Tag Archives: novel

Now the real work begins

Back in June 2018 I received a contract for a third novel in the Inspector James Given series (it didn’t start out as a series but has just grown that way) and, despite my slackness until I agreed a deadline, I completed the first draft by the last week in November. Hurrah!

I even got as far as devising a working title – it’s been James Given #3 for the last 5 months but now is called A Patient Man for the time being.

Unfortunately this is just the start of the process and there are many hours of work still ahead before it’s ready for a professional editor to take a look. Certainly I could just check it for typos, package it and send it off, there are plenty of novels out there where the author seems to have taken that approach, but then it wouldn’t be the best I could make it would it? And that’s what I want it to be, so the hard hours have to be put in.

I suspect every writer edits their work differently, and there are lots of guides out there to self-editing, so all I can talk about is how I’m attacking it. There are two main issues to address at this stage:

  1. I’m about 15,000 words short of my target length;
  2. I need to make sure the narrative of each of the story strands works from beginning to end.

I write using Scrivener on my laptop and on my iPad but prefer to read a hard copy, so the first job is to print a full manuscript, double spaced, punch it and put it in a ring-binder. The general advice seems to be to put it away for 6 months to give distance, but I’m not sure that works for me. Firstly, I’ve an awful memory so would probably forget where I put it. Secondly, I suspect that if I put it away I wouldn’t pick it up again, having moved on to new projects. Thirdly, there’s that deadline.

So, with my hard copy in hand, I skim read it, looking for time/day references or specific real events which provide a date stamp. I then produce what I should probably have produced before I started writing, a timeline. Because I’m that sort of geek, and because it’s easier to amend than a paper version, I tend to produce this as an Excel spreadsheet. Then I find that I need to go over the manuscript several times making margin notes to correct the times/days. This can, of course be very frustrating, and produce problems which seem almost insoluble – in this novel I had the declaration of the Second World War, which I’d have preferred (for other events) not to be on a Sunday, but it was, and nothing I could do about that so just had to make adjustments.

With these timing errors noted and rectified as far as possible I read the hard copy again, trying to avoid looking at typos, bad phrasing, etc, (that’s a later stage), making margin notes where further explanation might be needed, where gaps in the narrative arc have occurred and where opportunities exist to increase the word count. This latter one is really dependent on the others because adding words just for the sake of it isn’t a good idea, the reader simply finds it annoying to read verbiage.

Having read from beginning to end, without making any changes on the digital version, I then begin making the amendments in Scrivener, making sure I tick off each one on the hard copy.

This is the stage I’m at now. When it’s complete I’ll then read again and perhaps ask someone else to read it, still looking for errors in the narrative.

After that I’ll look for opportunities to increase internal and external conflict – the lifeblood of any good story. Then the work will start on phrasing, typos, repeat words, redundancies, excessive adverbs, clichés, pacing, etc. So not much there then.

Advertisements

The pen is mightier

BrendanBannonPenAlmost nine years’ ago my wife bought me a pen for my birthday from Brendan Bannon’s small shop in Enniskillen, County Fermanagh. The body of the pen is bog-oak, estimated by Brendan as being between 2,000 and 6,000 years old, which means it fell to the ground to begin its preservation when the pyramids were being built.

I’ve carried it in my pocket every day since then, initially for work and latterly to help me write four novels and countless short stories. Two weeks ago I lifted some change from my pocket and discovered the cap of my beloved pen had broken. I fiddled with it for a half hour without success then contacted Brendan Bannon, asking if he could fix it or replace all the fittings. He got back to me saying he probably couldn’t replace the fittings because it would damage the wood, but he’d supply a new pen at trade price – a very generous offer. However, did I want a new pen? I wasn’t sure. This was an old friend. We’d been through a lot together, at least three murders and hundreds of thousands of words. So I thanked Brendan and explained my dilemma.

Today he’s sent me a message saying he’s fixed the cap and he’ll post it back. What a star!

The point of this story isn’t to praise a pen-maker in Northern Ireland, or to talk about a bit of old wood, but to show how important it is for writers to have routine in order to be effective. This routine isn’t just about setting word targets or the hours when we write, it is also about the mechanics (pens, paper, tablet, laptop, etc) and place (coffee shop, desk, garden shed, etc) where we feel comfortable. I wouldn’t have stopped writing if I’d been deprived of my birthday pen but it wouldn’t have been the same and it may not have felt right with a new one. At least not for the first 50,000 or 60,000 words.

What routines do you use to increase your production?

Why did she say that?

How often in creative writing workshops have you heard that it is important to make your characters come alive? Like most authors I’ve struggled with that over the years but let me tell you, when it happens it’s both exhilarating and problematic.

I’ve plotted every scene of my current novel in sufficient detail for me to work on the first draft, which I’ve been doing now for a couple of months. There are quite a few characters in addition to the protagonist and antagonist, some I’m happy with, some I’m not. The latter need more work but the former feel well-rounded and I can see them. The problem starts when they’re so well drawn that they say things that aren’t in the plot but seem entirely appropriate for them to say at the time and in the place they find themselves. The other characters then need to react to the new situation and the story takes a twist I wasn’t expecting.

I could, of course, just go back and make the character say what I wanted them to say, bully them into submission if you like, but that would then be me talking, not the character. It would be false and, after all, I’ve wanted my characters to jump off the page so shouldn’t complain when they do.

How have I drawn them in this way? I don’t know. I’m a writer not a tutor and there are many good books out there which explain better than I could how to strive for this. All I know is that the two characters in this novel who seem to be speaking out of turn the most are ones where I drafted character sketches in the early planning. They didn’t become the characters I’d sketched, not entirely, but something in the process must have made them more real to me – allowed them (and me) to break free of two dimensions.

It’s exciting when this happens, even if it does mean parts of the plan need to be screwed up and re-written. It’s more than worth it in the end.

Newsflash – exciting

Today I have received an offer of contract from a publisher, Sapere Books, and am so excited. Sapere Books has offered to publish the new novel, A Rose by Any, alongside a relaunch of A Shadowed Livery and possibly a third in the Inspector James Given series which is currently at an early stage.

Those of you who read this blog regularly will be aware I’ve been looking for some time to place my second novel, following the decision of Holland House to stop commissioning new work for its Grey Cells Press imprint. It was a shame, because I have nothing but admiration for the dedication and editorial insight of Robert Peett and his team at Holland House, but independent publishing is a difficult game and I fully understand his decision.

One of the effects of these changes is that the digital version of A Shadowed Livery has ceased to be available for a while, although the print version may remain available via Amazon and other online outlets, or directly from Grey Cells Press. Hopefully, they will both become available again, alongside the new Inspector James Given novel, in a few months.

I’m very much looking forward to working with Amy Durant and her colleagues at Sapere Books on this new phase.

 

Number Three

Finally. The writing of James Given number three has started. I’ve been plotting for a few weeks, and planning to start for much longer, but the actual words on the page have eluded me.

True, there have been a few changes in my life over the past few months (selling the house, moving country, etc, etc) and I’ve not quite settled in to a routine yet, but it’s not really a good excuse for not writing. I’ve still been sitting at the keyboard for a few hours every day reading those all-important Facebook posts, checking vital emails from holiday companies, and generally wasting time. I’ve told myself that if only I was still able to go into my favourite coffee shop (Mrs B’s in Killybegs, County Donegal if you’re passing) the prose would flow, though I know it isn’t the reason. The real reason is I’ve just been too lazy and easily distracted – not a good combination for a writer. I did have a traumatic experience in one new café though – I was accused by one of the locals of writing down everything that was being said. He might have been right but I wasn’t going to admit it!

So, to get a grip, I started to plot. I began with a vague notion of a body being found – there almost always is, you know – then asked ‘how did it get there?’. A chance encounter with a ‘what’s on’ guide gave me a murder weapon. Whilst thinking about who the villain might be, I wrote a ledger for the victim using some characteristics from someone in a newspaper article. The murderer came to me part way through the poor corpse’s scribblings so I wrote their journal next. Then, using a three act structure passed to me in a recent workshop, I sketched out the three main storylines.

Today, I wrote the end, then the beginning. At least it’s a start, and only 75,000 more words to join them together.

I’ll keep you posted.

Scrivener and multi-strand plots

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:

  1. 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,
  2. 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.

Collections

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.

Adverbage

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.