decisions.
The title of this post suggests you do it when stuck, but it’s also a very useful exercise to do it at the start, as a mission statement for what you hope the book will be. Especially in that first flush of enthusiasm when the idea is seductive and brilliant. When you’re courageous and undaunted – you simply know it will be good. It’s good to harness that for later when the honeymoon’s over.
Novels take so darn long to write that there usually comes a time when we’ve lost perspective. We confuse ourselves with infinite possibilities. We may even suspect we’ve ruined everything. If you wrote your ideal version review to start with, you have something to pull you back together. Even if the novel changes substantially in the writing, it’s useful to have a record of this early, optimistic vision. (It might have got richer, more sophisticated. Or you may find that fundamentally you’re still on course.)
Most of all, this exercise gives us confidence. By confidence I don’t just mean feeling better; I mean clarity and boldness in the way we handle our material. We can pitch the mood, decide what themes to highlight, what word choices fit, what’s superflous. We can strengthen character motivations and plot. Novels that work well know where they’re going.
So if you’re feeling lost, write yourself a rave review. Spoil yourself and strengthen your novel.
Thanks for the pic Bidrohi >H!ROK<
Nail Your Novel: Why Writers Abandon Books and How You Can Draft, Fix and Finish With Confidence is available on Kindle and in print. Sign up for my newsletter! Add your name to the mailing list here.