Posted: November 14, 2015 Filed under: Amsterdam, Publishing, Writing, writing skills | Tags: about, amsterdam, antagonist, assassin, book, chapter, character, craft, draft, e-draft, ebook, edit, highlight
I often get question on how I write, how I know what I put in or take out, how I know when to end a chapter and begin a new one… This blog post explains how I turn the messy first draft of a book into a manuscript that is structurally sound.
With my first book, that I wrote in Word, I wrote long scenes that would become chapters. I had three different plot lines – the assassin (A), her client (B), and the investigators, (C). Back then, I was convinced that the right thing was to make the first chapter about the main character, and alternate the main characters chapters with the antagonist chapters. So chapter 1 was about A, chapter 2 about B, chapter 3 about A again, chapter four about C, chapter five about A again. That way, fifty percent of the chapters were about A, twenty-five percent about B and twenty-five percent about C.
With my second book, (where the antagonists are planning a hostile takeover of the legitimate business of my assassin main character), I wanted to write a prologue where the firm’s bookkeeper was pressured to arrange a meeting between the MC and the antagonists, but instead of a prologue (which many readers seem to skip), I made the prologue my first chapter, and my MC appeared in the second chapter. I did the same thing with the fourth book, where something seemingly unrelated happened at the other side of the world, and in the second chapter our MC appears and …
Another thing I started doing from the second book on was that I stopped writing a linear story. I had bought writing software called Scrivener, and I could write scenes and switch them around by dragging them to different positions in the ‘binder’. Freed from the restriction of one long file that would be cumbersome to switch scenes around, I enjoyed the freedom of writing key scenes and then figure out what would happen in between and write those scenes. The scenes would differ in length, but I wasn’t concerned about that, especially in the drafting phase – where I used to edit while I wrote, I stopped doing that and wrote scene after scene, just putting an @ between scenes. Later I’d cut the whole text into scenes and give them a temporary spot in the binder. Scrivener allow me to make ‘folders’ which would become the chapter, and I could put in what scenes I wanted, measure whether the chapter wouldn’t become too bloated.
Now I would make a chapter about a certain location and/time, put the scenes in, switch them around in the order I liked best, and create another chapter folder with other scenes. I got positive reviews about the second and third book (the fourth is due out on December 1st), so apparently I was doing something right.
I say, apparently, because, despite being praised for my meticulous detail, verisimilitude and tight plots, I’m a total ‘panther’ – while I have a general idea of the direction the story will take, I don’t outline anything. I write scenes that throw up obstacles for my characters and have snowballs that seem of no importance become avalanches of action that mess up the lives of both the characters and the people around them. That keeps the stories from becoming formulaic and keeps the story fresh to me, so that I won’t become bored – bored writers write terrible books.
Generally, at this point, my books have chapters that may contain 1-5 scenes, all in the same location or time. Most scenes just begin and end, so that after I string 2-3 together and decide that they belong together and make them into a chapter, I will have chapters that begin in the middle of action, and end ‘somewhere’.
I turn drafts into e-drafts that I can read on my e-reader, where I can highlight with my finger and add notes with the built-in keyboard, but I cannot change the text itself.
In the pre-digital age, a writer would take a manuscript and a red pencil and write the editing notes on the pages. I do the same thing, except that an e-reader will make lists of all the notes I made that make editing easier. When I read the e-draft, I often find glaring mistakes, scenes/paragraphs that should be in a different place et cetera. When I’m satisfied with the order the story is told in and the chapters and scenes are more or less fixed, then I will check whether the chapter doesn’t begin too abruptly (put in a few sentences to ‘set the scene’) and ends in a way that readers cannot wait to turn to the next chapter.
When I think I cannot improve the manuscript anymore, my trusted beta readers will read the book and give me their feedback. Meanwhile I often work on another project. When the feedback arrives, I read it through and often change scenes and do some re-writing of scenes to improve the flow, but structurally very little changes.
And then I have a book that is ready for public consumption.
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