PUBLIC HEALTH WARNING
Those with strong to severe analogy allergies are advised to seek medical advice before attempting to read the following blog posting. Those suffering alliteration ailments should perhaps have avoided that first sentence just then. Sorry about that.
– Ministry of Weak Writing, April 2013.
On the outskirts of Norwich there is a pleasant unbroken stretch of road that curves gently downhill in a series of S-bends. It is a tree-lined gem of satisfying inward cambers, so short as to barely last half a minute, and yet it is a stretch of road that can still make one’s long-suffering better half say “wheeeeee!” as she drives down it. (I can’t drive. This, World, is A Good Thing, trust me.)
This unassuming stretch of road is a little oasis of driving pleasure in an otherwise shitty farrago of one-way systems, potholes, traffic lights and altogether terrible drivers that blight the majority of Norwich’s roads.
Why am I telling you this, particularly if I can’t even bloody drive? All in good time, or 400 words, whichever comes first.
Any road, welcome to my view from the second draft of The Floors. Frankly it’s all a bit bleak! I knew I needed to do some repair work following the bugger’s rush that was NaNoWriMo, but sheesh! I never expected to need rewrite virtually every one of the first 20,000 words! If Present Me ever catches up with Previous Me there’ll be hell to pay. Throw a “Beef this bit up in the 2nd draft” into a couple of chapters, would you, Previous Me? Why I oughta…
So, yeah, this second draft has been a tough cookie so far. The readthrough of the first draft was perhaps two-thirds a horror show of writing and one-third horror story, but overall it was an incredibly useful exercise. For example, while I want The Floors to be a quick, white-knuckle read, I found the first half of the book, believe it or not, to be too quick. The action came thick and fast but at the cost of leaving the reader behind.
A lot of the time these last three or so weeks has therefore been spent squeezing more from my characters and getting their essence onto the page. My bad guy has a more believable trigger-point for his actions, for example, making for a much more satisfying opening to the book. My protagonists now have an extra dimension to them after fleshing out their backgrounds, their hopes and their fears. (Thank you Previous Me.) The dialogue has also been improved to reveal more about each character – the infamous “show, don’t tell” maxim in action.
Other weaknesses have also been identified and fixed along the way. For example, I’ve turned a fairly large and annoying plot hole into a new scene that not only fits the story like a glove but also leaves a pretty cool image in the mind. (Two words: Droste effect.) Things that I threw into the mix around 1/3 into the story have been threaded back through the narrative to help it flow better.
In short, it’s been a hell of a lot of work, the beefing-up, the repairs, the rejigging of scenes. It isn’t the kind of thing I’d recommend after long, highly-strung days of non-stop Saving The Company’s Arse. Shit like that takes it out of a guy. As a result I’m way behind schedule so I’ll have to cut this post short soon and crack on.
But what of my tiresome analogy? Well, these last three weeks have not all been me screaming “Oh, my God, what fresh hell is this?!” In my editing travels I have come across the odd page in the first draft where I’ve thought “Yeah, you know what, this is really good!” It’s these little oases of writing that help drive me towards a better draft. I can accept a hefty rewrite of a chapter in exchange for a mighty fine page every now and then. Such things only compel me to make every other damn sentence in the story grab readers by the eyes and refuse them permission to blink. They make doing this whole shebang worthwhile.
Or, in other words, “wheeeeeeee”!
So back I go, my writing toolbox in hand, to make more repairs. I’ll post another review next week while I do further battle, and then I’ll come back with an update and, if you’re good, a spot of cover artwork.