Hello and welcome to the fourth part of an ongoing series. It is my earnest attempt to document the process of composing a novel in the hopes that it may inspire others to do the same. While I think this series will be interesting to all readers, be aware that it is going to get pretty in depth into the writing process. (I also hope to gain further insight into how I come up with this stuff.)
(Note: Part three focused on the editing process for my third novel Observe & Detach. In the almost two years since I have returned to this series I have decided to focus again on what has become my new “current” manuscript, a science fiction novel titled Spheres of Influence. For more background on how that project came about, check out parts one and two of the series.)
Rewriting. The main reason it has taken me so long to figure out a process for this step is that I have been struggling with doing it for most of that time. Since Observe has taken a back seat in favor of this climate change tale, its manuscript has seen around six full drafts. That is, the previous draft takes up one half of my screen and the new one takes up the other part. I have decided to continue this process until my editor Libby Copa has time to take another look at the work. I have come across no easier way than this, and I must say getting all this time inside has helped me to test it out a bit more. To that end, I want to again exhibit how a piece of writing can change during each stage.
Spheres of Influence started out as another weird chain of ideas that wound up becoming an initial draft (check out part two of this series if you dare to dredge through it), which ended up being an introductory multiple pages. Reading over my thoughts back then, it’s interesting to see what has changed, or morphed, or been erased. The character here is still an “underground journalist” (maybe not so much “historian” any longer) but I have since decided to base her more on a real world journalist I admire. But her ranty first-person narration made it all the way through multiple drafts before I could see what was in front of my face: that her career and work was facilitating the story, not her general recollections. But after realizing this final cut was necessary I still had some work for the introduction, and even after this will need to make sure it hooks the reader from the start. I present now the changes first chapter paragraphs can make from one draft to the next.
Amy Greatman washed soapy water through her dark brown hair, which she noticed in the mirror above her sink was beginning to shade to gray. The reflection emanated all she tried to cultivate during her career: stone dedication honed over two decades of investigative journalism. Her eyes traced the eyes of the scar curving around her left eye, and she let her palm fall into the clean white bowl of the porcelain sink. Amy was never late to work. Not once in her whole damn life did she ever show up to that newsroom with anything less than five minutes to spare before the morning briefing. Her producer Dan expected this from her now that their staff was dwindling in number after the last round of budget cuts. But on this day, as she threw on a gray nylon sweater and corduroy jeans cinched by a snazzy black belt and matching socks, she thought would be an exception.
And when she walked into the briefing room a few minutes late, an overwhelming sense of dread dragging behind her and saw Dan's face and he wasn't upset, she knew something else bigger had happened. She couldn't shake the words he screamed at her out of her mind as she raced down the hallway to get her cameraman.
"I don't know what happened. People are saying somebody flew a fucking plane into the side of it! The whole thing looks like it's about to collapse. Get your ass down there, now! We have to get it as it falls. These images are going worldwide!" Dan gasped at the end like he was having a heart attack.
Amy couldn't find her cameraman Jose so she pushed through the front doors she'd just walked through, notepad and phone in hand, and jumped back into her crappy two-door sedan. She turned and looked as the screeching wail of sirens blew past her in the crowded street. She flicked on the radio, turned to the public news station.
The woman on the radio kept saying: "There has been an attack."
Amy Greatman washed the soapy water into her dark brown hair. She caught a glimpse in the mirror above her sink that portions were now shaded gray. She traced the small curve of the scar hooked over her left eye with her index finger, then let her weathered palm fall into the clean white of the porcelain sink. Her reflection emanated stone dedication honed over decades of investigation. Amy held certain tenets, a major one was never be late. Not once in her entire damnable life had she ever shown up at that newsroom with anything less than ten minutes to spare preparing for the morning meeting. Her producer Dan expected it now that staff was dwindling from the recent budget cuts. Independent media was a brutal landscape at any time, let alone one where the major media groups controlled most of it. Amy threw on a gray nylon sweater and corduroy jeans cinched with a black belt and matching socks, and was out with the door with plenty of time to spare.
The first thing to strike her was the silence. Manhattan had never been a place of concentration, of slowness, of still behavior. But this was next-level. Amy could hear the wind blow the boughs of the few trees planted along her street. It was eerie. The main location of her indie news program Instant Freedom!, which streamed its episodes to half the globe, was a few train stops away. She walked into the briefing room with a sense of dread, brought on from the train passengers and their dead stares and the lull that entered her car as it rattled. Dan's face confirmed it when Amy walked into the room. The words he screamed at her echoed through her mind as she raced down the small carpeted hallway to find her cameraman.
"I don't know what in the hell happened. The first wire reports say somebody flew a fucking plane into the side of it. The whole fucking tower is about to collapse. Get your ass there now! We have to get that image. It's going worldwide," Dan gasped.
Amy ducked her head into Jose's small changing room, but he was not there. She left a message on his small desk, then tromped further down the hallway to Gary's office. He was the senior journalist on staff, but as of late had taken to commentary. She knew he would have interest, even if he couldn't work a camera. She gave two tiny knocks on his door, but he didn't turn around. She said his name, but then picked up on the fact that he was listening to the radio, the giant public news station.
The woman on the broadcast repeated: "There has been some sort of attack..."
"I'm going down there," Amy said to his back. When he turned, his face was ashen and torn with fear. She had never seen it on his tough face.
"Be careful," he said. He never said that. "I am going to stay with this for a bit."
Amy went back out to the hallway to her office, grabbed her notepad and a small film camera, and headed up to the front doors. She jumped back into her beat up two door sedan, then whipped her head around as a screeching wall of sirens blew down the street. She twisted the knob on the radio.
"There has been some sort of attack..."
The major change would be the introduction of a character (Gary) who I had introduced much later in the book but found it made little sense. I have since decided to flesh out more scenes with Amy and Gary in another chapter, and thought he could use a basic introduction here. And there are of course many other differences. This passage got a couple hundred words longer, but that won’t always be the case. In general, there should be a good balance over the drafts between cuts and additions, and over the course of this process there should begin to appear a novel. The number of drafts isn’t the main thing to consider, it is how the plot, characters and entire story is changing through each one. Now that I have a good pattern to establish for my rewrites I have a good rhythm to my churning them out. I’m not sure where the next entry in this series will go but it will continue to follow the course of this manuscript.
Hello and welcome to the third part of an ongoing series. It is my earnest attempt to document the process of composing a novel in the hopes that it may inspire others to do the same. While I think this series will be interesting to all readers, be aware that it is going to get pretty in depth into the writing process. (I also hope to gain further insight into how I come up with this stuff.)
(For those who want a refresher part one - Idea and Outline is here, and part two - Drafting is here. And “segment one” of this Editing series can be found here.)
Editing. I am going to continue shifting gears away from my newer projects in favor of my current manuscript, Observe & Detach. In the previous segment I queried one of my editors, Libby Copa. For this bit I wanted to get the opinions of my “other” editor, Anne Nerrison. Anne originally worked with me on the second novel I published through North Star Press, Last Man on Campus. While most of the initial heavy lifting on that manuscript was done by Libby, Anne was instrumental in making sure it was a great book. She has now started her own editing venture, Inkstand Editorial, and has worked on a short story of mine. I asked her a similar set of questions as I did Libby.
First was about the editing process itself, and how she sees it: “In all cases, I see my job as helping make the book the best it can be (and by extension in some cases, help the author become a better writer). Certainly this sometimes means fixing errors in grammar and punctuation, but sometimes it's querying word choice, working to develop plot points, or questioning character development and/or motives. The latter cases I don't see as errors, but rather stylistic choices by the author or elements that could be developed further or in a different way, or viewed in another light.”
I also wanted to ask her about the “trust” issue like I did with Libby, because I have had to trust Anne’s judgement over the years. With two brilliant editors to work with, sometimes it becomes a matter of learning how to trust each voice. I want to highlight this portion of her answer:
“Trust can also lead to good discussions about manuscripts and suggested changes. I want writers to know that I'm editing with the book's (and by extension, their) best interests in mind. My goal is always to help authors, and I want to know what's helpful and what's not. If I'm not helping an author, then I need to look again at what I'm doing and figure out how to be a more effective editor. And my changes are not always correct; I'm not infallible, and my mentor taught me that if there's one good way to write something, there's a thousand.”
In other words, if I may be so bold to interpret this, we authors don’t always have to follow the course our editors set down for us, and in fact this is a crucial part of our own work. While most of the time the editor will conceive of a better or more efficient way of how to set down a particular passage, it’s up to the writer to actually do it.
This was a struggle I had with Libby for quite a while. I almost thought I had some kind of a rule for it: 80/20, in that eighty percent of what the editor said should be changed was worthwhile, and twenty percent (or less) should be your own discretion. Here is how Anne sees her role now that she has her own editing business:
“As a freelancer working largely with indie authors, I leave all changes up to the writer. I have no control over the final, printed copy, so I have no say in how much of my advice an author takes. Of course I hope they'll take my changes and comments into consideration, but the writer knows their own work better than I do, and I know there will always be a few changes I suggest that the writer feels don't fit the story as they see it.“
Working with Anne on that short story, we used track changes (generally thought of as a Word application but can be used in free programs like Libre Office) and she highlighted portions of the text she thought were confusing, or needed cleaning up. But she made sure to note that I didn’t have to take a single one of her corrections, even though most were quite warranted.
I also want to include some of Libby’s thoughts on this topic, because I didn’t get to them last time. Here is how she considers her role:
“I try and review the story that the writer is trying to tell (not the story I want them to tell) and provide feedback that aligns with that. All decisions are made by the artist, this is their story-- I can only hope they are being thoughtful when they reject suggestions, that they consider why I took time to point something out, and that they can justify to themselves and future readers why they do not make the change.”
I think that is a great summation of the relationship, and why it’s so crucial to find an editor who can give you the space as an artist to tell your story. Even better if you can find two such people who are so great at their jobs!
To that end, since last time I showed off a little of my manuscript and how the introduction has changed, I wanted to post some more of the first chapter for those who have interest. I’ve been talking/writing about this book for three years, and Libby has been hard at work over that time showing me how to make it better. While I still plan on sending her another draft by the end of this year, the text is much stronger with her suggestions.
So without further ado, here is another portion of the first chapter of Observe & Detach:
The day had not started promising. VP and head accountant Phil, thick mustache waving as he berated, enlightened me on the finer points of precision within our accounting database software. By “started” I mean eleven thirty, because Phil never got to the office earlier than that. As head of operations, he was a cranky bastard.
“Hello there, Mr. Walter. You got a minute?”
“Sure, Phil. What's up?”
“I was running your key inventory numbers this morning,” he said, slapping down several printed-out pieces of paper. This was a favorite tactic: producing evidence to the accused so they'd fess up. I once saw him do this to my co-worker Kari over a messed up store order that was probably Mona's fault. “You're off on your lock box inventory count.” Phil's mustache twitched in revulsion at me.
“Oh really? Sorry about that.”
“Yeah, you were off by five whole units. It's not a big deal since you're still new to some of this. But we gotta make sure those numbers add up. Signal Corp, for all their bullshit, makes up a huge portion of our revenue. You outrank Mona over there in the store big time when it comes to money flowing in here from agent purchases of these damn things. We have to make sure our numbers are correct.”
“I know,” I said, averting my gaze. “I'll keep a closer eye on them.”
“Make sure you do. I don't want to have to fix it every month. Just count 'em right the first time. And be accounting for those defective boxes you're sending back. Those were also wrong.”
“I'll do that,” I said.
“Thanks, Mr. Walter.” He grabbed the spreadsheets.
“The other thing I wanted to bring up was attitude,” Jack continued. The light from his office window bounced from his gray head, which stretched to black toward the bottom by his earlobes. “I haven't noticed this myself, but others tell me you may not be coming up to the front counter with the greatest...gusto. I'm not saying you have to be like Kari. She can become too much in a hurry. Just be glad to see the agents walk in here. You know, like family. Make sure to smile, make sure they are satisfied with their encounter. We are here to serve them, you know?”
I wasn't feeling restrained after what happened the rest of the day, so I made a mistake.
“Well, perhaps if you would come out of hiding from your office once in a while instead of hearing the gossip from Mona, you'd know what I actually do around here.”
He gave me his best vacant stare, then closed his mouth. “Excuse me?”
“I-uh, look, that came out wrong, but...”
“I don't go into my- I, uh, I don't do that. You know it. I'll ask you not to speak to me in such a manner, Walter.”
“I'm sorry, Jack.”
“It's all right. You haven't been here long enough to know how this place works. Mona and I go back a long way. You also don't know the full story on Betty. You don't know enough about anyone at this point, except to show respect.”
“I'm sorry,” I said again. I felt my face flush.
“You're damn right. Now, that being said, it's important for us that you want to be here, Walt. That you are happy being here. That's important.”
“Well, I do want to be here.” It was better than a series of restaurant gigs over the past half-year.
The discussion devolved into a twenty minute soliloquy on his cabin in Grand Marais, then into the proper way to clean a duck carcass. I stared out the window into the parking lot and watched our CEO Alan Dunbar leave, an hour and a half before we closed. His dark green hybrid SUV was parked as usual in the nonexistent spot under the oak tree.
Hello and welcome to the third part of an ongoing series. It is my earnest attempt to document the process of composing a novel in the hopes that it may inspire others to do the same. While I think this series will be interesting to all readers, be aware that it is going to get pretty in depth into the writing process. (I also hope to gain further insight into how I come up with this stuff.)
(For those who want a refresher part one - Idea and Outline is here, and part two - Drafting is here.)
Editing. I’m going to shift gears away from my fourth novel in order to attempt to demonstrate the editing process with my third, Observe & Detach. This was the second book I was lucky enough to work on with Libby Copa, and she has done a ton of work making Observe a much better book. This process is much more intricate and difficult than drafting, which can remain fun for a while if you aren’t showing your stuff to anyone. Editing means not only showing it off, but getting a wordful of critique back. This was an issue early on with Libby, as my brain back then couldn’t see the benefit to some of her changes when I got back her edit for Last Man on Campus, my second book that was eventually published by North Star Press. I had to break through that barrier and learn to trust her. I asked Libby about this trust issue as piece of the process, and this is part of what she had to say: “If you don't trust your editor, the relationship is never going to work, and all feedback will sting. The editor must also trust that the writer is listening. That the writer is seeking their opinion, even if they do not always take it. An editors name is at stake if a writer thanks them in their book and has not done the work, it can reflect badly on the editor. The editor must trust that the writer has put in the time.”
I also asked her in general about the editing process, as I became mystified by it the longer I wrestled with (and changed) this current manuscript. She said: “My job is to push the writer to see their manuscript in new ways. To help them see where holes in the story might trip the reader or force the reader to put the story down.”
This was basically her advice for me every step of the way as she has now looked at this entire book of mine twice. Yet I failed to heed her advice, thinking the story had to be a certain way, or had to contain only certain viewpoints. I can’t really talk about the process of this book without revealing its content, or where it came from, so a little on that first. This book is a fictionalized account of my time at another capitalist establishment based upon land transactions, which is a pretentious way of saying real estate office. I wanted the story to capture the mundaneness, the drudgery, of that world, and spent page upon page in my early drafts doing exactly that. Even up until the last draft I still was committed to doing it that way, until Libby finally got through to me. In what has become a marathon of email exchanges over the last year, she has helped guide me through the process of understanding “holes in the story that might trip the reader,” starting with the big one at the beginning. To that end, since this series is all about #ShowYourWork, I would like to place in order the previous and most recent drafts of the beginning of my third novel, Observe & Detach:
This morning I entered a new white collar universe. That's right, I have located an office job I may be able to stand. Two years, countless dead ends, and yet I found the promised land. The land of dreams and affordable health insurance.
Those people who read my drivel know I've been searching for work in the Twin Cities for some time. Started in the restaurant industry, thought I was going to be the next Bourdain. Turns out I couldn't hack that lifestyle, so retail might be for me. The bright lights and garrish red penetrated my brain, and I fucking hated wearing khaki. The friend of a family member who used to work at this office called me up, announcing an administrative position. Entry level. Twelve bucks an hour, which is four more than the red demon was willing to pony up for my hard earned toilet paper stocking skills.
Today was spent getting to know the place and my co-workers. The Ramses County Board of Real Estate Agents (RCBREA) counts over eight thousand agents as members. They come from all over Minnesota to join, but most of the transactions occur right in Minneapolis. The board itself is located in Edina, that rich, pampered ass suburb where the olds hate sidewalks and the young. “RCBREA” is the acronym, and everyone around here says it just like that: “wreck-bra.” I've already heard one joke about torn undergarments, and I'm sure there are more. I don't get a fancy real estate license. That takes years of studying to pass a state exam, and you have to keep renewing every two years. I don't even get to set up homes or anything cool. My job is to sit at the front department and assist the agents with their adventures of moving houses and finding clients.
( This is my re-write after Libby worked on my manuscript this year: )
I sat down with Jack to discuss my first year. He shut the door to his office when it was apparent Mona, head bent, eyes peering over half-bifocals, was eavesdropping under the guise of stocking plastic riders. He asked what I thought of the place so far. I lied.
“Everyone seems to know their tasks. I like it pretty well.”
“I'm glad you do.” His eyes beamed at me, refrigerator door jawline jutting downward. “We like having you, even if there are a few issues to discuss.”
“Well, yes. A few things to go over, in light of Allison leaving our department and you taking over her duties. This isn't a review, or anything. Our CEO, you know Alan, he thought I should mention a few things. First, the phone. I know we're getting a lot of dues calls these days, but it's a main task of ours to answer the phone.”
I suddenly remembered I had integrity. “Well, then might I mention something? It helps to answer the phone if one is present at their desk.”
“You mean Betty.”
“That would be my example, yes.” I had yet to see her arrive to work not hungover.
He sighed, leaning back in his rickety chair. “Look, Walt. I'm going to tell you something I've had to tell others here before. I want you to remember it. Working in this office, it's like being in a family. You know how in your family there's that one...uncle who's a little off? You may not like talking to him at family events all that much, but you have to regardless? That's how I want you to think of RCBREA. Do you understand?”
First of all, there is quite a difference between openings. One is just a bunch of descriptions of stuff, the other is an actual scene, comprised of what I was going to have happen later in the book. All throughout writing this, Libby was pushing me to compact the boring parts, those that introduced more characters that weren’t going to stick around, and anything that took away from the main story.
This was another point Libby was always trying to get me to see in a new light. While I thought the goings-on at the office would more than suffice for a pretty lackluster rest of the main character’s existence, she pushed me to see how I could change the story to his benefit, almost as if I was making up for my past mistakes. What began as a stenograph of my monotonous time there became what I hope to be a more thrilling insider tale, showing how actual journalism could bring down an institution and strike a blow for the workers all at the same time.
This is becoming a bit too much for one post on the subject, so I will be back with the rest of this segment on editing, hopefully within a week. I will also be sharing my “other” editor’s thoughts on the subject, as she has also worked on stuff of mine over the years. Thanks for reading, and writers out there please feel free to share your own thoughts on all of this in the comments or on the social mediaz.
Hello and welcome to the second part of a new, ongoing series! It is my earnest attempt to document my own process of composing a new novel in the hopes that it may inspire others to do the same. While I think this series will be interesting to all readers, be aware that it is going to get pretty in depth in the writing process. (I also hope to gain further insight into my process and how I come up with this stuff.)
Part One (Ideas and Outline) is here if you missed it.
Drafting. So you’ve got a killer idea for a book and you want to start seeing it as you envision? This is the point when you put words down on paper (or on the screen) and consider if they connect. As I stated last time, the idea process can take years, but you’ll know when you have reached the point of wanting out outline it. Once you have the narrative set out, an idea of the characters, settings, and other details, you can make your first attempt at writing it.
A point here about shitty first drafts, which readers may remember comes from Anne Lamott’s Bird by Bird. As I tried to surmise back then, Lamott is basically saying that everything we writers churn out in the beginning is going to be (more or less) crap. This is alright, since we are just finding out what we mean to say with each project. Whatever sits in front of you has many, many rewrites to go before it should be seen by another person. Your editor will guide you through the later steps of this process (more on that next time), but overall it will always be up to you to decide who gets the first read. It might be your agent, or a friend you trust, or somebody random you’ve queried on the Twitter machine. But you need to ensure the draft is in its finest form, and that you are ready to take critiques on it.
So how do you start? Again, for this series I’m mostly pulling from my current manuscript, of which I have finally been able to churn out close to 30,000 words. By the time I outlined Our Senior Year I had most of the story figured out. But it took a major read-through by my wife’s cousin to get me to see the story as it really flowed, and then how to make it better. My editor Libby shephereded me through the story process with Last Man on Campus, and I don’t want to shine a light on her until I can do it with an entire post. And the book I am slowly walking toward agent queries (Observe and Detach) is in the throes of another massive rewrite/re-envision, and will be the focus of the next post.
In the case of my current manuscript, which as yet has no title, the major ideas had been percolating in my brain for several years before I finally sat down to outline it this year. While this was not a conventional outline (in narrative terms anyway), it helped guide me toward telling the story as I saw it. I made some last-minute decisions (adding a third character as a sort of narrator within the tale) but made myself sit and crank out at least 2,000 words each session until the end of February. While I’m not comfortable yet revealing the two major characters I am somewhat ambivalent about this character, an underground journalist/historian. And it should be noted that this is not actually the “shitty first draft” of this book, as even I am too timid to put that on the internet (it has graced the eyeballs of a few friends the past few months). But without further ado, the first two(-ish) pages of the second draft:
Things have changed since two thousand aught one. The year them towers came down.
Some people say that’s when things went to shit in this country. I always used to tell them it was way before that. And President Trump? Saw that coming a mile away. This country has been ripe for demagoguery ever since the first Kennedy clone got blown away. You know the government cloned him, right?
That was Leonard. Lenny to his friends. One of the last interviews I was able to get, before the time of Samson. Before things really changed in this nation. But I’m already ahead of myself.
I was able to collect interviews from North American Sphere citizens right up until the point of (Lord) Samson’s full ascension to the Internet. After that he controlled pretty much all that went on there, darknet and light, so I was forced to move my research underground. Back to the paper movement, and all that. Yeah, it is a real thing. It had to become one.
I printed out a bunch of the interviews before sending them to the exclusive garbage can in the networked sky, and Leonard is one of the last. See, people still believed in weird ass shit before Samson. Before people couldn’t think for themselves enough to realize the con was on them, God wasn’t on their side and half the country got turned into a wasteland.
But again, ahead of myself. Leonard saw what some would say was the truth inside of the truth. And from my current position, I can fully say that the government successfully assassinated Kennedy the man, not the clone. In fact, clones did not exist up until the 1990’s, and would you believe the government tried outlawing the practice in these here (former) United States? I know, what a waste. Things look different the more you get past them.
But he wasn’t wrong to place the situation somewhere around when those towers fell. Conspiracy theorists were rife back then, hell you shoulda seen some of the theories. Didn’t help that their own government seemed to be blowing up buildings alongside those the terrorists hit. Controlled demolition, Leonard might have spat. And all that.
You see, for a long while the people of this country thought they controlled the government. Thought they had some say in the corporations running rampant over their lives, in who the people with the most money got to buy and sell for public office. A lot of this changed in the Trump era, of course. But he just took advantage of what really happened in the populace after the attack. The change in the society.
See, up until then we were ready to take down the government at every stage. People ran for the government pledging to get rid of the government. That’s how gung-ho people were about this shit, I can read interviews to prove it. But I won’t, cuz it’s a waste of everyone’s time. But after the attacks, suddenly they were ready to let the government do whatever it wanted in response. So the Patriot Act gets signed into law in less than a month. The NSA is allowed unlimited collection of our data. Multiple illegal wars spun out of control all across the Middle East. Calamitous events throughout the world, violent events, and while the scramble to do something about it is intense, there is next to no action on the real problem of climate change.
We were so eager to let the government spy on us and pretend to protect us that we didn’t see the forest before it burned down. Trump exploited it like any true huckster; Samson perfected the technique.
People were damn near ready to believe anything in the “post-truth” era. Not all of them, of course, but like the old adage says, “you can fool some of the people most of the time.”
It all really began with the weather patterns. Subtle at first, pretty bad by the quarter-century mark, untenable in the time of Samson. People were ready to believe in somebody who could make it all go away, tell them a story they wanted to hear. That was a big part of Samson’s success: the storytelling.
So Trump comes along, and bamboozles his way through an entire Presidential term. Yeah, I still can’t believe I have to write that. People remember him in the interviews. Mostly what a shit person he was. As if he wasn’t that way his whole life. They had a funny way of not remembering that, a lot of subjects.
So then we had the populism turn in the United States. Boy, were intellectuals like me happy when this happened. People, marching in the streets in support of science! Actual policy proposals getting through a newly turned Democratic Congress and enacted in the hopes of reigning emissions. Funny thing about those emissions, though. They really needed to stop happening right around the time Trump descended that escalator in 2015. He of course famously tweeted climate change was a “hoax” and therefore installed nothing but rapacious capitalists in places of high influence in his administration, ensuring that it would be too late forever by the time reasonable persons got in charge again.
This wasn’t understood by people until it was too late. It was somewhere in the second term of that once-ever Socialist President of the (former) United States.
I mean, we thought the near-destruction of New York City by hurricane Sandy would have done it. Or the utter devastation wrought by hurricane Harvey in Texas and Puerto Rico. But no, it had to be more than that. We had to lose Florida.
Oh it’s still there, of course. Most of it. But forget that lifetime altering goal of beachfront property. It seems what wasn’t understood was that with the changing patterns in the ocean, all it took was a massive storm to do what scientists predicted would take place over a century. So thousands of people had to die because of it.
There was a reaction to that, all right. The first million-plus protest against Washington DC about the inaction taken. Why couldn’t we just build a huge wall out there in the ocean or something? Ok, most people still didn’t really get what was happening. That unfortunately would not change much in the future.
Remember those documents that came out in the beginning of the century? The ones that proved Exxonmobil had been engaged in a pattern of cover-up and deceit regarding the true outcomes of their very own climate studies? All in the name of continuing massive profits?
The same thing kinda happened to the US government. Except it was kinda much more worse and horrible.
I won’t go on much more as each of you will have your own individual tale and will know how to tell it once you maneuver through these steps. But I definitely welcome any thoughts or criticisms, as that’s what this part is all about. What worked for you? What didn’t? Feel free to email or write something in the comments. And let me know how your own writing process is going. This gig is meant to be collaborative, and I need to be better about thinking that way.
In Part 3, I will be taking a deep dive into the editing process with my third novel, and hope to be able to explain coherently the importance of a good editor who is unafraid to tell you when your writing, for lack of a better term, sucks. I also hope to do a parallel series on what writers are for, and attempt some more personal essays as the year progresses. Thanks for reading (and writing)!
Hello and welcome to the first part of a new, ongoing series! It is my earnest attempt to document my own process of composing a new novel in the hopes that it may inspire others to do the same. While I think this series will be interesting to all readers, be aware that it is going to get pretty in depth in the writing process. (I also hope to gain further insight into my process and how I come up with this stuff.)
The idea. First of all, you need to have the idea for the book. This can literally be anything. Look around your life. What do you see? Injustice? Hilarity? Torment? Wonder? Characters? Setting? These can all be a starting point. Obviously I can’t tell you how to come up with your own ideas, but I can offer a few guidelines that have worked for me.
The most important point: don’t stress about it, the ideas will come. I wish I could offer a simple timeline of when my ideas hit me, but the truth is I never knew when I would have enough to create a book. True, the first two novels (as I’ve stated elsewhere) I carried with me for years before I committed them to paper. And that’s not a bad way to start - if you have something you think should turn into a proper book, then you are ready for the next step. But for those of you who aren’t there yet, don’t fret; it will come.
The next point: what do you bring to the table? How do you see the world differently from others? What kind of “hot take” (to use an awful current expression in the journo world) do you have on an important issue that you could translate into a fictional universe?
I can only illustrate this with my own work, so here goes. My fourth novel is going to be a dystopian tale set around the year 2050, and features a major struggle concerning humanity and its existence in the age of climate disruption and geoengineering. Obviously I didn’t come up with all of that at the same time (but that would have been awesome). I was very much influenced in a few essays I read over the past four years - this one in The Point about genetic manipulation, this one in the NYRB about geoengineering, and this one (big time) in the LARB about the writer Amitav Ghosh and his request for stories about the largest issue of our time. But of course the list of influences is never ending - the 2013 Spike Jonze film Her radically altered my perspective of where Artificial Intelligence was heading, and the 2015 film Ex Machina made me terrified of a similar notion. Books such as Gibson’s Neuromancer showed me how to craft a compelling, futuristic narrative. That’s the great thing about prompts like these - each writer can take away their own message.
The major lesson to draw from all of this is to overload your circuits with what you follow the most, and eventually, if there is a story there, you’ll find it. I had to percolate this novel idea for years, in random locations, pondering over what it was going to be. Then I created a Google Doc where I kept all my notes and considerations, links to those pieces so I could re-read them, and even some beginning drafts. You can do the same in a simple notebook. The important part is getting it down.
The outline. Once you have the idea, and its solid, you can move on to the outline. Here is where my advice is going to be a little more tailored, and it may not fit your book at all.
Essentially an outline is the plot, characters, and themes all put together in some kind of coherent fashion that you understand enough to refer back to when you need it. Again, all I can do here is explain my own process in the hope that it is helpful. For Our Senior Year, I literally broke the entire story down into its seasonal parts, in different ways. I’m attaching a picture of my notebook from that time to give an idea -
Last Man on Campus was a pretty similar operation, in which I had the basic idea of the story broken down into the two semesters, and then had to work backward as I was writing to fill in some of the mythology of the society running the show (*spoiler*). Both of the outlines were basic - start with a major plot point, how it shows your characters, and their reactions. Et cetera.
I won’t even delve into the insane process I followed for my current manuscript (Observe and Detach) as the story has evolved quite a bit in two years and I’m not too keen on showing where some of it comes from just yet.
And unfortunately novel #4 is not following these outline steps at all, which I must stress is perfectly all right. In lieu of creating much of an outline as of yet, I sat down and cranked out what I think are going to be the major themes of the book -
After almost four years of thinking about this, I have just enough story and character to begin the first drafts, and to be honest I have no idea where they are going to take me. There will be a lot more grist on this topic (Drafts) in the next post, so all I will say here is to not worry about how dense (or not) your outline of the novel is - if it contains the major characters/plot/themes that you want to get on the page, you’re getting there. Thankfully the wonderful technology of the notebook allows for you to always add more stuff - mine is crammed with papers and clippings but I still go back to it when I’m preparing a book.
These are the techniques that have worked for me in getting a book through its initial stages. Short stories or essays (or really anything that’s not a novel) are different beasts, and if/when I ever get better at those forms I’ll try my hand at explaining how to come up with them.
Next up will be the initial (as Anne Lamott would say “shitty first”) draft. I hope to get a post about that process up by the end of this month, again following my own process and how I’ve done it in the past. I also plan on sending my current manuscript of Observe to my editor by then, and may write a little something about that as well.
Feel free to send any and all questions and comments my way, through email or in the comments. I want to hear about your own projects, if my advice is helpful, and how you come up with your own ideas and outlines I will also have an essay on the first book of the 2018 Reading List (The Handmaid’s Tale) up by the end of the month. Thanks for reading!
John Abraham is an author and freelance journalist located in the Twin Cities, where he lives with his wife Mary and their two cats. This blog is his attempt to catalog all the events that culminate a local writer's life.