Tell Me this is a Growth Moment....
Jul. 11th, 2008 04:56 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
mmerriamSo, the novel I'm working on this year, Dark Water Blues, has really started to kick my ass (which is not necessarily a bad thing). This is novel number three (or four if you count the Not-a-Milk-Maid-of-Destiny! novel, which is currently on hold) and I am having a much harder time with it than the previous books.
When I wrote Old Blood's Fate I was a stupid innocent, and just breezed through, working furiously and completing the first draft in about 90 days. It had a cast of dozens, and the POV moved from one person to another with each changing scene, and I didn't really use traditional chapters, and I took a mythological character and turned him into a (well-meaning) bad guy, where in every book I've seen this character in, he's always the Good and Wise Mythological Character. It wasn't very good: In fact, it was broken and clunky and fell apart in places. My reach really exceeded my grasp, but I proved that I could finish a novel, which was no small thing, and I learned a lot along the way, which led me to writing some good pieces of short fiction during that period. And I've learned enough that I think I can, at some point, go back and make it the book it should be, because there are good things at the core that can be salvaged.
With Last Car to Annwn Station I had a lot more seasoning as a writer, with several pieces of short fiction behind me and a whole load of shiny new things in my Writer's Toolbox. It has phantom streetcars and Twin Cities magic and Welsh Myth and I had a blast writing it. It took me longer to write, but it was stronger in the first draft, not so badly broken as its predecessor. This was the novel where I learned about tight plotting and really digging in and doing deep rewrites, and it was good. And I think it's a good book, a book I can sell, though only time will tell if I'm right.
But Dark Water Blues has turned into a struggle, though not a struggle I plan to quit. No, in fact I'm learning more and more about story and theme and tone in this one than I did in the others, but I am struggling with the darned thing. The first problem I'm having is writing in a tight first-person POV. It seemed like I was doing fine early, but the deeper I get, the harder it is becoming to hold the voice and tone. I've written tight first-person in short fiction and been fine, but here in the longer form, boy-howdy is it tough sledding.
Another problem I think I may be having is that I've created a sub-plot that, at nearly 60,000 words in, I realize isn't going to work and really isn't going anywhere. And there is a part of me that, after realizing I was writing a Hero's Journey, but from the POV of the mentor character and not the hero, wants to give Holly some POV, though it's been all Richard up to this point.
But the big problem I'm having is that I wrote myself into a stupid situation, because Richard and Holly have stopped acting and started reacting, which is the complete opposite of where we should be. They are trying to lay low, and that has brought the narrative to screeching halt. So now, I get to go back, figure out where it went wrong, cut away the flab, and get the thing moving again. Usually if I know I have a problem, I just make a note to fix it later and move forward, careening toward the end, but I can't do it this time. I need to sort this out before I can continue. And it sucks, and it's hard, but no one ever said this would be easy.
This is a growth opportunity, right?
Dark Water Blues
When I wrote Old Blood's Fate I was a stupid innocent, and just breezed through, working furiously and completing the first draft in about 90 days. It had a cast of dozens, and the POV moved from one person to another with each changing scene, and I didn't really use traditional chapters, and I took a mythological character and turned him into a (well-meaning) bad guy, where in every book I've seen this character in, he's always the Good and Wise Mythological Character. It wasn't very good: In fact, it was broken and clunky and fell apart in places. My reach really exceeded my grasp, but I proved that I could finish a novel, which was no small thing, and I learned a lot along the way, which led me to writing some good pieces of short fiction during that period. And I've learned enough that I think I can, at some point, go back and make it the book it should be, because there are good things at the core that can be salvaged.
With Last Car to Annwn Station I had a lot more seasoning as a writer, with several pieces of short fiction behind me and a whole load of shiny new things in my Writer's Toolbox. It has phantom streetcars and Twin Cities magic and Welsh Myth and I had a blast writing it. It took me longer to write, but it was stronger in the first draft, not so badly broken as its predecessor. This was the novel where I learned about tight plotting and really digging in and doing deep rewrites, and it was good. And I think it's a good book, a book I can sell, though only time will tell if I'm right.
But Dark Water Blues has turned into a struggle, though not a struggle I plan to quit. No, in fact I'm learning more and more about story and theme and tone in this one than I did in the others, but I am struggling with the darned thing. The first problem I'm having is writing in a tight first-person POV. It seemed like I was doing fine early, but the deeper I get, the harder it is becoming to hold the voice and tone. I've written tight first-person in short fiction and been fine, but here in the longer form, boy-howdy is it tough sledding.
Another problem I think I may be having is that I've created a sub-plot that, at nearly 60,000 words in, I realize isn't going to work and really isn't going anywhere. And there is a part of me that, after realizing I was writing a Hero's Journey, but from the POV of the mentor character and not the hero, wants to give Holly some POV, though it's been all Richard up to this point.
But the big problem I'm having is that I wrote myself into a stupid situation, because Richard and Holly have stopped acting and started reacting, which is the complete opposite of where we should be. They are trying to lay low, and that has brought the narrative to screeching halt. So now, I get to go back, figure out where it went wrong, cut away the flab, and get the thing moving again. Usually if I know I have a problem, I just make a note to fix it later and move forward, careening toward the end, but I can't do it this time. I need to sort this out before I can continue. And it sucks, and it's hard, but no one ever said this would be easy.
This is a growth opportunity, right?
Dark Water Blues
