Writing Strategies
The end is in sight!
I find it difficult to believe that only a month ago I was languishing just beyond that halfway point, some 45,000 words into the novel. It was like wading through treacle. The ideas wouldn’t come and every sentence was an effort. The writing simply refused to flow. My ‘soggy middle’ blues were the worst I’ve ever experienced – or so it seemed at the time. It had taken me six months to reach that point, but it was the two-month long break that followed that I blamed for my sorry state as those who read my last blog will know. From the responses I received after it was posted, I know that my experience is far from unique.
Looking back, I realise that break was no bad thing. Distance can make the heart grow fonder because, after a few tentative steps, I’m now racing to the finish.
To Plot or Not to Plot
One thing I’ve learnt over the years is that no two writers write their novels in the same way. The biggest differences are between the meticulous plotters who plan to nth degree taking months to write 40,000 word summaries with details of each chapter and scene and those who see writing as a journey – writers who start with a sentence or two and see where it leads them. Talking to many of my writer friends, it appears most of us fall somewhere in between these two extremes.
Presumably, the plotters don’t experience the soggy middle problem.
By nature, I like to start with a scene and write to discover what happens. That’s how I write my stand alone psychological suspense novels. Any attempt to plot is delayed until I get well in to the story and even then, it may be little more than an idea of the ending.
However, when writing a series, I do have the benefit of knowing my protagonist – tour manager Fiona Mason even if she does surprise me at times. I also have a clear idea of her West Indian driver, Winston. Finding a plot that will provide a valid excuse to bring in the enigmatic MI6 chief Peter Montgomery-Jones gets harder with each novel. He’s an example of one of those minor characters who take over and, in his case, demanded to come back in all the other novels in the series. The plot also has to be related to the country in which the book is set. Nonetheless, apart from a general idea of what the novel is about – even my initial choice of murderer can change – plotting is not for me even if it means the misery of the soggy middle.
From Start to Finish
Most of us prefer to start at the beginning and write in sequence to the end. We may know that certain sections will need to be drastically rewritten and leave the odd gap that we will have to come back to, but we plough on.
P.D. James famously wrote scenes and whole chapters out of sequence, but then she was a great plotter. It’s a method that many plotters adopt. Even those who do not plot in detail, may choose to write the final chapter early on so that they know exactly where they are heading.
I belong in the first camp, but with each novel – I’m now writing my 9th – I find myself having to flit back to an earlier point to include a vital scene to make sense of the plot before I can carry on. It does mean I have to keep a careful track of what I’ve written so far (more of that in next month’s blog).
First Draft
The perceived wisdom is that one should get the first draft written and worry about perfecting it at a later date. It’s the advice given to new writers who are tempted to spend so long revising their opening chapter that the rest of the novel never gets written.
For non-plotters, the first re-write can take almost as long as the first draft. Characters may change and develop as the novel progresses. Whole sections are no longer relevant and others need adding to explain later developments. I frequently need to move events earlier or later to make the plot hang together. Presumably, the plotters have far less work to do on this front.
The Rewrites
Not everyone leaves the rewriting until the first draft is finish. I’ve met more than one writer who perfects each chapter as they go along and once done, leave it at that. Once the final chapter is done, that’s it! No need to go back. Impossible for the non- or part-planner.
Each rewrite has a different purpose. Never attempt to perfect everything in one go. The first is concerned only with plot – a logical sequence of events moving to credible conclusion. To this end, I prefer to set aside a day or two read through the whole thing from start to finish making note of inconsistencies. Attempting to rewrite at this stage means that it can be weeks from start to finish, too long to test that essential smooth flow of plot. The second major rewrite is likely to be solely devoted to character – I work through each of the main half dozen characters at a time. Only at the very end worry about proofing.
As I said at the beginning, I am now in sprinting distance of the finishing line. BUT. There is always a but, isn’t there? There are a few scenes I need to add to make the plot more logical so I’m holding off that final showdown until they are written. I may even take a look at each of my chief suspects so there are no niggling distractions before that run down that final straight. Nothing to mar the sense of achievement when I reach the tape.
That does not mean that ‘Blood Hits the Wall’ will be ready for publication anytime soon. Once the first four or five redrafts are done, I will need to find some beta readers (any offers gratefully received) which I know will lead to even more rewrites.
However, it might be time to start thinking about where Fiona Mason is going to take her next tour. I feel another holiday coming on!!! Any suggestions?
See my website - www.judithcranswick.co.uk
I find it difficult to believe that only a month ago I was languishing just beyond that halfway point, some 45,000 words into the novel. It was like wading through treacle. The ideas wouldn’t come and every sentence was an effort. The writing simply refused to flow. My ‘soggy middle’ blues were the worst I’ve ever experienced – or so it seemed at the time. It had taken me six months to reach that point, but it was the two-month long break that followed that I blamed for my sorry state as those who read my last blog will know. From the responses I received after it was posted, I know that my experience is far from unique.
Looking back, I realise that break was no bad thing. Distance can make the heart grow fonder because, after a few tentative steps, I’m now racing to the finish.
To Plot or Not to Plot
One thing I’ve learnt over the years is that no two writers write their novels in the same way. The biggest differences are between the meticulous plotters who plan to nth degree taking months to write 40,000 word summaries with details of each chapter and scene and those who see writing as a journey – writers who start with a sentence or two and see where it leads them. Talking to many of my writer friends, it appears most of us fall somewhere in between these two extremes.
Presumably, the plotters don’t experience the soggy middle problem.
By nature, I like to start with a scene and write to discover what happens. That’s how I write my stand alone psychological suspense novels. Any attempt to plot is delayed until I get well in to the story and even then, it may be little more than an idea of the ending.
However, when writing a series, I do have the benefit of knowing my protagonist – tour manager Fiona Mason even if she does surprise me at times. I also have a clear idea of her West Indian driver, Winston. Finding a plot that will provide a valid excuse to bring in the enigmatic MI6 chief Peter Montgomery-Jones gets harder with each novel. He’s an example of one of those minor characters who take over and, in his case, demanded to come back in all the other novels in the series. The plot also has to be related to the country in which the book is set. Nonetheless, apart from a general idea of what the novel is about – even my initial choice of murderer can change – plotting is not for me even if it means the misery of the soggy middle.
From Start to Finish
Most of us prefer to start at the beginning and write in sequence to the end. We may know that certain sections will need to be drastically rewritten and leave the odd gap that we will have to come back to, but we plough on.
P.D. James famously wrote scenes and whole chapters out of sequence, but then she was a great plotter. It’s a method that many plotters adopt. Even those who do not plot in detail, may choose to write the final chapter early on so that they know exactly where they are heading.
I belong in the first camp, but with each novel – I’m now writing my 9th – I find myself having to flit back to an earlier point to include a vital scene to make sense of the plot before I can carry on. It does mean I have to keep a careful track of what I’ve written so far (more of that in next month’s blog).
First Draft
The perceived wisdom is that one should get the first draft written and worry about perfecting it at a later date. It’s the advice given to new writers who are tempted to spend so long revising their opening chapter that the rest of the novel never gets written.
For non-plotters, the first re-write can take almost as long as the first draft. Characters may change and develop as the novel progresses. Whole sections are no longer relevant and others need adding to explain later developments. I frequently need to move events earlier or later to make the plot hang together. Presumably, the plotters have far less work to do on this front.
The Rewrites
Not everyone leaves the rewriting until the first draft is finish. I’ve met more than one writer who perfects each chapter as they go along and once done, leave it at that. Once the final chapter is done, that’s it! No need to go back. Impossible for the non- or part-planner.
Each rewrite has a different purpose. Never attempt to perfect everything in one go. The first is concerned only with plot – a logical sequence of events moving to credible conclusion. To this end, I prefer to set aside a day or two read through the whole thing from start to finish making note of inconsistencies. Attempting to rewrite at this stage means that it can be weeks from start to finish, too long to test that essential smooth flow of plot. The second major rewrite is likely to be solely devoted to character – I work through each of the main half dozen characters at a time. Only at the very end worry about proofing.
As I said at the beginning, I am now in sprinting distance of the finishing line. BUT. There is always a but, isn’t there? There are a few scenes I need to add to make the plot more logical so I’m holding off that final showdown until they are written. I may even take a look at each of my chief suspects so there are no niggling distractions before that run down that final straight. Nothing to mar the sense of achievement when I reach the tape.
That does not mean that ‘Blood Hits the Wall’ will be ready for publication anytime soon. Once the first four or five redrafts are done, I will need to find some beta readers (any offers gratefully received) which I know will lead to even more rewrites.
However, it might be time to start thinking about where Fiona Mason is going to take her next tour. I feel another holiday coming on!!! Any suggestions?
See my website - www.judithcranswick.co.uk
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