A tad annoying to have missed hitting 50k words today, since that’s supposed to be the halfway point. I have no idea whether it actually is. The various deviations from plan seem to have added a whole new chunk in the middle of the story, which may or may not make up for the chunk that got lost when Chief Antagonist decided to make up his own plot. I’m still going with the change of direction from a couple of days ago and that still seems to work, so there’s still a major rewrite of the first third of the book required. It’s tempting to go back and do it now, but I won’t, and the main reason for that is that I had no idea whether the story will later veer off in another unexpected direction. I’ve a few one-line notes on the major changes that need to be woven in just to catch my current thoughts, but no revisions, not yet. It’s been a bit of a hard lesson to learn over what’s now pushing twenty manuscripts if you include all the unpublished stuff, but that really is what works best for me these days. There was a time when the first draft was when all the wonder happened, exploring a whole new story without quite knowing how it was going to end, but that’s been changing over the years. Yes, the first draft still nails down the arc of the story and all its waypoints, but the revisions are now when the characters and the world spring into life and I’ve come to enjoy that part rather more. It didn’t used to be this way, but I’ve heard several other ’seasoned’ authors say the same. I wonder whether it’s a general truism. Not that it really matters.

Two chapters done today, possibly with too much of the action in the first happening off-screen, while the second one definitely has a section that smacks of Skyrim withdrawal symptoms. I haven’t played for THREE WHOLE DAYS dammit. And I was thinking – I’ve never had a sequence in a story with an ancient vault/tomb with stuff-that-is-best-left-alone inside it, and then afterwards I remembered that The Black Mausoleum is pretty much about an ancient vault/tomb with stuff-that-is-best-left-alone inside it. You’d think, having quietly copy-edited that over the last couple of weeks, I might have remembered a bit sooner.

Anyhoo…  Today’s lesson is this: if you want to hit your wordcount for the day, turn Facebook off. And particularly do not get caught up in a discussion of old goth music with Gavin Smith and MD Lachlan, especially when it’s one of those days when Mark doesn’t actually seem to have any work to do and peppers his comments with Youtube links. Tappity-tappity-tappity – oooh a Sisters of Mercy clip – tappity-tappity-tappity – oooh! Bauhaus! Ooooooooh The Hunger! – tappity-tappity-tappity – oooh some band that no one has ever heard of! And another! And another! – tappity-tappity-tappity. For half the afternoon.

A day of things coming together rather nicely. It would appear that yesterday’s minor meltdown has taken the story in a much stronger direction. Three full chapters and the start of a fourth, and I still don’t have anything better for why my chief antagonist isn’t dead other than The Plot Says So, but I’ll leave that thorn for the rewrites. Everyone is now off doing their own thing but it’s also clear how they can’t possibly leave each other in peace for long. In this regard, they’re rather like a collection of small children.

It’s been a long day today with a pile of copy-editing as well, hence a short post. I might easily have stopped 500 words earlier and been happy about it, but that would have been the end of a chapter. When the words are flowing I much prefer to stop in the middle of a chapter than at the end of one. This generally means I know exactly what I’m writing as soon as I sit down on the next day and makes it much easier to find my rhythm. If I have to start at he beginning of a new chapter then I find it much harder to get going. I’m sure there are other people who find the exact opposite.

Once upon a time, I built a gizmo with a couple of motors moving a mirror. A laser was supposed to shine at the mirror, which was inclined by forty-five degrees, so the laser came out orthogonal to the way it came in. The motors were partly to stabilise the mirror, but they were also supposed to put a couple of small sinusoids on the mirror so that the beam went in small circles and traced the path of a cone when it came out. In principle, when you turned the laser on at the top and held up a piece of paper to see what pattern the beam was tracing, what came out was supposed to be a circle.

What actually came out generally looked like a bird’s nest, and for a long time, this seemed like a Very Bad Thing, but in the end turned out to be so useful that several of us continue to claim to this day that we designed it that way On Purpose because we were That Clever, and it wasn’t a lucky accident at all, oh no.

So, anyway, the writing: Some days you tap on the door of the muse and out she comes, singing sweet songs and ready to dance all night. Other days you have to go in with a police battering ram and a couple of tear gas grenades, drag him out of a crack den and stick his head in a vice until he screams and then take those screams and use them, even if what you end up with makes Pirates of the Caribbean III look like a work of deep meaning with an intricately layered plot leading to a climax that is both spectacular and thoughtful. This has been one of those days. One major character has literally declared they’ve had enough and walked out. The scholarly sidekick now seems to think he’s Ozymandias from the Watchmen. And while it was quite fascinating how he disposed of the Chief Antagonist, I currently have no idea how he’s not actually y’know, totally dead and stuff and can’t come  back for, y’know, THE REST OF THE F***ING PLOT, MAYBE?

And yet.

I’d been planning to write a bit about why I’m actually doing this, but today’s little debacle strikes me as more informative. While the prose style of today’s writing is no different to that of the days before (that is to say, workmanlike and nothing to shout about – for me that’s fine and what rewrites are for), the narrative twists and turns, particularly relating to, well, basically all of my principle characters, are not. They are either much better and drive the story onto a much tighter track, or else I’ve completely disappeared up my own backside and at this point it’s quite difficult to tell which. One thing that is certain is that what I wrote today, in the context of what has gone before as it is currently written, is dire – a bunch of characters suddenly start start throwing their toys about without any particular warning or indeed, any particular indication that they had said toys to throw.

It’s tempting to throw the whole lot away. Certainly the bit where someone builds a snowman in order for someone else to shoot a it a few pages later and thus trigger an avalanche that wipes out a whole bunch of people needs a serious slap in the face with a haddock. However, it’s also possible that the agonised screams of today’s very reluctant muse have been telling me something important about the passions of the main characters in this story. That they have been a bit mute thus far. Possibly twisting various characters around to set up for today’s scenes will add a tension and a darkness that’s been missing. Instinct says go with it and take the rewrite effort on the chin.

Sometimes when the muse howls, it means more than when she sings.

In which chapters are set in a series of underground grottos and on a snow-covered mountainside, and if all of that has nothing to do with an  evening back on Skyrim and then getting six inches of snow overnight and spending most of the afternoon throwing snowballs at each other, then my secret identity is that of Chairhead from The Tick.

I am shagged. Worded out. Remember that thing where I said I scheduled in a few days off when I was planning my wordcount? Could. Have. Done. This. Better.

I often wondered how one could have a secret identity when one’s power was basically to have a chair for a head. A little help with that one?

(Counts switched to running totals, as I finally ‘fessed up to cheating a bit yesterday)

The first act is finished. About a third of the planned second act has vanished in a smoking hole of unexpected narrative decisions, but on the whole, it’s not too bad. It has a prologue, of course because all my stories have prologues, almost none of which survive the editor. Just for fun I’ve given the second act a prologue too, and that probably won’t survive either. This is a first draft, though, so some serious pruning during the rewrite is to be expected.

Speaking of which: It may be a problem particular to the books that are the sequels to something else, but I’ve noticed something about the “infodump.” In this case, the infodump in question is the recap of what happened in the previous book that is relevant and necessary to the events about to unfold, but I think I’d make the same comment about infodumps in general, especially ones about the workings of the world. It’s possible that in Chromium there are currently four different places in which some character explains to another character, or else muses internally, on certain previous events. Splitting it like that goes some way to avoid the “look, here’s a synopsis of the previous book” chapters which I personally don’t like while keeping each “mini-dump” feeling so natural and unobtrusive that the reader barely notices. Or so goes the plan. What I notice now looking back is that these overlap quite a lot. The same things are being repeated more than once. It’s not quite as bad as every protagonist having to introduce herself to every other by speaking out the litany of her deeds, but it’s definitely pretty grim. This, my friends, is what rewrites are for – rewrites will make it all better. Believe in the rewrites. For this first draft, the hand having writ moves ever on, never back, not if you want to be done in a month. I shall come back to rewrites a little later, but I’ve talked about first drafts before.

Finished yesterday’s chapter and did two more. Thought I’d got rid of yesterday’s intruder, but like a bad penny, he shows up again. This is close to the end of the first act now and oddly, although much of the detail is now very unlike the original synopsis, it’s come round with all the pieces in roughly the right place, and even the second act looks it has some chance of running roughly according to outline, despite a conversation with the chief antagonist roughly along the lines of this:

Chief antagonist: Oi! Author! That plot token you wanted to have me spend the whole first half of the book chasing after – it’s right there in chapter 3.

Author: Yes I know, but. . .

Chief antagonist: Well I’m having it then.

Author: Er . . . actually I need you to . . .

Chief antagonist: (with menace) Yeeeess?

Author: Well you see in the synopsis . . .

Chief antagonist: Look, it’s right there. I can see it. Well sort of. I mean, I could if I just happened to torture a few people. And the thing is, I’m going to look like a right plonker if I walk past it.

Author: Weeeell . . .

Chief antagonist: And you wouldn’t want your Chief Antagonist to look a plonker. That’s pretty limp isn’t it? Doesn’t that undermine the whole square-jawed hero thing?

Author: I suppose.

Chief antagonist: Good, I’m glad that’s sorted then.

Author: But . . .

Chief antagonist: I know, I know.  Was supposed to spend half of act two chasing after it and then the other half chasing after Captain Square-Jaw. How about I spend the whole of act two chasing him instead?

Author: Well . . .

Chief antagonist: Good. Glad that’s settled. If it helps, I’ll eat or maim a few Significant Characters along the way.

Author: Not really.

Chief antagonist: I could start with that one that gatecrashed in chapter six and won’t go away. Shall we talk about the ending you had in mind now or later, by the way. Because to be frank there’s one or two changes I wish to discuss.

Author: (weakly) Later?

Chief antagonist: Don’t think I won’t remember.

So anyway, beating the OCD dragon: See, wordcounts work fairly well for me on account of being mildly obsessive-compulsive; thus if there’s a wordcount set for the day, I will try very hard to hit it.  However, there can be days when it’s really very necessary to simply let go and accept that it’s not going to happen. For those like me who find it a bit hard to let go, I have a couple of tricks I can recommend. First is to give yourself some days off. I you have a bad day, you can declare that to be your day off instead. Second is to cheat. If you’ve been keeping count, you’d have Chromium at 21,500 words by now, but it’s not, it’s at 29,500. I write a few thousand words of my opening chapters before I officially start. Then when I have a bad day, I already made up for it in advance. How cool is that?

A chapter and a half-chapter today, in which my erstwhile hero finally gets some decent page-time instead of being usurped by his supporting cast. Or that was what the plan said, but I seem to have a gatecrasher. Some refugee whose existence I’d never even imagined until about three chapters ago is now hanging out with my hero trying valiantly to be interesting enough to last. Give that he (gender TBC) has lasted a chapter and a half and shows no sign of going away, I suspect he’ll succeed.

This is a case of a character spontaneously to fill a hole. My hero was supposed to be travelling with someone else at the moment, with whom he was supposed to have a falling out later. Writing out their first scene together made it clear that any delay was only ever going to look like procrastination and they went and had their falling out right there and then, thus leaving him unexpectedly alone and in need of comapny; and so, like taking a new lover on the rebound, this newcomer jumps in to fill a vacant space and seems a delight of new possibilities. Continuing with the same analogy, I suspect he stands a fair chance of turning out to be a complete disaster who’s soon trying to tell me how to run my plot, demands I stop seeing all my minor characters so I can write more page-time for him, and finally blows everything up in my face about two-thirds of the way through when I’m just starting to steer a course towards the final act.

Still, he’s in. For now. Ever the optimist or ever desperate, I’m really not sure…

A chapter and a half done today. All the major characters are now in play and it feels a bit like setting up a position on a chessboard. Like trying to reproduce a famous opening and not quite remembering how it goes and getting somewhere close but not being quite sure and now I’ve played it and it’s not quite how I remembered it, which might mean that it’s a brilliant and startling innovation or else that it has a critical flaw in its defence that’s going to make everything unravel later. And like a game of chess, the only way to know is to play it out and see what happens.

A first draft is not the beginning of a story. I’d hazard there are almost no authors at all who sit down in front of a blank script and start writing with absolutely no idea of genre, character, theme or plot, although it does now sound temptingly zen and also dangerously close to how I write blog posts. From what I’ve seen, we all have our own ways of preparing for the First Draft. Some plan with meticulous precision and copious notes. Some seem to come up with a single idea, and think, Oooh, a story about a Belgian parakeet who talks to the dead and off they go without any idea of anything more, making it up as they go along. Personally I need a little more, although sometimes not very much (Dragon Queen, for example: The Taiytakei steal dragons and, while they’re at it, a dragon-queen. Consequences ensue. Good enough for a novel twice as long as this one, that was, although the first rewrite was colossal). For Chromium, I’ve started from a four-page synopsis, one page with very brief character outlines and three pages that gives a sentence or two to each of the chapters I thought I was going to write. Generally speaking I find the more work I do up front, the better the first draft is, although though that neither always works out nor equates necessarily to a better final product. The idea this time was that a very brief synopsis for each chapter ought to make starting to write each one somewhat easier.

Anyhow, this is about the point in the first draft where all that planning starts to fray at the edges. Ideas that looked fine in a two-page synopsis now appear dull and contrived when put into proper prose. The characters are mostly as they were intended, but one of them is developing more, ah, personality than expected and the main threat has turned out a bit crunchier that intended. This is all to the good, but has mades one of the intended relationships quite different. However, my main no-plan-survives-contact-with-the-enemy thing right now is that the story I’ve written seems to have found a short-cut around the synopsis that eradicates the need for about four planned chapters. At the same time, the lead character finds himself in a situation that wasn’t quite as I’d intended it at this point and a character I didn’t even know existed when I started looks like they might be making a significant part for themselves. So far none of this seems to derail the main storylines and merely weaves them in a different way.

Not that this is at all unusual, but this is where it really hits home that I’m walking into the unknown.

Actually a bit surprised to catch up today, but when the muse is in the zone, the muse is in the zone. I take these days when they come and am grateful for them, since there are also days when the muse is all hungover and surly from staying up too late and drinking too much at some all-night muse party and no amount of being flogged with a dead haddock will make her get of her lazy ass and inspire anything more than an intense need for chocolate.

Two full chapters today, a half-chapter and the start of yet another. Less talking, more fighting. Maybe that’s why. Also I like the bit where I threw someone off a cliff.

A bit about wordcounts then. Being a slave to wordcounts is a dangerous thing. It’s like being on a diet and then being a slave to the scales and waking up in the morning every single day and getting on the scales and seeing that OH MY GOD I PUT ON ANOTHER SIX GRAMS OVERNIGHT HOW IS THIS HAPPINING OH MY GOD MY LIFE IS AT AN END I AM SUCH A TOTAL FAILURE I MIGHT AS WELL EAT ENOUGH CHOCOLATE TO KILL AN ELEPHANT AND… er, I mean it’s easy to get disappointed and depressed and lose motivation. And stuff. Because like what the scales say each morning, the muse can be cultivated and directed but also fluctuates from day to day in a way that is completely out of your control and you might as well get used to it.

However, if you’re going to try and write a novel in a month or do the NaNoWriMo thing then you have a deadline and as soon as you have that, you have a wordcount target whether you like it or not, and as soon as you have that, seems to me you might as well pay some attention to how feasible it is. Especially when that count’s a big one. If you don’t know how fast you can write, it’s probably a good idea to find out. If it takes you six hours to write a thousand words, that’s how long it takes and there’s no point imagining you’re going to write five thousand in a day unless you have some very advanced ideas about space-time. Be realistic about how much time you actually have in a day for writing too. You might have thought I’ve done this sort of thing enough times not to cock up, but I’ve given myself five hours a day for Chromium which it turns out I don’t quite actually have, because there were various basic things like eating food and staring vacantly into space that I forgot to consider. I could, on a really good day, get done in three. On bad day, I’d need a time machine. I’m going for something that experience tells me I ought to manage, most days, to hit. Note also Mark’s comment on the yesterday’s entry. Write words at a rate that suits you, not the one that someone else said might be a good idea or the one that’s necessary to meet some ephemeral target in the three minutes of free time you have every day. If you don’t know what rate that is and you want to set yourself targets, I suggest finding out. Targets are there to help, to motivate, maybe for a bit of goading and definitely for a bit of feelgood when they get hit, not to stress, taunt and demoralise because they’re always out of reach. Choose them with care. Give yourself a day off now and then, too. These are important. They are for playing Skyrim (none today. I was good).

This really is shockingly like diet advice.

While (a tiny fraction of) the rest of the world observed national Novel Writing Month back in November, I was in the middle of a stack of rewrites for Dragon Queen. It was pretty cool watching lots of people racking up their wordcounts and a bit sad watching the agony for others as they found they simply couldn’t do what they’d hoped they could.

My situation is probably a little different to most of yours. Over the next month, I am aiming to write the first draft of a novel I shall call Chromium for now (working title). This is my day-job, my profession. I have about four weeks to knock up a usable first draft of a 100k word novel (bit of a packed schedule in the first half of this year). To be honest, I expect to fail and be content if it takes six weeks rather than four. Over the next month, I plan to give a day-by-day progress report along with hints, tips and the occasional rant and pulling-out of hair. I hope this might be either vaguely useful, informative or amusing, but I guess I won’t know that until I can look back on it from the other end. So here goes:

Some entries may be rather terse, as there might not be much time left in the day for the blog! Also, checking for typos and other errors may be, ah… minimal.

Day one: Target wordcount: 5000. Words written: 4300

Failure on the first day. During NaNoWriMo, I’ve seen people get despondent about this, when they get behind their wordcount target. Don’t let the wordcount rule your life. Yes, maybe you need one as a guide if you aim to write x-thousand words in Y days. But the muse comes as the muse comes and so does all sorts of other shit. You need to allow for that. I’ll say some more tomorrow about planning and knowing how much time you have in the day and how that translates into words. I had a bad night last night, felt grotty all day and spent an hour playing Skyrim when I could have been writing, and that probably made the different. And I don’t feel bad about it at all :-p

Today’s output: One full chapter and two half-chapters in which the principle characters talk at each other about what’s going on, what happened in the last book and some more about what’s going on. This was a really dialogue heavy day and it’s all pretty bland stuff. Today’s scenes have a fair amount of recapping of the previous book in the series (this being the second of three), too much talking and about as much atmosphere as the inside of a synthetic duvet. In short, they’re a bit crap and if I read this aloud, I’d be bored. I’ll say more about what a first draft is and isn’t and how extensive rewrites can be as this progresses; for now, for the early stages of a first draft, I’m OK with this – more than anything, what I want is for the characters to start having clear voices of their own, and for that a lot of talking is good. When the rewrites come along, I expect the dialogue to be pruned heavily and a great deal more atmosphere to be added to the locations.