On plot

Greetings! It’s now only a few weeks until the official release of Human Resources (November 10th, fact fans) on ebook, in paperback and in hardback! Please favour me and pre-order a copy. I happen to think it’s not half bad and would do a very nice job as a wonky-table prop or as a coaster.

To celebrate the release I’m going to do a series of blog-posts about different aspects of the novel; here I’m going to be talking about plot. In the weeks that follow I’ll write about things like setting and POV – and maybe even more, depending on whether I can think of anything else. If you want me to look at anything in particular, please comment or hunt me down on Twitter (@robintriggs – not so hard, really) and I’ll see what I can do.

***

Human Resources is, at it’s heart, a murder mystery, and thus plot is central. I hope I haven’t skimped on character, setting and just old fashioned good writing, but it’s plot upon which the work will primarily be judged.

So how did I come up with the plot for Human Resources? Well, like with all the novels in the Antarctic series, by starting at the end and working backwards. That is to say, I started with the crime, the killer, and then motive. Then I went back to the beginning to find the victim of the crime – and by that point the plot had mostly revealed itself to me.

I say that, but the first draft varied greatly from the version you’ll see when the book’s finally unleashed upon you. In fact, the only constants really are the bits I’ve just told you: the killer, the motive, the victim. Almost everything else – the way the story’s told – has changed, and changed radically.

Why should this be? Well, put plainly, to make it better. The first draft simply was too simple. I had to… well, not necessarily obfuscate but to add more depth, more intrigue. I’m not a great one for red herrings but I had to give plausible alternative explanations, more reasonable suspects. I used the first draft as a sketch-map upon which to elaborate, to erase some mistakes and draw ‘here be dragons’ upon the wilderness of Antarctica.

I wrote last week about character and in this sort of story character is hard to distinguish from plot. The latter is dependent on the former. So the alterations I spoke of last week are just as relevant here. As I thought of new aspects of plot – as I gave my readers more suspects – characters had to change, and as characters changed so did the plot.

Thinking back on it now, I think I was remarkably naive when I wrote that very first draft. I’m currently struggling to face up to new ideas, and I think my naivety protected me from worrying to the point of inactivity about simply whether I could do it or not. I just got on with it and let all issues come out in the editing. And that’s a good thing, because I can edit. Human Resources has been a difficult child to bring to term; I’ve worked harad on it, and I’m proud of myself for what I’ve achieved.

I hope you get as much out of reading it as I have from the writing.

Next up: setting

The mystery of the missing corpse

The-Missing-Corpse-images-248cda47-5234-460f-93b6-19d8a525949

I am missing a corpse.

There is a piece of advice that I’m sure you know already, and that’s to make your first act as short as possible. Don’t waste time with introductions and preliminaries bar the essentials but get to your inciting incident as soon as possible.

That means, if writing a murder mystery, you should cut to the corpse. The novel doesn’t really begin until you have your dead body. No matter what interest you have, what civil unrest, what interesting character dynamics you create, without that central pillar your novel will feel like it’s missing something.

My corpse has gone AWOL. It should have been here – right here – but someone’s snuck off with it whilst my back was turned.

I should explain: I’m talking about New Gods, the third book in my Antarctic trilogy. I wrote this years ago and, unlike Night Shift and Human Resources, it hasn’t really been looked at since. So far I’ve been pleasantly surprised; fixing continuity caused by my tinkerisations with the previous books has been the greatest problem.

But I’m 100 pages in now; that’s nearly a third of the way through.

There hasn’t been a single murder yet. Not one.

There’s a lot of good things. There’s the suggestion of a historical massacre. There’s political intrigue. There’s the reintroduction of an old character and just enough about him to cause the reader doubt. New characters seem realistic and intriguing.

But there’s no body. And this is a problem. Nearly a third of the way through and the novel hasn’t yet begun.

The-New-Lagos-Island-Mortuary-700x385

This is odd, if you think about it. Why should it be so important that there’s a death when there’s so much else going on? It’s not as if other genres make such simple, bare demands. All that matters is a conflict, a course irrevocably decided upon. I have that in spades.

But this is a murder mystery. People need a body – or, at the very least, something with the same emotional heft. I don’t have that here. Will what I do have be enough to keep people reading? Well maybe; as I said, there’s plenty going on. But why leave it to chance?

It’s time to dust off my scissors. The (first) murder needs to be brought forwards. It needs to be front and centre. It needs to be my primary focus. If that pushes some other strands into the background then so be it.

Hell, that might make those threads stronger; a little messiness can frazzle my lead-character, can distract and disorientate so as to mask (from character and reader) what really matters. This could become a boon.

But I’m not going to start cutting just yet. First I’m going to read through the rest of the novel. It’s worth remembering what I’m trying to achieve before trying to achieve it.

Besides, it should be fun.


 

UPDATE: I found it! That pesky corpse was hiding on page 138. Now I just need to rearrange the whole novel to bring it front and centre.

Also, I can’t wait to the end of the novel. It’s time to start snipping!

Work what I done

It occurs to me that I’ve never actually gone through and explained what I’ve written over the years. This is something I shall now attempt. Please bear in mind that some names may be changed to protect the innocent… should anyone ever be interested in publishing any of them.

The Ballad of Lady Grace

My first ‘modern era’ work (which means not including my childish attempts at writing pre-degree, my film script or dissertations etc), this is really two novellas stuck together. The story revolves around the idea of what to do when everyone abandons you; when you have nobody to turn to but the person who already hates you. Paul becomes a social pariah after being accused of viewing child pornography, and in his desperation goes to Valerie for help. The story revolves around their relationship, twinned with the police investigation into them and their young associate Twinkle. The investigation, led by DI Vaas with DS Cook, has led to the novel being labelled as crime. I don’t agree with that. In my mind it’s a hymn to music. Paul and Valerie are musicians in the story, and it draws heavily from my life as a drummer/vocalist in various pub bands. Lady Grace was the first work I submitted for publication and it was, for some time, under consideration by Legend Press. Eventually the commissioning editor I’d been in contact with left, and the new incumbent was quick to jettison the piece.

Tell No Lies

This is a bit of an oddity. Not only was the story based on a dream (featuring comedian Jeremy Hardy, I seem to remember) but it was a piece of fan fiction. It was about Baldi, a crime-solving Fransciscan priest and lecturer in semiotics in a Dublin university. Originally a BBC Radio 4 show, I listened to it repeatedly on BBC Radio 7, as was. I loved (and still do) the gentleness of the main character, the way he’s torn between his religious calling and the wider world, especially in his feelings towards his link to the Garda, Inspector Mahon. Anyway, I wrote a first draft based around these characters, then gave up on it. This was partly in despair about it ever being used in any way (it would have to be either officially licensed, rewritten completely or converting into a radio script) and partly because of more general despair. It’s unlikely I’ll ever go back to it as is, but in my mind there are various nice bits of writing therein, so it may yet return – albeit in a cannibalised, bastardised form.

Chivalry

We’re getting more serious here. Chivalry is the work I always though of as my masterpiece – not in an arrogant sense but it the original, mediaeval sense: the piece a craftsman would present to his guild to demonstrate that he deserved the honour of being called a professional. Chivalry is a big, heavy thing, currently weighing in at 144,000 words. I worked on it solidly for about four years before moving on to something new. And I think, for the most part, it still stands up. It needs another good run-through – I reckon I can cut it down by around 5,000 words without losing anything. And the dialogue needs a thorough clean and polish. Or perhaps a grubby and a sandpaper. The story is about a game that starts a war. Set partly in a computer simulation of the 12th century Crusader kingdoms and partly in modern-day Bradford, it follows a group of gamers who inadvertently cause global chaos by hacking a power grid to force their rivals offline. Told through the eyes of mentally fragile Michael, diffident lost girl Madelaine and Yassir, a potential Islamic insurgent, Chivalry is not science-fiction. Promise.

Night Shift

The first in my ‘Company’ series (I remind you that names might change), this is, even if I do say so myself, a damn good book. It’s set in Antarctica in the near future and this one I can’t deny is science-fiction. It’s also murder mystery and psychological thriller. Anders Nordvelt is the new security chief at Australis, a mining base deep in the wilderness of Antarctica. He’s already struggling to find his place in a closed community when a saboteur strikes, isolating the crew. As the new man, Anders immediately becomes suspect – and when the saboteur turns to murder it becomes imperative that Anders finds the killer… This is the work I took to Winchester Writers’ Conference for professional evaluation, and is the story I’m currently pushing.

Australis

Sequel to Night Shift, this novel follows the development of the Australis mining base as it becomes a city. I don’t want to say too much about this – in part for fear of giving Night Shift secrets away and in part because it’s still a work in progress. The story’s complete and the editing is well and truly underway, but there are still issues that need fixing. There’s a spark missing: something that the previous novel has that this is, at the moment, not there. I am actively mulling. The title of this will almost certainly change. One of the comments I got at Winchester suggested that Australis isn’t a particularly good/original name for a base, so obviously if I change that then the title of this won’t make any sense.

New Gods

The third in the ‘Company’ series, I’m only a few pages through this and the plot isn’t shining fully-formed ahead of me. I’ll talk more about it, I’m sure, as we develop.

And that’s my writing CV. At the moment I’m working on New Gods, plus trying to fix Australis. In the meantime I’m sending out submissions to publishers and agents, trying to get a deal for Night Shift. Fingers crossed, and more writerly ramblings next week.

TTFN, boys and girls.