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Writers, Writing, Books, Writing, Publishing

Writing the First Chapter of A Novel

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Caesar fighting ninjas (from How I Met Your Mother)

Two Chapter Ones

Novelling never seems to go as planned. When I started this novel, I told myself I would spend as much time on the later chapters as on the opening ones. Everyone spends forever writing their first chapter, of course because it is the first thing people read. I’ve also discovered that writing the first chapter is one of the hardest things to write. Why? Because what the reader wants is exactly the opposite of what the author wants. The writer wants to introduce you to their world: who these characters are, where they live, what they’re in search of. The reader hasn’t decided yet whether she cares about any of those things. The reader wants to know what happened: what’s the story? What’s the conflict? Where is this going? Complicating things further, the reader really does need some of that background information. Well into the novel, they know what the characters look like, where they live, what kind of world the story inhabits. So the author has this challenge: they must get the reader involved in the story right away while sneaking in little details that give the reader something to picture. When my reading group first looked over my story, I realized they didn’t know diving in whether the world was going to be suburban or fantasy, if it takes place today or fifty years ago. Thus every detail in chapter one matters, because the readers is starting from nothing. Not only do you have to sneak them in, you have to give just the right details in just the right order. 

 

The other challenge of first chapters is that they often a depict the world before the adventure began. Even Indiana Jones, as exciting as his life is, begins his story teaching at his university. Or take The Goonies: that action-packed story begins at home. Why even show the part before the kids discover the treasure map? Why not begin the story in the middle of the action, when they sneak into the cafe? The answer is that we want to know who these kids are, how they are like us, so we feel like this adventure could happen to us too. The problem comes in that many (most?) writers get lost in this set-up, taking too long in the introductions. 

 

Naturally, I’ve been tweaking Chapter 1 all along, but today I finished my first total rewrite. I don’t know about you, but I don’t like rewriting chapters. I already did the work, I’d rather revise than start from scratch. But I finally found the hook I needed. The main problem I had was that I wanted to start the story with the lead character waking up from a dream, which limits the options for the scene. In trying to imagine how to make the scene more exciting, I kept imagining her awakening somewhere strange, like in the back of truck. But I couldn’t make that work. I know that mortal peril is the best hook to interest the readers, but how could I put my character in mortal peril when she’s just awoken in the safety of her room? 

 

I also asked myself what exactly I needed to convey in this scene, for the reasons above. The main thing I wanted to get across was that the protagonist is depressed, but her boyfriend is even more so. I thought I had shown this, but it didn’t seem to me like the readers were getting it, not to the extent that I needed. And the answer to the question: “How can I show that this guy is really unwell?” also gave me the answer to the question “How can I endanger the characters and hook the reader right away?” 

 

Then I went through the old chapter one and I highlighted all the stuff that I thought I wanted to keep in the first chapter. Despite having whittled the chapter down to what I thought were the “essentials,” it was surprising when I did this how little I highlighted. I may keep some of the other content for later chapters. I stuffed most of the keeper-stuff into the beginning, and then rewrote the chapter without so much as a glance at what I had before.

 

Are you curious?

 

 

 

I’d love your feedback, especially if you like the old chapter one better.
Writers, Writing

Better Than A Rubick’s Cube

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On Tickling the Muse

[Part I]

pieces of the Grand Canyon

I enjoy writing. Sometimes I write a blog comment on some random blog because I am looking forward to stringing the words together. Connecting ideas like a Lego castle. I have to remind myself of this when my novel is broken down into chunks that look a great deal like homework assignments.

When you have writers block, it’s about not being able to find the words to match your ego. Unfortunately, you need a hefty ego to write a novel. It’s a huge fucking task and you need the possibility of greatness as a carrot on the end of the stick. The problem becomes that we let the ego frame the questions we’re asking. Instead of just telling a story or writing a sentence, we ask the pen to produce the most brilliant and witty thing ever written. No wonder we spend so much time staring at blank paper.

I have to remind myself that this is all just a game and I write the rules. The game is not “write the most amazing thing ever” because that would be a sucky boring game full of disappointment and everyone knows it. Instead I must see what little dance I can get the words to do. A much more fun game would be “Let’s see if we can make the rhythm and cadence of the paragraph match the intensity of the characters’ current emotional state” or “Let’s see if we can make a really off the wall pop culture metaphor.” How’s about: “Let’s see if we can find a way to make an allusion to Jorge Luis Borges.” It’s a puzzle with a practically infinite number of solutions. You can always solve it one way and come up with a more elegant solution later.

Of course this is easier said than done.

I have a lot of “talking head” scenes, where I’ve come up with the dialogue but the descriptions are *weak. I would edit such a scene and it felt like playing “fill in the blanks” with description. This stifled my creativity as I had a preconceived notion about the length of each passage. I was asking myself the least creative questions (“What does the furniture look like?”), thinking inside the box.

And when I am producing this kind of blanks and boxes drivel, it helps to remind myself of the game. I do this—I write—for fun. Despite any bitching about “writer’s block” in some ways I can’t help but play this game.  If I’m going to write a sentence, I’m usually going to take the extra time to think of the best possible way to say it. I will not hesitate to ask myself if there’s some way I can throw in a joke, a bold visual,a  fresh metaphor—yay, even a pun. It may even be second nature, but I’d hate to say so because I know I lose points for allowing a cliché. Every tweet, every grocery list, every note in the margins will be scrutinized and scored, as fast and sure as any Yatzee roll.

From here on out, I’m not allowing myself to think of writing as a chore. Sodoku is a chore. Farmville is a chore. Word search? A chore. Character, story, dialogue: Not chores—challenges. Some things to wrap my mind around. If some beauty happens, so much the better.

Pieces of the Grand Canyon

Something I’ve been listening to: Just Jack – Writer’s Block

*which is weird because when I was young I always prided myself on writing descriptions but felt very insecure about my dialogue.

Books, Writing, Publishing, Publishing:, Writers, Writing

One Writer’s Process

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As some of you may recall, I started writing a novel  in November 2006.  It’s a jerky process.  And by “jerky” I mean both Steve Martin-esque and filled with more stops and starts than a  pimply teen learning to drive a stick shift.  I can hardly believe it has been two years and  my best hope is that it will be no more than another year before I am willing to show it to a stranger.  Not before then, surely.  Coming November I’d like to participate in National Novel Writing Month again, which is the event that prompted me to start the thing in the first place.  So I have set the goal to get the plot written out before November, hopefully with a week or so to plot out the project I’ll begin for NaNoWriMo becuase it will be no fun  writing daily without a plot.  Even less fun editing it later. Trust me, I know.

By writing out the plot, I mean writing every scene that takes place in the book.  Right now I have a chapter by chapter outline, scenes of which are written in caps like this: IF JANET IS GOING TO SHAG ROCKY, MAYBE ADD A SCENE HERE WHERE SHE SINGS TO BE TOUCHED?  For many months I struggled to wholly finish the chapter outline because there was one character I just hadn’t gotten right from the start.  He kept whispering, I’m not who you think I am.  And I knew he was right.  It made it damn near impossible to write his scenes because his  dialogue and movements were all uncertain.  Its one thing to write a scene with the expectation that the writing may be crap and will have to be redone.  Its even more annoying to be unclear about what characters are thinking/doing because a wrong fork may mean you have to redo every scene following.

About a month ago it all came to me, in the form of a power outage of all things.  The power outage introduced a new and significant character as well as a subplot that threatens to dwarf the major plot.Maybe not.  The major story arc was finished almost two years ago and I am seldom working on it so it is tough to say. And now that i have this new subplot I’m thinking I may not need all the others.  But they are so intrinsically tied into my story that I’m not sure where I would snip them. I’m just going to run with it.  If whole sections need to be cut out, now is not the time to decide that.  I have to stay focused on the goal of getting the whole thing written out first.  Like I can’t worry about if the protagonist is likeable enough (not a major deal, though I hear books with femaie protagonists don’t sell if the lead isn’t likeable) because there are more opportunities to flesh out her motivation as more gets added.

I find I spend more time than I would like adjusting the outline to reflect changes in chapter length, story, etc.  The outline is essential because it is really easy to forget where you are in the story (what secrets the protagonist knows, if someone is dead and whether someone else knows it, for examples).  If Shakespeare wrote with a feather and a candle I have no room to bitch.  But next novel, I’m using some kind of outline program.

Now that my plot is written out, I went ahead and counted how many scenes I need to write for my goal.  I came up with eighteen.  This is a misleading number because more often than vice-versa, what seemed like one scene will take multiple scenes to develop when pen gets to paper.  I don’t think this is overwriting, it is a sign of maturity as a writer in my mind.  Sure sign of an amateur is an underdeveloped plot—you know, the guy and gal are making out and they just met last scene?  Still, 18 scenes could definitely be written in a month!

Hopefully, post November I will have the seeds of another novel to puzzle over.  That should be put aside for December, when I plan to pick this one up and look at it afresh.  At that time, I have a number of read-throughs to do, each of which will involve reading the whole thing from start to finish.  These include:

*making sure the dialog is consistent for each character’s personality
*plotting everything on a calendar to find inconsistencies.
*Make depressed character more sad.
*One plot point that afflicts the character needs to be brought up and developed more throughout.
*I noticed on the show Weeds that every character in every scene wants something and this adds more drama to every scene.  I want to do a read through where I think about that.
*Make dream sequences more surreal and tighter, better written. There’s only one I’m happy with now.
*The five senses: what season is it?  What’s the weather?  How does the room smell?  Some scenes are strong on this but I still have whole scenes that suffer from talking-head syndrome.
*The verb tenses are all screwed up, but I think I can deal with passing this problem along to my volunteer editors.
OK, now the good news! Since I did that count a few weeks ago, I am down to thirteen scenes that need to be written.  Out of 20 chapters, I have the story written out for nine.  This means I’ve written five of the eighteen projected in under a month.  And through that chapter, things flow pretty smoothly, meaning I didn’t just plug the scene in with no context, I wrote the necessary stuff to make it fit in with the story line, even if that means rewriting parts of Chapter one.  I even entirely rewrote one of the later chapters.  There was nothing wrong with it, I just decided I could do it better.  One sentence entered my mind and then another and another and before I knew it, dawn was upon me and the chapter was reborn.  It felt great.  It felt like writing should feel: exhilarating, liberating, total immersion. Today was another great day.  I watched an episode of telly, ran some errands and then threw myself into it for 12 hours, stopping only to intake and elimate fuel.  Every two hours I would look up and be surprised that so much time had passed.  Then I would keep on truckin’.