Writing Is Like Polishing an Uncut Gem

Detail from  rug woven by Author's late Father-in-law

Our topic today is whether we write scenes piece by piece and knit them together, or if we have ever had to knit-in scenes?

I don’t knit, I don’t weave, I don’t garden (because the other metaphor for writing books is often gardening) and although I loved Marcella Burnard’s dinosaur bones analogy in her Friday post, I don’t do that either.

I sit down at the keyboard and I write. I start at the very beginning and I go straight through the story until the end. When I begin working on a book, I usually know the overall situation, the two main characters and several key scenes. The rest comes to me as I write and as I’ve said many times, I’m superstitious about my process and I never examine it too closely. The Muse is as the Muse does and the words flow…I’ve learned to trust the creative process I was lucky enough to be born with and that as I write on into the story over the days, the plot developments, other characters and insights I need will present themselves. And they always do. It’s been working that way since I was seven years old so why mess with success?

I can probably count on one hand the number of times I’ve had one scene I was so super excited about that I wrote it out of sequence and fit it back into the narrative. Or else then proceeded to write the events leading up to that now semi-completed scene.

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I’ve had a few occasions in the developmental editing phase where the editor made a really good point about adding something else to the book, or a comment from them set off a train of thought in my head which caused me to write a chunk of new scene or scenes. I think the biggest case of this was in Warrior of the Nile, where the editor really wanted a specific thing to occur between Khenet the warrior of the title and Nephthys, the Egyptian goddess. I wasn’t quite on board with all of the suggestions but I did write an entirely new scene, which then rippled through the rest of the book and probably did make it stronger. (This was my second and last book written under a contract.)

After I finish the first draft of a book, I immediately start over on page one and go through in my own editing process, adding depth, more action, more feelings, more everything. I’ll be doing that today in fact on my next scifi romance novel, having finished the initial draft at 64,330 words last night. I always say the first draft is meant to be ugly and clunky (speaking for myself). It’s “get the words on the page” time and then in the edits I smooth everything out. The process takes me a few days and then I set the book aside for two or three days to cool off, after which I read it again, make a few more tweaks and send it to the editor.

The story's in there, somewhere! From the Author's collection.

So if we must have a metaphor, and since I love jewelry and shiny sparkly things, maybe for me the process is more like being a jeweler, who takes a raw clunky gemstone surrounded by rocky material and shapes it and polishes it to be a thing of beauty. I assure you, I have never explained myself in those terms before when it comes to writing and probably never will again!

Luckily, there is no one perfect process for writing a book. An author has to do what works for them and not worry about anyone else. I totally get that for some authors it’s very useful for them to consider what other people do, and/or to adopt or adapt a recommended structure or technique. More power to them! For me, sitting down and writing is what works.

And taking long drives on the SoCal freeways, with music blasting also helps whenever I have a plot issue to ponder. This probably developed because at one point I had a three hour commute home from the day job, which was boring and stressful, so I’d think about my stories as I went. Usually at an infuriating 0 to 25 mph too, given the traffic! Well, at least I had my music…

Not the Author, not her purple car either but sure looks like fun!
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Piecing it All Together

Some books want to be linear. You get a nice, neat formula that takes you from point A to point B, you may find you have to detour at point C, but whatever. You mostly get to The End without a hitch.

The has never happened to me. My books are archeological digs with millions of bone shards that I have to put together a single piece at a time only to find out that psych! That piece doesn't really go here, it goes way over there.

Here's what I can say about the process, though.

I always have a general idea of the thing I'm digging up. I know the ending. I may not know how I'm going to get there or how I'm going to reconcile beginning to end, but the ending of the book is my starting point. I know where my characters must end up. Then I look for a beginning based on the characters' flaws and/or weaknesses. Some books can be written beginning to end. They are rare for me. Far more often, I write scenes from all over the place. I'm firmly of the opinion that if I don't know what happens next in a story, I move on to where ever I DO know what happens. This is wasteful. I do write scenes I end up not being able to use. One some books, it means overwriting the book to the point that I have two of the thing. It's useful in that I gain insight into what the core conflict of the book is. Eventually. The day comes, however, when I have to take my collection of disparate and oddly jointed scenes, pin them together into a skeleton, sculpt some flesh and features and see what looks back at me.

That's the easy part. Getting the original bones out of the ground, that's hard. Once I have a collection of scenes, I can pin those together with transitional scenes and a the glue of a few sentences about POV character drives. The initial revision pass polishes up the structure, and adds the flesh. It's the developmental editor who really gets me to put the features on the critter. We glue in the glass eyeballs so they stare into you no matter where you go. The copy editor does the airbrushing to make it look like it could move at any second.

Yeah. I far prefer the archeology metaphor to knitting or weaving. Cause, dinosaurs! and I guess I'm still twelve.

Why I avoid knitting...scenes that is.

I’m a Type A, technically-minded person…that’s why I was a laboratorian! And working in lab you’re trained to follow point A to point Z in the correct order. 

And knitting is like that. You follow a pattern, you piece it together in a certain way. So I should be good at knitting? Except…we’re not talking about the yarn kind of knitting today. We’re talking about knitting scenes of a book together.

So it’s really not surprising that I write from beginning to end; no detours, no skipping ahead, no passing go to collect $200 dollars. It’s how my brain is wired. And knowing how your own brain works is key.

Some writers I know need the candy bar method Vivien mentioned yesterday. They have that one perfect scene complete in their head and once they put it to paper, the creative floodgates open and they can knit their story together. Does that way of writing work for you?

If so, huzzah! Go forth and write! If it doesn’t…maybe your brain’s more analytical and the following might help. 

Each book I’ve written, and the manuscripts I’ve outlined and started, all began with that one perfect scene for me. Usually the scene comes from one of my dreams, like it’s been handed to me in a mini-movie format. But I never try to write it as a chapter right away. Because…that would be out of order.

Instead, I take my perfect scene, or you take your instigating idea, and sketch out the scene in outline format so I don’t forget the details.

*Note: I always know exactly where my scene fits in my story: beginning, end, climactic moment etc. If you don’t know this yet, take some time to brainstorm and ask yourself: what happens after, what needs to happen before, what changes for your MC (main character) in this scene?

Now that you know exactly where your perfect scene/idea sits in the timeline, it’s synopsis time! 

*Second Note: Lots of writers do not use a detailed outline/synopsis to write. YMMV This step is included here because my technical brain follows a well-laid plan easiest.

When writing my synopsis I build from or around my originating scene and the rest of the world and plot details flow from there. I like to go for super detailed here…remember, lab girl here? The more detail and direction I put down in this stage the better off I am in the drafting stage and THE LESS I HAVE TO TRY KNIT IN LATER!

All that because I suck at knitting in scenes. Why? I say it’s because when I plot out my books I do a lot of detail on the frontside and when I’ve needed to weave in new scenes that change things in the timeline…it gets messy. 

Sort of like Ullr’s rope bone that started out all tightly woven together (pictured at top of post). The rope was smooth and strong, but once my pup started tugging here and there it began to unravel in spots. That's what I feel like happens to my books when I mess with them and try to knit in scenes. 

So I do my best to not have to, or at least not have to knit in major scenes that shift the trajectory of the story. That’s like…like, your chemistry analyzer going down before you even get your day’s samples loaded! 

I’ll keep attempting to avoid that nightmare. How ‘bout you? Do you avoid knitting or are you a master weaver?

Confessions of a failed knitter

Little story: In middle school I drew a lot. Like, a lot. Most of my sketches were of women -- fairies and princesses and crazy 18th century gowns and hairdos -- and they were pretty okay for a kid. As I was drawing, I'd devise whole stories for these characters, and eventually I decided it was time for me to draw not just the character but the background too. I had it all in my mind, the way the castle and grounds should look. I even checked out some books at the library to see pictures of the sort of thing I had in my mind.

When I sat down with my pencil and sketchbook, I was ready to go. And blew it. Big time. I started over, and even a third time, with similar results. I just couldn't ever make the background match my character. It always looked too cartoony or too... something. Wrong.

That's how I am with "knitting in" scenes in stories. Yeah, I can write a scene out of order and make an attempt to write toward it, but almost every time I have to significantly change it because the scene I wrote out of order never quite matches the story as it feels by the time we get to that scene.

Years ago I took a writing class with Holly Lisle where she suggested writing the "candy bar" scenes to get started on a project. You know, those couple of scenes you just really, really can't wait to write and are compelled to sketch out long before the story gets to that point, just to "see" them on paper? After roughing them out, per her process, you'd put those scenes in order, fill in the blanks to get from one candy bar scene to the next, and *insert-miracle* poof, you'd have a complete story. Gotta say I love this process. It sounds so amazing, and I am super envious of folks who can make it work.

But I haven't been able to replicate it. I have a whole folder of candy bar scenes of books that went somewhere else. I still love those scenes, and they were great inspiration for developing and getting started with stories, but they never made it into the final books and will never be seen by anyone but me.

So, yeah. I can't knit, neither yarn nor story. But I admire those of you who can.

Knitting Scenes into Stories: Nah, I'm Way Too Rigid

Knitting in writing. Do I? Have I? Should I?

~slaps knee~

Oh, dear Readers, I have attempted the great "write scenes as they come to you, then knit them together into a cohesive story."

Such. A. Disastrophy.

My analytical brain had apoplexy. It shrieked. It flailed. It gave me a two-week migraine to ensure I never, ever, ever pulled a stunt like that again. The time it took to write that story was years longer than it should've been. The isolated scenes I'd written never made it into the final story. Worst of all, the plot and pacing of the book never recovered from trying to incorporate those pre-written islands. That is a 300k under-the-bed book that will never see the light of day.

The pole up my butt is way too stiff to let me do patchwork story writing. I am too much a girl of process and flow. A, then B, then C. My clunkiest stories are ones I didn't plot. Trying to warp a plot around pre-written scenes is 10x worse for me and the reader because it's obvious I'm trying too hard to make Fetch happen. You might think having a plot then writing the isolated scenes would make them easier to incorporate. Dear Reader, you'd be wrong. 

My method of writing requires Ch 2 to build off Ch1 and to set up Ch 3. Ch3 builds off Ch 2 and sets up Ch 4. Rando chapter out there, holding up a boombox playing "Don't You Want Me, Baby" will never fit. It'd be like a tangle of dog hair laundered into your sweater. It's not the right texture or color. It's got strands that waggle beyond the warp and weft; it's a total distraction....that gets removed.

What about developmental edits that ask me to move pieces around?

~scratches blossoming rash~

That--that's a rewrite of the whole fucking book. Knit one, purl two. If you purl one, knit two in the middle of the back piece you've got to undo everything that came after and re-knit. Or you live with the glaring flaw. Thems your options. 

Admittedly, there are many successful authors who can and do beautifully knit scenes into great stories. I'm not saying you shouldn't; I'm saying I can't. So, do I knit? Not literally. Not figuratively. 

Not much for weaving...

This week's subject asks a rather significant question: Do you Weave?

In this case, weaving means to go back to a story and add in scenes to change the tale. Now, sometimes that men's in a situation where you're repairing a tale. In other cases the real question is Do You work in a linear or non-linear fashion.

I'm linear. I HAVE had to weave in repairs, but I don't like to do it.  know the beginning, the middle, and the end of a story before I start. it might change as I go along, but it's incredibly rare for me to add in a scene after the fact.

It's a matter of structure and a matter of how my mind works I've had a few occasions where something wasn't work was writing it, but in most cases that meant deleting part of the book stopping what I was doing ad rewriting a block of the tale before I ever got close to finishing it.

The one serious exception was SERENITY FALLS, which is easily the largest piece I ever wrote. The first version of the book was 300,000 words long and came out as a single volume When the paperback version came out it was decided by the publisher to make it a trilogy. In order to make that happen, I added 40,000 words of story and shuffled quite a bit of the book around to guarantee easy story flow.

No, that's not a typo. I added half a novel worth of work in the weave. It was necessary in order to make the story as seamless as possible and meant adding well over a dozen new scenes. I do not regret any part of that work, just for the record.

Still, I'd rather not is my point.

Do You Knit... or WEAVE?

Our topic at the SFF Seven this week is... knitting? Did our calendar guru pick this for Mother's Day week, or is it a coincidence?

Anyway, it's not the knitting you think. (Or not the knitting *I* thought.) We're asking each other if we write scenes piece by piece and knit them together, or if we have ever had to knit-in scenes?

I am not a knitter. If I go for a textile metaphor, I'd say I'm a weaver. I line up all the threads, begin at one end with nothing but a lot of colors and textures, and then I weave them gradually into a tapestry. That said, I've occasionally had to weave scenes, themes, and clues into the finished story - which is probably what the topic poser is getting at here.

It just doesn't feel like knitting to me.

For example, for developmental edits on THE FIERY CROWN (out in only two weeks!! preorder now!! Eeee!!!), my editor Jennie Conway asked me to add in some scenes early in the book. She wanted to see some of the secondary characters sooner. She also wanted discussion of a later issue to happen sooner. So I ended up adding two scenes and fleshing out a couple of others.

The thing is, this isn't like patching a tire or splicing a soundbite into a podcast (which I've learned to do!). Nor is it like reworking some part of a painting. That's why I think of it as weaving. In order to add scenes and characters to an earlier point in the tapestry, I have to adjust the warp and weft before that to accommodate them. Then I have to alter the pattern of the threads thereafter, to keep the texture even and the pattern tight.

It was all for good reasons - and made for a better book - but yeah... I don't knit. Either in my writing or in real life!

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Let's Make My Science Fiction Rock Star Romance into a Musical!

Our topic this week at the SFF Seven is "Your book as a musical: which book would you choose to have made into a musical and which composer/lyricist/songwriter would you have score it?"

No problem answering this one – I wrote a science fiction rock star romance so let’s make that one a full blown musical! Here’s the story of Star Cruise: Songbird: Grant Barton, a Security Officer on the Nebula Zephyr, is less than thrilled with his current assignment to guard an Interstellar singing sensation while she’s on board the ship. It doesn’t help that he and his military war bird Valkyr are dealing with their recent separation from the Sectors Special Forces and uncertainty over their future, with their own planet in ruins.

Karissa Dawnstar is on top of the charts and seemingly has it all – talent, fame, fortune and devoted fans, but behind her brave smile and upbeat lyrics she hides an aching heart. When a publicity stunt goes wrong, Karissa finds herself in the arms of the security officer assigned to protect her – and discovers a mutual attraction she can’t ignore.

Trouble continues to plague the pair, driving a wedge between them and leaving Grant certain that Karissa is in more danger than she realizes, from overzealous fans and her own management. Grant is determined to protect Karissa whether she wants his help or not. Can he discover the truth behind what’s going on before he loses Karissa or is there someone else plotting to keep them apart – permanently?

I love the rock star romance genre and among my favorites are Nalini Singh’s Rock Kiss series, J T Geissinger, Liora Blake…plus movies such as “The Bodyguard” and “Beyond the Lights”.  That, and my fascination with any number of behind the scenes documentaries about rock tours, helped influence me when I was writing this book. I think it’d be fairly easy to turn the storyline into a musical, with Karissa, the rock star in question singing full out production numbers during the stage shows and a pensive ballad or two when the romantic hard times occur. I’d love to have someone create the pulse pounding finale song, which Karissa has written as a tribute to her love for Grant.

Can we get the antigrav dancers too? Oh and the two alien birds?

I’m not too up on composers and etc. I like what I like and I don’t analyze the details too much. Probably if one of the current rock stars could be interested in creating songs for the movie, we’d be in great shape! Katy, Taylor, Beyonce, GaGa….I kind of rattle around in my musical tastes from vintage rock to Disney tunes to 1930’s and 1940’s musicals to Rodgers & Hammerstein to country to Backstreet Boys to certain current artists to…well, you get the picture. So I say let’s put together the movie deal and see what happens! Let’s make a musical!

(Too bad the composer of the "Fireball XL-5" full theme song isn't available...)

Now if we wanted a musical that was more about the dancing, Star Cruise: Mystery Dancer would be ideal and could feature different dance production numbers from the audition montage to the finale, as well as a ballad or two for those moments when the heroine reflects on her tragic past or the destiny facing her or the impossibility of her love for the hero (but of course we all know that turns out fine by the closing curtain)…

Here’s the plot: Tassia Megg is a woman on the run after the death of her elderly guardian. She needs to get off the planet in a hurry when chance directs her to an open dance audition for the luxury cruise liner Nebula Zephyr’s resident troupe. One thing Tassia can do is dance.

Security Officer Liam Austin is suspicious of the newest performer to join the Comettes. She shows all the signs of being a woman on the run and seems to fit the Sectors-wide broadcast description of a missing thief, accused of stealing priceless artifacts. As he gets to know Tassia during the cruise, he starts to wonder if she’s something more – a long vanished princess in hiding from deadly political enemies of her family perhaps?

And what’s the story with the three eyed feline companion other crew members swear Tassia brought aboard the ship? Does the animal even exist?

As the ship approaches its next port of call, all the issues come to a boil and Liam must decide if he’ll step in to help Tassia or betray her. F’rrh the alien cat is the key to the mystery and Tassia’s fate.

A science fiction romance take on the Anastasia tale...

If it seems like I’ve had it too easy answering this week’s question, I’ll offer you a third choice that doesn’t ‘star’ a singer or a dancer – Trapped on Talonque.

Here’s the plot and then I’ll explain my vision for the musical: Will an alien sleeping beauty awaken to save him, or to destroy everyone around her?

Space Marine Nate Reilly and his Special Forces team are in deep trouble. Prisoners on a backward alien planet, they're brought before an alien 'goddess', sleeping in her high tech seclusion. Nate is astonished when she awakes and establishes a psychic link with him. But her news is not good--he and his men must win a brutal challenge set by their captors, or they will die. She'll give her aid, but in the end their courage and strength must win the contest.

Bithia sleeps in her chamber, as she has for thousands of years, since her own people unaccountably left her there. Viewed as a goddess by her captors, she must hide her ancient secrets to survive. But only the bravest of men may free her. Can she use her psychic powers to keep Nate and his men alive long enough to help her escape, or will her only hope of freedom die with them?

I could envision some really heart rending duets, with the trapped alien heroine and the stalwart human Special Forces soldier, as they meet in dreams, and of course a triumphantly happy one at the end of the book. I could see a certain sporting event set to music, lots of quick cuts and pulse pounding rock beats…the soldier vowing revenge after one of his men is murdered in their captivity, which could make for a powerful song of defiance and determination…perhaps one of the scenes with the planet’s inhabitants conducting a ceremony which would allow for a fantastic set piece…there’s a sort of light hearted village dance toward the end…of course a love song, on the beach…and a rousing instrumental anthem as the happy ending is achieved (no spoilers from me).

I’m not as excited about this one, probably because I never envisioned it as a musical but hey, if Lord of the Rings can be done as a stage musical, why not?

Happy reading!

Note: All book covers done by Fiona Jayde.