NaNoWriMo diary part 2: the serendipity begins
After 5 days of writing, I’m 10,000 words in. I’m quite enjoying the process of watching this book unfold, but I have to say that some days have been a lot harder than others. Part of that may be unavoidable. I know that there’s a bunch of stuff I need Anna to discover before the plot can logically move forward. I know better than to just infodump it into the narrative, which means I’ve got to actually show Anna learning this stuff.
Frankly, it’s hard work coming up with interesting ways for Anna to discover a whole bunch of stuff about her father that she never knew, but which also supports the mysteries Anna will then set out to unravel. It would be all too easy to end up sabotaging the choices I need her to make by revealing the information in the wrong ways. So that takes time.
I also made a decision to write this book in first person POV, which is a departure for me. I’ve always been somewhat afraid of trying that, but something about this premise and the character of Anna made me feel like I ought to try it. I think partly I knew that some significant parts of this book were going to hinge on internal conflicts and Anna working out the ramifications of the identity crisis I threw at her in chapter 1, for which first-person is a natural choice. The alternative, doing it in limited third person with a whole lot of inner monologue, somehow wasn’t as appealing to me.
It’s going ok, I suppose. I’m happy with what I’ve written so far, even though I don’t yet feel qualified to write Anna in that way. I don’t really know her well enough yet that I feel I ought to be allowed to put words in her mouth and thoughts in her head like that. I expect that by the time I get to the end of the book, I’ll have a much clearer and stronger feel for Anna’s voice, which means I’ll have to go back and re-write the beginning to make it match. But that’s ok. It will be worth the work.
Still, I’ve had some fun surprises along the way. Like I said last time, the stuff that comes to you while you’re writing is almost always better than what you could ever think of ahead of time, and that’s been true for me a couple of times already.
The biggest surprise has been to find Anna suspecting her mother of having murdered her father. That was a good one, because with the set of information she has at hand, it’s actually not a bad theory. It can be made to fit a whole bunch of other stuff Anna is wondering about, too. So I had to run with that for a while. It was a fun digression, and I suspect I’ll probably end up keeping it in the final draft, but ultimately it wasn’t too difficult for Anna to spot the places where that theory doesn’t hold up.
I haven’t learned yet whether Anna swears a lot because she’s actually tough and brassy, or because it’s a defense mechanism. That one’s still up in the air. What I have learned about her is kind of interesting, though. She’s impulsive. We knew that already. But the curious part is that although she knows she’s that way, she can sense it, she nevertheless lets herself give in to her impulses anyway. This may well get her into trouble someday. We’ll see.
Peter is Anna’s father. He isn’t personally in the novel, having disappeared some fifteen years prior. But he is definitely taking on a persona of his own through the material artifacts he left behind. Anna was only five years old when he left, so she is becoming re-acquainted with him by going through his stuff, at the same time as I’m learning about him at all.
He’s an interesting guy. He was a huge Roy Rogers fan as a kid, and as it turns out Roy Rogers is what got him started collecting comic books. Comic books are a central theme in the novel, and while I’d always had that as part of the premise, I had never given much thought to how, exactly, Peter got started on collecting them. Turns out that the King of the Cowboys had a comic book series back in the day, and so those were his “gateway drug” into the larger world of superhero comic books of the late 50s and early 60s.
The other fun thing about Peter is that he wasn’t the kind of guy who would just tell you what he thought. He would, rather, ask you rhetorical questions that had only one possible answer. Like, he wouldn’t say “ew, that looks disgusting,” he’d say “oh, you’re not really going to eat that, are you?” This has been helpful, because even though Peter himself is not around in any of the scenes, Anna does have a picture of him that she talks to. And sometimes, in her head, the picture talks back. Not literally—she’s not crazy, she knows it’s just her imagining what he would say—but still it has become a useful device for creating some interaction, for building an emotional relationship, between someone who is there and someone who isn’t.
That’s not something I ever planned, but boy am I glad that picture turned up when it did.
November 06, 2009 19:25 UTC
NaNoWriMo diary, part 1: This is the fun part.
Ah, November. There’s a chill in the air. The leaves are dropping from the trees. And thousands of insane writers all over the world are banging out first drafts of new novels. Yes, I’m one of the NaNoWriMo faithful. This is my fifth year doing it. My “logline” this year is:
A young woman searches for her missing father through clues hidden in underground comic books from Soviet Russia.
I decided to do a NaNoWriMo diary because frankly, I’ve been blogging about novel writing and character development in the abstract for a while now, and I thought it would be a good idea to share a concrete example of how I actually put those principles into practice.
Today, what’s foremost in my mind is the truth of something that you hear writers say more often than not: no book ever turns out like you think it’s going to. You always discover new things in the process of writing that you could never have thought of ahead of time. And in my experience, these little jewels of serendipity are much better than the stuff I did think of ahead of time.
After just two days and a mere 3800 words of crappy first draft, I’ve discovered some interesting stuff about my characters. Writers say that great characters really jump off the page and take on a life of their own. They end up saying things you’d never imagine. So far, after what is probably only 5% of what the finished story will be, I’m finding that to be the case.
My main character is Anna, the young woman in question. She’s 20. It’s July, and she’s working a summer job to save money for college. Nothing especially uncommon there, which is basically intentional. I much prefer writing about ordinary people. But already Anna is taking on a life of her own. I’ve discovered two things about her:
First, wow does she have a potty-mouth! This girl swears a lot. I’m not sure quite what it means yet. It might mean she’s this really tough, brassy chick. But I have a feeling it might all be for show. She may swear and act all tough as a defense, whereas inside she’s not really so self-assured. We’ll see.
Second, she has a pretty short fuse. In chapter one, she ended up socking her step-brother in the jaw. Ok, he definitely had it coming, but still. She just up and did it. Not in a calculating way, but as a reaction to something he did. I’m not quite sure what to do with that. I mean, in real life I’m a total pacifist. I don’t condone violence as a solution to one’s problems. But at least in that one situation for Anna, it felt like what she’d do. Part of me wants to punish her for that, because again I don’t believe in acting that way. But for now I’m going to reserve judgment, wait a while and see how it plays out. It’s early yet and my gut feeling is that if I try to impose any particular moral viewpoint on the story that I’ll just screw it up.
Christopher is Anna’s step brother, the recipient of the punch. But again, he was way out of line and totally deserved it. I knew this about him going in—didn’t expect him to get punched, but I knew he was going to do the things he did. But what I discovered was that underneath his socially inappropriate behavior, he’s actually kind of a chicken. He shies away from confrontations, and for all his bravado, he backs down easily. He is ultimately a minor character who won’t be in most of the book, but I wonder how far he might actually push it with Anna?
Betty is Anna’s mom. She’s kind of a mess, actually. Anna’s father vanished 15 years prior, leaving her to raise Anna alone, which she didn’t do so well. She provided food and shelter, but not much in the way of emotional support. Betty is now on her fourth marriage, to Christopher’s father. This was all what I planned out.
What I didn’t plan is that she’s actually kind of crazy. All the years of coping while Anna’s father was missing, before she had him declared legally dead so she could remarry, left her in a pattern of seeing the world in ways that support her own self-pity, rather than seeing things for how they actually are. She’s not clinically crazy, not really, she’s just unreliable because she willfully ignores or misinterprets anything that doesn’t support her own narrative. I hadn’t intended this, but it works. It helps set the stage for some important stuff that happens at the end of chapter one.
I like this new discovery about Betty, but for all that, I’m still not totally happy with her as a character. She’s just as minor a character as Christopher, but her relationship to Anna is so much more important that I know she really has to “pop” as a character, and she isn’t yet. I have some work to do with Betty. Maybe she’ll come to life tomorrow and make it easy on me. Or maybe not, and I’ll just have to out-think her when I revise later.
To explore new words
Plot-wise, things are about where I expected them to be. I got the inciting incident—an identity crisis—out of the way and tomorrow, I’ll tackle revealing the story’s central mystery. That’s all good, and I know this isn’t the time to stress about Betty’s present one-dimensionality or Anna’s potential violent tendencies. That can come later.
But this, this is the time of the first draft. This is the time for discovery. This is the fun part.
If you want to follow my progress or read the first few thousand words of the book (warning: I meant it about crappy first drafts), you can do so here.
November 02, 2009 23:17 UTC
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