Right. A weekend away has occurred. Now it’s time to recalibrate the brain for writing: to shake my senses back into the realms of the unreal and ineffable. In other words it’s time to work out what the hell I’m doing with this novel.
For those what don’t know, I got my feedback on Oneiromancer back from my betas a few weeks ago. It was the usual mix of great criticism: helpful, horrible, headscratching harumphery. And, as usual, it leaves me temporarily lost for a plan. Or, rather, it leaves me with questions that I can easily answer but, in the answering, raises a whole phalanx of follow-on questions with no easy solution.
My problems are specifically those of the cut-and-paste variety. I’ve determined that I’ve got to move a batch of scenes, which I can do without too much difficulty. But every move not only leads to continuity errors – relatively easily solved – but also leave notes hanging that need resolving; chords missing a key tone and begging for resolution.
What’s exorcising me at the moment is the need to prolong a character’s life. It was widely agreed that I’d killed one particular character too soon; that she still had a purpose that I’d not fulfilled. I’m sure my betas are right. And so I’m acting on that…
Except that, because I always saw her dying here, I’m not sure what to do with her there. I don’t know what information she can provide because in my mind she’d served her function. Actually moving the crucial incident is straightforward; knowing what to do with her in the interim is a pain in the bum.
It’s one of those issues where the writer knows too much. I need to freeze my thoughts at the point at which the original story is set to change. I need to establish what the characters actually know in that moment, what their aims are and where they see themselves going. Essentially I need to forget two-thirds of the story I wrote and replan from there.
But how can that be done? I know too much; I can’t self-lobotomise – except via alcohol, which is a science too imprecise for my needs. I’ve planned the story out, and whilst I know alterations are necessary my mind isn’t the most flexible. The thoughts are burnt into my mind like great welts, throbbing and fresh and raw.
This is where writing is an effort. This is where I need to focus, to reappraise, to assess. To think.
I also have to keep in mind that I’m doing this because I want to write a good story. I want to write the best novel I possibly can. This is why I asked for people outside my mind to read it, to comment and to tell me what doesn’t work. To not act on their advice might be easier but it gets me nowhere. Ultimately the only person I’d disappoint would be myself.
So it’s back to the editorium with me. I have the masterscript all printed and ready. I have a scene-by-scene guide ready to be scribbled upon. The only thing missing is a brain that has answers, and those are in short supply.
Writing is not a glamorous pursuit. It isn’t the lone genius scribbling in his garret, churning out words of wonder with a bottle of absinthe and a few cats for company. It’s staring and scratching and swearing and always, always, working. Without any prospect of success – however defined – at the end.
It’s times like this that define you. To be a writer is to embrace the hard times, to own them and, ultimately, to enjoy them as much as you do the initial fire of creation. Only then will you be able to produce something the world will embrace.