I write these words from deep within my editing cave. Taking advantage of a temporary lacuna in paid work, I am busy ripping apart and putting back together New Gods, the finale of my Antarctic trilogy – the series that began with Night Shift.
As I said last week, there is (more than) one small problem with the work I’ve encountered so far and it’s this: the body doesn’t come soon enough. This means the novel feels unbalanced, like it doesn’t really start until we’re nearly half-way through.
It is, in other words, a problem.
And the problem with a problem is that rectifying it comes with its own legion of problems. Move the murder? That means you also need to move the essential preliminaries to murder (and isn’t that everything?) and the aftermath, and…
And before long you don’t know where you are; your carefully crafted story is in tatters; you sit surrounded by piles of disarticulated sentences and lost paragraphs and you’re sure you saw chapter seven in there three times. And does chapter fourteen really come straight after four?
This is where planning becomes exceedingly helpful. For me this takes the form of a simple spreadsheet with the old scene-order – a few words about what happens in each one – on one side and the new on the other. Then it becomes mostly a question of copying and pasting…
…Except it doesn’t, because none of your delicious words make sense anymore. None of your references hang together as your gentle allusion is now the first mention there’s been. Before long you’re lost in a maze of misplaced openings and dead ends all around. Evidence is scattered willy-nilly and all sense of cause-and-effect is discarded.
But the ideas are there, as is, to a large extent, the writing. What matters now is that I get the scenes in the right place and make sure the feel and flow of the novel is improved.
Because, to paraphrase that famous Morecambe and Wise sketch, I have written mostly the right words, but not necessarily in the right order.