It’s well known that Scrivener is one of the most versatile and useful programs around for creative writing, although it does take a little getting used to, and there are some annoying differences between the Mac version and the Windows version. Also the lack of an Android version is a distinct disadvantage if, like me, you use Windows and an Android tablet, so working ‘on-the-go’ can be fiddly and frustrating at times. It can be done, and given all the other advantages of Scrivener, perhaps one shouldn’t complain.
I’ve recently completed the first draft of my third novel, which has four story-lines over a hundred years, interspersed. So, I needed to check each story-line for consistency of language, voice, etc and ensure they followed naturally from one scene to the next (in the same story-line). This is where I began to discover the joys of ‘collections’ in Scrivener. One of these joys is that the collection is a virtual state – that is, the scene stays in the binder, even if you decide to remove it from the collection, but changes made to the scene in the collection, will be reflected in the ‘main’ scene in the binder. So no need to worry about which is the latest version.
I had, of course, every scene listed in my binder, so I created a collection for each story-line and popped all of the relevant scenes into each. This can be done in a couple of ways:
- Highlight each scene in the binder (using ctrl + left-click), then right-click for the context menu. Choose ‘Add to collection’, then ‘New collection’, naming it as you see fit. Or,
- Click on the ‘+’ sign next to ‘Collections’ at the top of the binder window, naming each collection as you see fit. Then right-click on each scene, choosing ‘Add to collection’ from the context menu, having chosen the collection you want to add it to. Again, this can be done in multiples.
Both of these are really the same, just in one the collection is created first, whilst in the other, the scenes are highlighted first.
My collections are shown below.
From here you can compile each collection for on-screen use, print it out, or export to something like Word. I compiled to Word, saved in Dropbox, and then have been able to read each story-line independently on my tablet. If I’d had an iPad, I’d have stayed in Scrivener and edited directly – putting comments in the document notes, so this is a bit of a compromise, but it works, even if I do have to then flip between Word and Scrivener later when I’m redrafting.
I’m looking forward to starting a new novel in a couple of months and using this feature from the start to plot the story-lines. I’d be interested to hear if other people are using this feature.
A month ago I was mired in writer’s block, or to put it another way, feeling so despondent about my current novel that my mind went blank every time I opened Scrivener. I’d been like that for months. At first I thought it was the usual ‘half-way-through blues’, my demons telling me it wasn’t good enough so why bother. But after a while I felt there was something more and the block became self-fulfilling,
Then the magic happened. I found myself with an hour to waste in a town I didn’t know, so settled in a coffee shop (with a cake, naturally) and returned to pen and paper. The words flowed – no, gushed – and I was sorry to stop to meet my appointment. Since then I’ve managed to write most days, even on the laptop.
And last night I finished the first draft. No champagne nor balloons – this is where the work really starts.
I think the problem, and perhaps the solution, was that I’d changed my routine. My pattern over recent years was to go into town with my wife every Friday, then sit scribbling in my notebook while she did what she had to do. This was augmented a couple of years ago by a similar activity earlier in the week. Producing this material, typing up the longhand, and developing it in the ensuing days, meant I was in a discipline of writing regularly. Then a couple of things changed and my trips to the café stopped for a while. Even when I had the chance to go my mindset had shifted – an ‘I’m not writing so why go to the café’ kind of thing.
Until today I hadn’t realised what the problem had been, I only knew I’d got over it. Just goes to show how difficult and fragile this writing process is. So, if you’re facing the same, try changing your routine, or look at what you were doing when you were writing, and try going back to it for a while.
Last weekend I took a trip to County Wicklow, partly to carry out some family history research, and partly to check locations for my current novel. I’ve already written around two-thirds of the first draft, imagining the street scenes and roadways, backed up by miles and miles travelled on Google StreetView.
On the ground, however, I discovered that so much needs rewriting because my understanding of the history of the places was distinctly under par. The period of the novel I was investigating covered 1847 to 1921, and, of course, much has changed in the intervening years. Houses that I thought of as old, were actually new or didn’t even exist in that time. The landscape must have been different because the trees lining the fields, or forming huge woodlands, though large, were nowhere near 150 years old. Even the rural roads would have been different, with little or no tarmac, and the town layouts have changed beyond recognition.
I’m not dismayed by this, it’s important to get it right, and the experience of getting the feel of the places; seeing the way the light fell, hearing the sound the river made over the gravel and feeling the wind blasting down the mountain, made it all worthwhile. Even if I hadn’t been researching, it would have been pleasurable.
The hard task now is to translate it all on to the page.
Two weeks ago several members of our writers group attended a day workshop on Editing Your Novel, led by Brian Langan of Transworld Press. The breadth of advice was immense and it prompted me to get back into gear with submitting my second novel to publishers – but not before a ninth edit.
I’ve written before about the excellent ProWriting Aid software (or is it ‘app’ these days?), and this was my first port of call – oh oh PWA would definitely pick that up as a cliché – and that one as an adverb. So, I ran the range of reports on my first ten thousand words and gasped at the number of adverbs, passive verbs and personal pronouns it highlighted. How could I get it so wrong?
Simple. We all use these devices every day in our speech, often as a kind of shorthand: clichés probably exist for that primary purpose, to avoid extensive explanations; adverbs help us avoid flowery imagery; passive verbs often sound more natural than their active counterparts in English speech patterns; and personal pronouns are almost unavoidable regardless of whether we’re writing in first or third person. I’ve given you seven personal pronouns to this point in this paragraph alone. However, I’ve dodged the cardinal sin here of repeating the same pronoun at the start of successive sentences.
Try a little test if you use Microsoft Word. Search your manuscript for ‘I’ (better to search for ‘. I ‘ – that’s: full stop, space, I, space – to avoid finding the letter as part of other words) if in first person, or ‘He’/’She’ in third person. See how many you find. If you miss out the full stop from the search you’ll be likely to find lots more.
Before going further perhaps a short explanation might be beneficial:
- Personal pronouns are used to replace names and denote gender and/or number. Examples include he, she, I, it, you, they, them, us, and so on.
- Adverbs are used to qualify verbs, nouns and adjectives. They tend to be frowned upon in creative writing. In most cases (or at least most cases I could think of) they end in ‘ly’. Examples include quickly, slowly, gleefully, quietly, etc, etc, etc.
- Depending on where you use a verb in a sentence it can be active or passive. For example: ‘John throws the ball’ (active) or ‘The ball is thrown’ (passive). Both are valid but active verbs tend to give more movement and immediacy to writing.
Finding these little devils isn’t difficult, it’s fixing them that is. Sometimes we can avoid them, sometimes we can’t. A good thesaurus can often provide alternatives to adverbs, though we shouldn’t dispense with them altogether. They can be used in opposition to the verb to provide atmosphere where an alternative verb wouldn’t. For example ‘He laughed grimly’. The personal pronouns are like grains of rice dropped on the kitchen floor – you sweep and sweep but they still pop up days later where you were certain you’d got them all. Passive verbs can be so hard to fix – the ball was thrown and you don’t know who threw it, and you want to avoid ‘Someone …’ where do you go. Wholesale rewriting of the sentence is often the only option. Sorry folks, no easy options here.
So, I bounced into my novel, scanned the analysis from ProWriting Aid, wept a little, then set about reducing those low scores. The results, I think, are looking beneficial. Let’s hope a publisher thinks so soon.
Great review of A Shadowed Livery today at nonstopreaderbooks.blogspot.co.uk – so nice to hear.
As a writer I struggle, like many others, with maintaining momentum. In fact, for weeks, I’ve written very little except when I’ve been in coffee shops, as I mentioned in my previous post. There are, of course, the usual distractions – Facebook, emails, cutting the lawn, etc – but there’s also something which, for me, always seems to put up a barrier to moving forward.
Stephen King, and a great many other writers, say that to write well you must read a lot. But how does that help when the books you read end up being poor – either poor prose, poor plot or poorly edited, sometimes all three? I’ve recently read three novels, which I won’t name because I think writing is hard enough without getting bad reviews, that had one or more of these attributes. One of them was in the top 20 sales on Amazon Kindle, yet I struggled to finish it because the writing was so bad. And I don’t think it’s just a matter of opinion. Last month I led a discussion on Steinbeck’s The Grapes of Wrath, one of my all-time favourites, and other readers didn’t enjoy it as much as I did, though none of them said it was badly written, and I can live with that, we all enjoy different things in novels. Similarly, a friend recommended a book which I read and didn’t like stylistically, it just wasn’t for me, but I admired the way it had been written.
With bad writing it’s possible to pull out a couple of positives. Firstly to identify the things we should avoid, like inaccuracy, bad punctuation, ‘he said, she said’ sloppiness, and so on. It’s much easier to see these on the page than in some theoretical class. Secondly, I expect there is some comfort to be taken when you notice that the writing is poor – at least some of the lessons have stuck.
However, the barrier for my writing in these badly written novels is that they’ve been published, so the punctuation, lack of historical/technical accuracy and plot holes should have been picked up long before they hit the bookshelves. Even so, they still seem to sell well. So what am I doing wrong? My first novel found a publisher after a number of rejections but my second has been turned down by lots (and I mean lots) yet I know, and I hope it’s not just arrogance on my part, that the writing is better than my first and better than some of the offerings I’ve read lately. Do I expect the world to be fair? To be just? No, I don’t. It’s only that I sometimes become discouraged and it makes me want to give up. Is it any wonder I feel like turning to the bottle – especially this one?
Every time we sit down to write, our objective is to let those good old creative juices flow and the perceived wisdom seems to be that the more comfortable we are in our space, the more likely this is to happen. For many years, after the word-processor became accessible, my writing place of choice was at a desk-top computer. I usually had access to a laptop as well but this didn’t provide me with the discipline I was looking for. Perhaps it was due to me primarily writing non-fiction at the time, where I needed to be more structured in my approach.
That’s not to say that I didn’t find other places to write which suited me very well. My favourite, of all time I think, was sitting in the sun outside a waterfront bar in La Rochelle with a glass of wine, a notebook and pen, working on a draft guidance booklet for a Government department. Unfortunately, access to that particular space was limited to a couple of afternoons in the middle of my holiday.
Now, I have two main spaces where I work. Three years ago, increasing pain in my lower back caused me to abandon the desktop for a laptop (literally on my lap). I sit in a club chair in our ‘sun-room’ with windows onto the garden on three sides. The time I tend to write is between six am and eight am in the morning, with the first, and possibly second, mug of tea of the day on the windowsill beside me. I’ve always found early morning to be most productive. Once or twice a week I also find a table in a coffee shop, where I write longhand in a notebook, using a pen made from oak taken from the bog. It pleases me to think I’m holding a modern ballpoint encased in a material possibly 2000 years old and I find that even if I can’t get the words down on the computer, the old fashioned pen and paper usually does the trick.
Most of my researched material is stored on my laptop and I use a mix of Scrivener and Word. The former for organising and drafting, the latter for later editing. I’d like to use Scrivener for all of it but I haven’t quite got the handle on all the skills needed to get to the finished product. I have Scrivener synced to Plain.txt on a tablet so that I can dictate from my written draft – it is possible to dictate directly into Scrivener, at a cost, using something like Dragon NaturallySpeaking but I haven’t got round to making that investment yet.
It would be nice to hear where other writers find they are most productive.