“Every first draft is perfect, because
all it has to do is exist. The only
way it could be imperfect would be not to exist.” --Jane Smiley
I have this quote tacked to the bulletin board above my desk, to help me stay on course when I get stuck working on a new manuscript.
For me, first drafts can be excruciating. Even with an outline, there are so many decisions to make at every turn. Is that the exact word I want? Should this line of dialog go here? Does that setting need more detail? It’s so easy to get bogged down at this point, so easy to feel overwhelmed by the thought of all those blank pages lurking out there, needing to be filled. I wish I could just pull the thoughts out of my head and sprinkle them on the paper, like magic fairy dust.
I’ve found this stage to be especially challenging for the project I’m working on now—the first sequel to Anna Mei, Cartoon Girl. Since the characters and setting are already established, and the publisher has already approved the storyline, I expected it to be easier this time. But as I kept struggling with the first few chapters, it dawned on me that I had never written a sequel before, and I honestly had no idea how to do it.
For me, first drafts can be excruciating. Even with an outline, there are so many decisions to make at every turn. Is that the exact word I want? Should this line of dialog go here? Does that setting need more detail? It’s so easy to get bogged down at this point, so easy to feel overwhelmed by the thought of all those blank pages lurking out there, needing to be filled. I wish I could just pull the thoughts out of my head and sprinkle them on the paper, like magic fairy dust.
I’ve found this stage to be especially challenging for the project I’m working on now—the first sequel to Anna Mei, Cartoon Girl. Since the characters and setting are already established, and the publisher has already approved the storyline, I expected it to be easier this time. But as I kept struggling with the first few chapters, it dawned on me that I had never written a sequel before, and I honestly had no idea how to do it. It turns out that sequels are tricky little things, with their own unique set of decisions. Should the story stand alone, or is it considered merely the middle of a trilogy? Could I assume the reader had read the first book, or did I need to repeat some of the original story? And how would I find that nearly invisible line between filling in the new reader while not boring the returning reader to tears? It felt paralyzing at first.
It took a while to figure out an approach that weaves elements of the first book into the opening chapters of the new one, while also introducing new conflict and hinting at events to come. Since those chapters set the tone for the rest of the book, I really wanted them to be right. It was a relief to be able to share my work in progress with my editor—a huge advantage to being under contract versus being an aspiring author out there all alone! She assured me that I was on the right path and helped me feel confident in the decisions I’ve made so far.
While I'm busy working on this book, marketing efforts have begun for Anna Mei, Cartoon Girl. I was thrilled to see it listed in the “New Books for Spring” section of Publisher’s Weekly, the industry "bible" sent to thousands of publishers, libraries, bookstores and writers. I was asked to write a feature page about the book for my publisher’s quarterly magazine, Life & Soul. That comes out in March. They are working on a promotional video for the book, as well as a video interview with me, to post on their site and on youtube. And they are arranging for some radio and podcast interviews as well.
I’m sure I’d be nervous if I had time to think about all this, but right now it’s
taking all the concentration I can
It took a while to figure out an approach that weaves elements of the first book into the opening chapters of the new one, while also introducing new conflict and hinting at events to come. Since those chapters set the tone for the rest of the book, I really wanted them to be right. It was a relief to be able to share my work in progress with my editor—a huge advantage to being under contract versus being an aspiring author out there all alone! She assured me that I was on the right path and helped me feel confident in the decisions I’ve made so far.
While I'm busy working on this book, marketing efforts have begun for Anna Mei, Cartoon Girl. I was thrilled to see it listed in the “New Books for Spring” section of Publisher’s Weekly, the industry "bible" sent to thousands of publishers, libraries, bookstores and writers. I was asked to write a feature page about the book for my publisher’s quarterly magazine, Life & Soul. That comes out in March. They are working on a promotional video for the book, as well as a video interview with me, to post on their site and on youtube. And they are arranging for some radio and podcast interviews as well.
I’m sure I’d be nervous if I had time to think about all this, but right now it’s
taking all the concentration I can muster to produce a sequel I’m proud of. I’m pushing through, scene by scene, chapter by chapter, resisting the urge to make every word perfect before I can move on. I know that my strength as a writer is in the revision process. I’m much better at polishing than at producing from scratch. So all this first draft has to do is exist—I can come back later to sprinkle on a little magic fairy dust.
Still Sipping Soup
Still Sipping Soup
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1 comment:
Carol, it's interesting to read about the challenges of writing a sequel. I'm glad your editor could offer reassurance that you're on the right track! Best of luck to you as you work toward that looming deadline!
Peggy
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