Building a Novel

I’ve begun writing my third novel. Actually, to be more accurate, I’ve begun sketching it. The writing comes later.

I wish I could sit down and simply write it straight through, letting it come together in flashes of insight and creativity as I type. Nuh uh. That’s not how it works – at least not for me.

When I constructed “Fast Track,” my first novel, I used a blueprint set forth in “The Weekend Novelist” written by Robert Ray. For my second novel, “Bluff,” due to be published later this year, I used as a guide Ray’s “The Weekend Novelist Writes a Mystery.” Both of Robert Ray’s books are practical and helpful and I highly recommend them. (You can find them easily on Amazon.)

For Book Three (still untitled), I’m trying to come up with my own plan. Here’s where things stand right now in the creative process:

It began several years ago when I first got the idea. It started with just one character and his situation. (Not gonna go into detail about the substance – this entry is about process). For years, the idea merely banged around in the back of my head. It wasn’t until about a month ago that I began to write down my thoughts in a document I cleverly titled “Initial Thoughts.”

In my “initial thoughts” document, I just started typing up my thinking about the story in a sort of stream-of-consciousness way. I guess you could call it thinking out loud with your fingers. That document includes rough ideas about plot, characters, and settings. My goal is to mine my mind to find out what the story is about and how it will be structured.

I’ve also created a “scenes” document. This began with the six key scenes that comprise a well-structured story (an opening hook, pivot point #1, midpoint, pivot-point #2, climax, and the wrap-up). At this stage, I’ve made decisions about how I want the story to begin, and two key plot twists to get me to the midpoint. That’s when things get hazy.

Garry Dinnerman, my screenplay agent, gave me some sage advice recently that applies to novel writing, as well: “When you get stuck, figure out how you want it to end and work backwards from there.” So that’s what I’m doing now: I know how I think the book should end, I just need to figure out how to make it happen.

One key bit of insight I’m getting as I build the book is the dynamic relationship between character and plot. I’m discovering that character affects plot and vice versa.

Sometimes, in my writing session, I sketch a character. Other times I’ll think about plot. This is where my journalism training is helpful because I follow my curiosity by simply asking questions to get to know the character or situation better. (Anyone who knows me knows what it’s like to be on the receiving end of my inquisitions – you have my deepest sympathy and apologies, plus the warning that I’m not likely to mend my ways anytime soon.)

The better I get to know a character, the more likely it is that some bit of plot action will emerge. And, as I think about what should happen in one of those key scenes, the reporter in me begins to “work the story” by asking the basic journalistic questions: Who? Where? What? When? Why? How? Answering those questions fills in plot details and also can yield new characters. It goes back and forth.

The more I sketch the story, the more eager I am to begin writing. That’s a good sign. But I’m not there yet. I’ll know I’m ready to write when the urge becomes overpowering. That will be when I can see the sketch whole. The big picture will still be missing lots of details, but I’ll be able to fill those in during the writing of the first draft and then add embellishments during the revision process.

So, that’s where I am and that’s where I’m going. Watch for future updates on the journey. Your comments or suggestions are most welcome.

You can also find me on Facebook and on AuthorsDen.com (http://www.authorsden.com/ae/mytitles.asp?AuthorID=38787)

Timelines

Wouldn't it be great if the novel was written smoothly and perfectly the first time? Reading someone else's work always seems to lull me into thinking that their writing process was effortless. But any writer will tell you that couldn't be further from the truth.

As I slog through the process of revising my second novel, I'm struck yet again that most of the writing process is actually rewriting.

In draft 3 of BLUFF, I made some major structural changes. I added a lot of details and I rearranged the order of several key scenes. But now, as I begin to work through things, I've discovered glaring time problems:

• haziness about when things happen
• mix ups in the sequence of events
• arbitrary decisions I made earlier which now threaten to slow the pace or derail the plot

Thankfully, the organizational groundwork I laid down in draft 3 is now paying off in draft 4. The wisest thing I did back then was to create a list of scenes. It's an elastic document that expands and contracts as I note various details: title, subplots, action, problems, number of pages, a cumulative word count, etc.

Now, as I deal with those pesky time problems in the current rewrite, I've begun to nail down when events take place, noting them in the scene outline and adjusting them in the manuscript. I ran into several major timeline roadblocks in the second half of the story that I've slowly been untangling. I suppose I could go into detail for you, but that would be boring and could inadvertently give away plotting secrets.

The point is that taking the time to be organized has, I believe, streamlined the rewrite by making it easier to navigate quickly throughout the work and make the necessary updates.

Simmering

For the past month, I haven't looked at the third draft of BLUFF.

It's been simmering.

But last week, I read it straight through. In many ways, it's like seeing the story fresh for the first time.

There's a lot I like about it. A lot.

But there are weak places, too. Plenty of them.

I'd say the biggest improvement from draft two to draft three is the major structural rearranging I did. In addition, being able to flit back and forth among the various chapters really sped up and simplified the writing/rewriting process. (See previous posting.)

The story is still too spare, though.

A writing book I'm finding helpful is "Revision: A Creative Approach to Writing and Rewriting Fiction" by David Michael Kaplan (Story Press). There's even a brilliant chapter entitled "Adding What is Essential." It's just what I need.

The next step in the rewrite process, then, will be to read portion's of Kaplan's book as I continue to rewrite what I hope will be my second book.

Watch this space.

JD