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.
John Abraham is a published author and freelance journalist who lives in the Twin Cities with his wife Mary and their cats. He is writing a speculative dystopian novel and is seeking representation and a publisher.