The Novelry Blog
Where the writers are.
You have the time to write your novel.
Up with a coffee at early light, creating your world, at play before real life kicks in! You're creating something that will last, and speak for you and your lifetime in one hour a day. Whatever stage you're at - whether you've got no idea for your novel or you've got a first draft sitting in a drawer - you'll have a manuscript in your hands in ninety days' time.
Our one hour a day method for writing the first draft of your novel is not a gimmick or a sop to busy people as I explain in the video with this blog post above.
You need to do 23 times more back-of-mind cogitation than you do writing when you embark upon the hard work of formulating a novel at first draft.
The time between writing session is vital and will allow you to go to the page to write with refreshed and renewed purpose.
If you don't fly off and write yourself out of ideas (and hope), but keep a nice low steady word count in these demanding early...
Each and every character in a story has a single purpose for the storyteller - and that is their role or agency vis a vis the moral development of the protagonist, hero or heroine, the subject of your novel. They either assist or hinder.
There are filler characters, the door holders, and bag carriers, the petrol pump attendants, and these too may have something to add, but you need to concern yourself with the team first and foremost. Some 3-15 players.
Wherever you are in your novel, you should be looking at the crucible - the hell Sartre might have dubbed it or heaven - that is the nexus of relationships. What people want from your main player and what he or she wants from them. The relationships - the push and pull of their reciprocal wants and needs - will range from highly negative and reversing (antagonist) to assistance, affection, love and self-sacrifice (the friend or lover).
So you'll be playing these out in your story through conflict and clarification - questions posed...
Wherever you are with your novel, here's something which could help you see the big picture of plot fast.
On my fourth draft of a novel, and so mired in the material, I needed a very simple oversight of the drama in play. It came to me that when I am working on a novel I envision several key scenes and work from one to the other hopping on one foot of my purple prose.
Usually, I begin a novel with a key 'visual' or vision, a scene that intrigues me, and work out how on earth it all came about, then I add other scenes. But of course, I forget about the simplicity of that and get bogged down in detail.
At any stage of your novel try seeing it like a moving picture. Think of it as a movie, and press fast forward x 30. You won't be paying attention to the talking heads but the space around them. The locations. The sets. The camera angles and then the key shot for each. Whose face? Whose feet? What object?
My God it helps.
This week I've been using a method...
Immersive writing and Insight are intimately related and inextricably so.
This is what Tolstoy shows us. It's what makes Tolstoy a great writer.
Following on from the last blog on the ten-draft four-year development process for the writing of the book often described as the greatest novel, I want to show you what Tolstoy achieved with his writing, how he approached, and why.
“Therein is the whole business of one’s life; to seek out and save in the soul that which is perishing.”
The Gospel in Brief - Leo Tolstoy
(My second book This Human Season cites this quotation from Tolstoy at the frontispiece.)
The business of his life, his work, was to honour this passage from the Gospel, which he read and re-read as his favourite book.
Thou hypocrite, first cast out the beam out of thine own eye; and then shalt thou see clearly to cast out the mote out of thy brother's eye. Matthew 7:5
Seen this way, you can understand the wholeness of his approach to his work,...
In the 1870's Lev Nikolayevich Tolstoy (1828 - 1910) experienced a profound moral crisis. During the writing of Anna Karenina, he went through a personal metamorphosis from sensualist to ascetic. This had a dramatic effect on his literary output and the novels after Anna Karenina are of a different tone, and more didactic.
Writing Anna Karenina required many drafts over four years, and evolved from a rather superficial treatment of a 'fallen woman' to a more nuanced and sympathetic evocation of Anna, the literary heroine.
The novel accrued greater depth over those drafts. The constant in the concept was Anna herself, though her character changed in the early drafts. With Anna, Tolstoy was able to put his finger on his own flaw or failing; the sensualist. Writing Anna enabled him to see the flaw, name it and move past it.
There are one or two ways to write a novel.
1. A fast first draft and multiple successive drafts. (For this method ideally you need a sounding board - an agent...
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