Between The Bindings Narrative, by Jean Hackensmith
My approach to writing a novel has changed dramatically over
the years. I started nearly thirty years
ago by reading every book I could find on writing. I followed all the advice, starting with a
synopsis, then a detailed outline, character sketches, timelines—the whole
gamut. Twenty books later (and twelve of
them published) I have now discovered my own “system”, as it were. I’m not saying this approach will work for
everyone, but it does for me.
Obviously, my system begins with an idea. I then begin to flesh out that idea by
talking with a few family and friends who have a genuine interest in my writing
and don’t mind discussing plot ideas for sometimes hours on end. In fact, they have told me numerous times
that they enjoy the process, also. When
I first started writing, I was very close-mouthed about my plot ideas. I didn’t want to give anything away and ruin
the story. Well, as they say, it takes a
whole community to raise a child and, in my opinion, the same is true for
writing a novel. Another old adage, “Two
heads are better than one,” also holds true in this instance. It is absolutely imperative that I have a
community of faithful followers who are willing to help bring my stories to
life. People who truly care about what I
do, offer constructive criticism, and
let me pick their brains. It’s amazing
some of the ideas these people come up with; things I would never have thought
of myself.
Next, I do compile a one page synopsis, highlighting the
main story plot and any important details that I’m afraid I might forget if I
don’t put them down on paper. I
abandoned the detailed outline, however, a long time ago. I’ve often said that, once I get started, my
books write themselves. Inevitably, the
finished product virtually never resembles the initial outline, so, for me
anyway, that was just a waste of time. I
do still utilize a timeline, though; for me it’s a very useful tool. Basically, every time I start a new scene or
chapter, I add a brief description of what’s happening, along with the date, to
the timeline—even if that scene is happening only a few days later. It’s just easier than scrolling back to see
how much time has passed since a critical event. I also still use character sketches,
identifying my main characters eye color, hair color, age, etc. Again, it’s easier to just look at the
character sketch instead of going back pages upon pages to see what color eyes
I gave a certain character.
As I said earlier, my books tend to write themselves. This happens as my characters develop
throughout the course of the book. They
become like family. I know them so well
that it’s easy to say, “he wouldn’t do that,” or “she wouldn’t say that.” It’s out of character for them. Also, new scenes, new ideas, will continually
crop up when I’m in the process of writing—things I never thought of before,
things that simply seem to “fit” with the flow of the story. Every scene, though, must advance the story
in some way. It must help to develop a
character, or drop a clue, or foreshadow a coming event. If it doesn’t, it just becomes fill and bogs
down the story.
I also tend to use a LOT of dialogue in my books. For me anyway, it makes for much more
interesting reading if my characters are talking about key points in the story
rather than just revealing them in narrative.
It also serves as a more interesting way to describe a scene. In dialogue tags, I’ll have my characters
moving toward the fireplace across the room, or touching an antique clock that
sits on a table. Much more interesting
to read than just stopping the action and saying, okay, this is what the room
looks like. There’s a fireplace on the
far wall, an antique clock on this end table, etc.
Finally, when YOU think the book is done, when you’ve read
through it two, three, or a dozen times, give it to someone else to read. In my case, my advance readers are the same
family and friends who helped to flesh out the idea in the beginning. This is not only a good way to find typos
that you, as the author, might have missed, but it’s also a great way to
discover any discrepancies in the story itself.
A lot of authors think they know the story better than anyone, and they
do—and that’s why we will miss a LOT of things that an impartial reader will
catch. Authors tend to read right over
typos, and the discrepancies may not be unclear to the author at all, because
he or she knows the story and the characters so well.
I hope this helps any first time authors out there, if just
a little. In short, every author must
discover a system that works for them and, through time and experience, you
will discover yours.
ABOUT IDENTITY CRISIS
Title: Identity Crisis
Genre: Detective
Author: Jean Hackensmith
Publisher: Inkwater Press
Language: English
Pages: 260
When rumors of how Dan Hamilton actually died reach the Cheyenne Chief of Police, Brian Koski is forced to resign his position as captain of the Sixth Precinct and go into business for himself as a private detective. His partner? A mahogany colored Belgian Malinois named Sinbad. A former NYPD police dog, Sinbad is vicious when need be and reliable to a fault–unless a train goes by or there’s a thunderstorm, then chances are he will turn tail and run. Brian’s first clients are Jeff and Melody Patten. He’s an explosives expert for a local demolitions company, she’s a stay-at-home Mom. Both are devoted parents to their young daughter, Angela. The problem comes in the form of one Collin Lanaski, an unstable ex-Air Force lieutenant and Angela’s second grade teacher, who suddenly starts insisting that Angela is his daughter—the same daughter who died in a tragic car accident four years earlier. What does Collin base this incredible revelation on? Dog tags and car seats. Brian is convinced the man has suffered a psychotic break. He’s delusional and dangerous, and it becomes the P.I.’s job to protect Angela from a madman.
Needs to be on TBR list
ReplyDelete