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Posts Tagged writing routine
Quirky tales and the difficulty of leaving a book behind: My Memories of a Future Life featured at Triskele Books
JW Hicks collects writers of quirky books, and I’m honoured she’s chosen me for her collection on the fab blog of the Triskele Books collective. (You might recognise Jane as a recent guest on The Undercover Soundtrack with her novel Rats.) She’s prised me out of my writing cage to answer questions on whether I start with characters or plot, what ghostwriting does to your writing style, how I keep track of ideas, and whether I worry the ideas will dry up. (In fact, I confess to acute separation anxiety when I finish a book. I don’t want to leave it. Does anyone else get that?)
Anyway, it’s all there at Triskele – you can get there with a hop, a skip or a tricycle .… or you could ask a soothing voice to guide you there in a dreamy state. At your own risk, of course.
authors, character or plot, Depth & Heart, Fix and Finish With Confidence, guest posts, having ideas, how do you finish a book, how I write, how to write a book, how to write a novel, how to write quirky fiction, inspiration, interviews, JW Hicks, literary fiction, literature, My Memories of a Future Life, Nail Your Novel, publishing, quirky fiction, Rats, Roz Morris, self-publishing, strange fiction, Triskele books, writer's block, writing, writing a novel - Nail Your Novel, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, writing life, Writing Plots With Drama, writing routine, writing style
This week I’ve been pouring my grey cells into edits for Nail Your Novel 3 so I hope you’ll forgive this brief hiatus in my blogging schedule. The third Nail Your Novel book finally has a title (Writing Plots With Drama, Depth & Heart), a cover and most of its insides. I’ve been adapting and greatly enlarging the posts I’ve published here into an in-depth exploration of what plot is, how it works and how to write a good one. In asking these questions I’ve taught myself a thing or three as well.
If you’re eager for a taster right now, one of my recent shows at Surrey Hills Radio discussed plot – you can find it on this page as show no 6 (we’re working on getting proper titles but we don’t have control of the website!).
The plot book should be out within the next month … hopefully. I’m waiting for comments from my critique partners so I reserve the right to be coy about the actual release date in case they find a howling omission or other embarrassing disaster. If you want to know the very moment it’s out, you can get my newsletter here.
I’ll be back with a proper post next week. I hate to miss a week but sometimes we need to. How about you? Do you have a strict blogging schedule? What makes you bend it? Til next time… R xx
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Every week, my bookseller friend Peter Snell gets customers who ask him nervously: ‘how do I write’ and ‘how do I get published’? Sometimes they give him manuscripts or book proposals. I get emails with the same questions.
So we decided to team up for a series of shows for Surrey Hills Radio. If you’re a regular on this blog, you’re probably beyond starter-level advice, but if you’re feeling your way, or your friends or family have always hankered to do what you do, this might be just the ticket.
If you follow me on Facebook you’ll have seen the various pictures of us goofing with a fuzzy microphone, recording in the bookshop while customers slink past with bemused expressions. (Yes, that tiny gizmo is the complete mobile recording kit. It’s adorable.) So far the shows have been available only at the time of broadcast on Surrey Hills Radio (Saturday afternoons at 2pm BST), but the studio guys have now made podcasts so you can listen whenever you want. Shows in the back catalogue have covered
- giving yourself permission to write
- establishing a writing habit
- thinking like a writer
- getting published 101
- how to self-publish.
This week’s show will be on planning a non-fiction book and the show after that will be outlining a novel – and will also include sneak peeks of the advice I’ve been cooking up for my third Nail Your Novel, on plot. So you want to be a writer? We have the inside knowledge. Do drop by.
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I wrote it with an outline, but even so, it changed a lot in the telling – and this is what I want to talk about today.
Planning v pantsing
Hands up: who’s a planner? And who writes by the seat of their pants?
Planning versus pantsing is supposed to be one of the great divides between writers. On the one side we have systematic processes; on the other, an argument for natural connection and creative flow.
But it is possible to write with a detailed outline – and go with your instincts. An outline isn’t a straitjacket.
Indeed, Ever Rest started to bust its sleeves as soon as I got typing.
The first was the point-of-view characters. I originally nominated three. Pretty soon there were two others. Perspectives galore, who weren’t originally planned for.
Four main characters completely defied my expectations. I thought I knew who they were, but when they got on their hind legs and talked they acquired unexpected dimensions. They then did a thing they weren’t supposed to, which shook up the entire third act.
And this was a book I’d planned (more here about my writing process).
It might seem as though all that dithering with cards and marker pens was wasted. I might as well have made it up day by day. But no; I still stuck to the plan.
Before I put my cards into order for writing, I knew them very well. When my characters took me by surprise, I knew which scenes could be shuffled into better positions. I also found new gaps, and scribbled more cards. And I wrote the last section backwards from the end.
So an outline doesn’t bind you to one path through the story. It does, however, provide a useful framework. A lot of storytelling is form and structure, crescendos and revelations. Without this, you might write your way into an aimless wilderness – which is one of the dangers when we make it up as we go. An outline keeps that mechanism in order; it is a safe space where you can interpret, experiment and follow inspiration.
And despite my deviations, I realise the book is, in essence, what I was aiming for all along. My outline was a series of wishes thrown into a well. The writing made them come true.
My tips for using an outline creatively
- Stick with your outline – it was made with an awareness of patterns, structure and themes. It imposes coherence and shape. But adjust to take advantage of new insights. You may find you can use events you’ve planned in a better way – give them to different characters or shuffle them to new positions.
- If you want to make a drastic detour, make a list of the pros and cons. Is Mary the murderer after all? Spend five minutes making a list of the consequences if she is.
- Some writers use an outline up to a point – then abandon it as inspiration shows the true direction.
But don’t feel that the previous work was wasted. It wasn’t. It’s what got you here.
There’s more in Nail Your Novel about writing outlines and using them creatively.
Do you outline your novels? If so, how strictly do you stick to them? If you don’t outline, how do you work? Let’s discuss!
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Usually I write from beginning to end with no gaps. This time, I’m writing the characters’ final scenes and retracing.
I usually can’t do this. I need the continuity from one scene to the next, so that I know what each character feels about their mounting troubles as the screws tighten. Indeed I was writing in this orderly way until I hit the half-way point, when a sudden epiphany left everything spinning. By three-quarters, the end was suddenly indubitable, and I was quite unable to concentrate until I’d written it. So I’m finishing the draft by mining my way backwards. The impulse is discharged, and now I can be logical and fill the holes.
Joss Whedon would agree with the new, impulsive me. I recently read an interview where he explained how he assembles his scripts from a series of ‘cool bits’, then gradually fills in where necessary. He says it helps him because he knows he has material he likes, and that keeps him enthusiastic to stitch it together properly. As most of us go through phases where we despair of our manuscripts, this sounds like a good way to keep positive.
On the other hand, the British scriptwriter Robert Holmes would agree with the old me. (We just bought a biography of him because we are devoted fans of original Doctor Who). Robert Holmes hated to plan or write outlines. One producer asked him to write a presentation with ‘a few key scenes’ and he replied: ‘I can’t write a scene before I get to it. I know some writers hop around like this. They’re probably the same people who turn cherry cake into something resembling Gruyere.’
Certainly when I was ghostwriting I was dogged about writing each scene in order. This was partly a discipline to make sure I didn’t avoid scenes I was finding difficult, or where I found a problem I hadn’t solved. And I still find that many good discoveries have come of forcing myself to find a solution on the hoof. But The Mountains Novel has required more discovery (see here and here about my writing methods). It also has more main characters than my other novels. Perhaps it is an ensemble piece, and so an organic assembly seems to suit.
Another reason this hopscotch back and forth feels right is because I know what my characters need. I wrote far enough in formal order to know how they are changing, what will be triumph for them and what will be tragedy. And in the revisions I’ll do more infilling, understanding and reordering.
Anyway, all this means The Mountains Novel is nearly an orderly draft from start to finish. I’ve been incubating it for years, referring to it by this working title, because I was nervous it wouldn’t mature. Its proper name is Ever Rest. I’m sure you’ll probably shrug and say ‘so what’, or wonder why I made an issue of hiding it. Maybe you’ll tell me you like the old title; some people already have. But this is a landmark for me. I now feel secure to declare it: my next novel is called Ever Rest.
Diversion over – do you write your scenes in order? Has any book you’ve written made you revise your working methods? Let’s discuss in the comments!
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You started writing a book… but will you finish? Laura Pepper Wu of The Write Life Magazine invited me to her series ‘7 Superstars in Writing & Publishing’ to answer that question.
I’m thrilled to be on this because her other superstars are steampunk author and marketing guru Lindsay Buroker, Bestseller Labs founder Jonathan Gunson, Writer’s Digest editor Brian Klems, prolific series novelist and podcaster Sean Platt, magazine journalist Linda Formichelli … and she’s rounding off the series with literary agent Rachelle Gardner! (I’m usually sparing with exclamation marks but I think such a well-connected bunch deserves one…)
In a 20-minute video Laura and I discuss drafting, fixing, beating writer’s block, getting better ideas and writing with CONFIDENCE! And if you scroll through you’ll find the other guys’ interviews too. Come on over…
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Have you ever filled in one of those questionnaires that’s supposed to tell you what your ideal job is? Whenever I did, I usually found them desperately disappointing – but then they probably weren’t meant to send people to precarious, impractical occupations like writing. Except that one day, I filled one in that did. And it did it with one excellently judged question: ‘do you value the strange’?
Not only did this prove there is only one job I’m really fit for, it also summed up what drives me to write.
Today I’ve been invited to Writer.ly, who asked me to describe how I develop my novel ideas. Expect a lot of head-scratching, thinking, running, shopping – and writing of notes that no one will ever see but me. Come on over… and tell me if you also value the strange …
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This question appeared in my inbox from Adam Nicholls after I reported on Facebook that I’d managed 4,000 words of The Mountains Novel in one day. Adam DMd me, in not a little anguish: How many words do you write per day? And do you have to force yourself to do it? I love writing, but it’s work. There are two significant points in this question:
- output; books growing steadily at a satisfactory rate
How many words per day? I asked this question of a group I’m a member of, The League of Extraordinary Authors (which now blogs under the name Boxing The Octopus… times change!).
Romance author Melissa Foster says she has no difficulty getting 7,000 to 10,000 words written in a day and that she adores the blank page. No issues with output there. (But there’s more to writing a good novel than stacking up the wordcount, as she points out in the comments below.)
Romance author Colleen Thompson says ‘When on a publisher’s deadline, I write 1,000-2,000 words a day 6-7 days a week. Otherwise, I try to produce 20-25 new pages per week. Right now, I’m editing, so all bets are off!’
And contemporary fiction author Linda Gillard says ‘I don’t have a regular wordcount but I doubt if I do more than 2,000 new words a day. I think of it as a chapter a week. It’s more important to me that I should work every day on the book – research or editing. For every day spent drafting, I spend 3-4 days re-writing/editing. Drafting I find quick, editing slow. Once a book is under way, I expect to work most days.’
Ultra noir detective author Eric Coyote says he ignores wordcounts – ‘because so much of my writing is re-writing. I clock time: 2-6 hours a day. Usually I work a couple of hours in the middle of the day, then a blast at night until 2 or 3am.’
Graham Greene, who was hardly a publishing slouch, would set himself a modest target – 500 words a day he was satisfied with, and he stopped even if he was in the middle of a sentence so he could pick up the following day.
Stephen King talks in this interview for The Paris Review about how he aims for 1,000 words a day.
And since you asked (or Adam did), I track wordcounts if I have a deadline, as when I’m ghostwriting. The plot is agreed beforehand and by the time I write it’s simply a matter of enacting what’s in the outline. I’d usually get 2,500 words done in a day, 5 days a week.
My own fiction is trickier because there’s much more discovery and exploration, even though I plan, so wordcounts grow erratically. They might shrink, too, as I realise I can’t leave the passage I wrote the day before.
The day of 4,000 words isn’t a consistent norm although I didn’t stop there. By the time I closed the file that day I’d added another 2,000. Only time will tell how much of that I’ll keep as I’m sure I was cross-eyed by the end. Indeed, like Eric, I find it more useful to record the hours spent. With novels like mine, part of the work is understanding how to handle the idea. So a session on the book may produce no new footage in the manuscript, but several hours writing notes or reading.
Get on with it
Of course, we could research and tinker endlessly. It’s easy to slip into procrastination instead of getting the writing done. There are two main reasons why we might dither for ever:
- we can’t immerse
- we’re worried about getting it wrong – the inner critic
Where do you write? Stephen King in The Paris Review says he creates a ‘refuge’ where he can shut away. He also remarks that being close to a window is fatal because it’s easier to look outside instead of inwards to the imagination.
I posted last week about getting into the zone, using music. Writing tutor and suspense author James Scott Bell explains in this post how he subscribes to the oft-repeated philosophy of writing when he feels inspired, and making sure this happens at the same time every morning. Yes, be brutal with your muse.
Don’t lose contact with the book
A surprising number of writers feel a stab of stage fright before they sit down with their novel. I do myself, but only if I’ve had to leave the manuscript for more than a few days. The more I keep my contact with the book warm, the more I feel comfortable to venture back inside it. It helps that I’m drawing on the experience that the other novels worked in the end. What if you don’t yet have that or for some reason that isn’t enough?
Warm up the writing engine
Some writers favour freewriting exercises. Freewriting is basically splurging onto the page or screen, regardless of grammar, spelling, quality or any other critical issue. The point is to remove inhibitions and let the ideas flow, to connect with your creativity. Famous exponents include Natalie Goldberg in Writing Down The Bones, Julia Cameron in The Artist’s Way, and another of my cohorts in The League of Extraordinary Authors, Orna Ross.
Get out more
In my conversation with the League of Extraordinary Authors, Linda Gillard had this terrific advice. ‘I find the best way to stimulate the flow of ideas and the desire to write is to put myself in a situation where it’s impossible, eg Christmas.’ Indeed, this is one of the tactics I recommend in Nail Your Novel – if you’re stuck, go and do something messy that will make holding a pen impossible. Make meatballs or go to the gym. Inspiration is no respecter of convenience.
Do you have wordcount goals? Do you find writing a struggle? What would you tell Adam? Share in the comments!
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You’ll have seen the posts here about my blog series the Undercover Soundtrack.
Over the years, the posts consistently repeat certain bare essentials, both for reaching the writing mindset and creating a good story. Here they are, and whether you write with music or not, we all need them.
To enter the zone
In front of us is a keyboard and a screen, or maybe a pad and pen. Whether you’re putting on a soundtrack, closing the door on your favourite silent space or seeking the anonymous corner of a coffee shop, the first step is to find a way to delete the outside world.
Start the time machine
Whether we write gritty memoir or the most extravagantly invented fantasy, we need to harvest our emotional memories. Many of our scenes, dilemmas and storylines are drawn from feelings we had at important times with family, friends, loved ones.
To keep the pace
Stories aren’t static. To keep the reader gripped, we need to generate a sense that the world of the story is changing all the time. For me, music is a useful reminder, because music does not stand still. There may be a new instrument snaking into the mix, a new variation on a theme, a creeping, evolving harmony. If this is going on in my ears while I’m spending time with my book – whether I’m musing or typing – I find it keeps me up to the mark – pushing for ideas that give this forward pressure.
We’re getting more musical now. A song is not unlike a well-told tale. It creates a territory of familiarity – a pattern we recognise of verse and chorus. Then we have the second verse – familiar, but not the same because the background is more dense or the lyric more intense. The second chorus is usually more substantial than the first, and even if it has the same lyric, it packs more punch. And on the song goes, seeking a climax.
For all its variation, a song is tightly disciplined. It develops by adding only what belongs. As story writers we can splash about in ideas, locations, settings, characters and events, but the more they align with the home territory (or exquisitely contrast with it), the more they will seem to belong in one piece.
In a piece of music, there might be a breakdown, where most of the elements are subtracted, perhaps leaving only the drum track or the melody at great distance. Breaks are important for a reader too; perhaps a campfire scene, a time out from the pressure to let the reader breathe before the tension comes flying back.
To calm the inner editor
Novels are huge and often daunting. Getting from beginning to end requires persistence, and we always find our confidence tested. Many of my Undercover Soundtrack guests report that music is an essential companion in this. It helps us believe more in ourselves, our story, our characters, our world – and in our ability to finish.
How about you? What essentials would you add? And if music isn’t your aide of choice, is there something you use to get a novel finished?
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Some writers plan to the ennnnnth degree. Before they write, they prepare a trunkload of ideas, route maps and background. Then we have the scribblers who travel light. Just the barest plot twist, perhaps a skinnily-honed last line or a little black denouement. (Actually, I’m warming to this wardrobe theme.)
So if you’re in the former category, what mustn’t you forget? And if the latter, what’s the bare minimum you can get away with?
Today I’m at a festival called Chapter Book Challenge, a month-long event that aims to galvanise writers to write a chapter book in just a month. I’m zoning in on the essentials for the drafting process – and as an added bonus, commenters on the post (THAT post, not this one!) will get entered into a draw to win a paperback copy of Nail Your Novel, original flavour, which is packed with essentials for getting you from first idea to final draft. Come on over to find out what every well-dressed novel is wearing...
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- Personal journeys: 2 posts about writing Not Quite Lost and memoir – Joanna Penn and Clare Flynn September 18, 2017
- ‘Intense mystical dreams, an obsession with TS Eliot, and music’ – The Undercover Soundtrack, Vivienne Tuffnell September 17, 2017
- Editing as creative development – guest post at Ingram Spark September 14, 2017
- Bill Bryson, Lewis Carroll logic and cryonics – interview about Not Quite Lost at Andrea Darby’s blog September 7, 2017
- Readers’ reasons; writers’ reasons – do they ever agree? September 3, 2017
- ‘Things fall apart … hearts rip open’ – The Undercover Soundtrack, Caroline Leavitt August 16, 2017
- The end of exploration – on writing a book where you can’t make things up August 13, 2017