A question related to “Why do you write?” but slightly easier to answer, is “Why do you write novels?” Because we can’t write any shorter. I read numerous writing advice where they say, “Start off with small steps. Start off writing short stories, and then graduate up to novels.” Sound advice but I, for one,…
People ask, “Why do you write?” It’s a difficult question to answer, and my reply would more be along the lines of, “How can one not write?” rather than a considered reflection on the reasons I write. I just do. I always have. Sherylyn and I analyse other parts of our writing in depth. Style…
Do we outline? Not really. Isn’t it dangerous not to outline? Yes, but … you could almost say that our first draft is the outline. Outlining a story almost always cuts down time to write, and cuts down then number of major rewrites. I suspect it’s a little like making the transition from writing by…
So J. K. Rowling intends to kill off a couple of major characters in her Harry Potter series, according to an interview she did with Britain’s Channel 4. In the widely quoted interview, Rowling says that she … understood an author’s desire to kill off the main character of a successful series. … “I can…
An ongoing link to other on-line novels. John Scalzi’s Agent to the Stars is a comic look at a Hollywood agent who takes on his biggest clients yet. Aliens who want to improve their image. Read this and enjoyed it, although it’s probably not normally my cup of tea. Showing signs of the writer Scalzi…
Throughout this blog we’ll talk a lot about our own fiction, commenting on characters, how we did it in other stories, how we’re doing it in future stories, and so on. Here are the stories we’ll talk about, and some of the characters we may mention. Not So Simple After All (formerly Potion) Our first,…
We write as a team.
Some writing teams share the work more or less equally. They divide the book into scenes and each partner writes their own scenes. We divide it differently, although we can see that changing over time, particularly as we venture into children’s stories.
At present though, the work is divided roughly along the lines of the following.
One of us has an idea. It could come from either person, it just has to grab both our imaginations and make us think it has somewhere to go.
We discuss the idea until it clicks with both of us. This can take hours, days or weeks, and some ideas go nowhere because they intrigue one of us but the other can’t get interested at all. Sometimes the one who has the idea persists in writing it anyway, because they can’t let go.
By the time we have something we can both work with the idea has changed completely from the original. The initial idea for Satisfaction, for example, was an adult novel. The story we will end up writing is a children’s cartoon. Even so, the germ of the idea is still there, it’s just not the same story.
The person who has the idea writes the first draft. Let’s say that’s me, in this case.
At the end of each day I hand what I have done over to Sherylyn to read. She reads it off the screen, highlighting any major problems such as bad characters or bad plot lines.
Next day we discuss where the story goes now, and that night I type in the next day’s wordage.
At the end of the first draft we re-read the whole story. Sherylyn goes through it looking for major plot holes and problem characterisation. I sit nearby with the computer and note any feedback she gives verbally. (The worse the story/characters, the more verbal the feedback.)
After she has finished we discuss what has come out of it and how we might change any problems.
I do the typing, making changes based on our notes and discussions.
There are some major changes between drafts one and two. The story gets moved around, characters are chopped, new characters added. We make a lot of changes to cover plot-holes, and that often takes us in different directions, too.
By the end of draft two we generally have a story. Rough, but pretty much in place.
These are major drafts, I might add. There are plenty of minor drafts in between, and lots of revisions ongoing.
By the third draft we’re looking at characterisation. Fleshing out the characters to make them more rounded, changing their behaviour to make them behave more in character. Would Scott behave this way? How would Blade react to that? and so on. By this time we have a pretty good idea of what makes these people tick, and we can use that to give depth to the story.
I’m very light on some of the emotions, so Sherylyn often comes in here and starts adding ’emotive’ passages.
Along the way we fill in minor plot holes.
The idea … Often sparked by Sherylyn, occasionally by me. It’s usually always an event, in association with a character. POTION, for example, came about as an idea Sherylyn had for one of our series characters*. The idea took a life of its own, and before we knew it, we were halfway through the adventures…
We’re at that stage in our writing where we don’t look at the ‘how to write’ sites any more. We like the sites where writers write about writing. How they work, what they do and the struggles they have with their story. We don’t quite know how this idea took root. Maybe it’s because Sherylyn…