When I last posted two weeks ago, I’d done lots of thinking and planning for this gargantuan re-draft. I hadn’t started the actual rewriting at that point, but was hopeful about the progress I’d make while on a writing retreat in the Forest of Dean. Here’s a picture of the balcony outside my room, bathed in golden afternoon sunlight.
Part of my revision process has involved getting rid of a character who’d had quite a substantial part in the novel. What I’d realised, though, was that while he did have some important work to do, the storyline that sprang from him was complicating matters, and wasn’t really relevant, so he had to go. Here’s the fun post in which I gave him the sack! The home for redundant characters
But as I say, he did have an important role, so I then went through every chapter that featured him and identified what was essential to the storyline, the things I just couldn’t afford to lose. I decided that most of those areas could be covered by another character, so her role has now become much more important. I’ve essentially combined two (possibly three) characters.
I marked the bits from the original character that I wanted to keep and the rest, even the good stuff, had to go. Before I left for the retreat, I’d cut 36,000 words from the draft, and I did it (almost) without flinching.
I’m still struggling with the structure, because although, like my first two novels, this story is about how the past can affect the present, it’s a more complicated timespan showing two characters’ lives over a number of years. I’ve started in the present, and need to gradually reveal the past. I tried planning the whole thing, but found that impossible, especially as so much has changed, but I’ve planned the order of the first few chapters and will continue to write a bit, plan a bit, write a bit etc. By the end of my four days, I’d ditched more than half of the original draft, and had written just over 15,000 words, about half of which were completely new.
Now I’m back home, I’ve printed out the ‘to keep’ chapters – these are chapters with an important message or emotion, but which may still be set in the wrong place and time, and may still contain redundant characters. I’ve written a couple of lines at the top of each one explaining why the chapter is important, and this is helping me to rewrite as I go along.
Despite the huge changes, the heart of this novel remains the same, and despite the mammoth amount of work I have to do, I’m feeling passionate about it. Please tune in in two weeks to see where I’m up to!
In the meantime, if you fancy coming to a one-day writing workshop in Sheffield, there are two coming up – check out the workshops page of my website