How to interrogate your novel
by
R.N. Morris
Author of PSYCHOTOPIA
For me, writing is all about making decisions. (I actually think ‘How To Make Decisions’ would be a good alternative title for a how-to article about writing.)
The decisions we make as writers define what kind of writers we are. It’s where the voice of the writer comes through, whether it’s in word choice, word order, the names we give our characters, how much internal monologue we put in versus how much we show character being revealed through action.
The more you write, the more you tend to develop a feel for these things.
Maybe there’s no such thing as the right decision or the wrong decision. But there are certainly bad decisions and good decisions. Just like there are bad writers and good writers.
The question is, is there a way to start making better decisions, and become a better writer?
Question everything
Before you can make decisions you have to clarify what the issues are. To get to that point, it may be helpful to interrogate what you’ve written, or what you’re planning to write.
It worked for Socrates, so it might work for us. Asking questions to develop our thoughts.
So here are some of the questions I ask myself:
Are you sure you need that first chapter? Or did you only write it for yourself, to get you into the story? What happens if you cut it? Do you miss it? Or is the beginning of the story suddenly more purposeful, more pacey, more engaging? Better?
What is character X bringing to the story? What role do they play in moving the action forward? Do I actually need them or do they just get in the way? Is their function already performed by character Y?
While we’re on characters, are there too many of them? Or does it just feel that way because too many of the characters aren’t distinct enough from one another? How do I make every character feel like a distinct individual? Which of my characters come alive on the page? And which feel like they are ciphers in a plot? What can I do to make that right?
What emotions should the reader be feeling at this point? Am I doing enough to make them feel those emotions? Or am I over-doing it? Have I forgotten that describing an emotion is not the same as conveying that emotion? Which is something different again from provoking an emotion.
What does my main character want? What does my main character need? What is preventing them from getting what they want? How do they end up getting what they need?
Is the story constantly moving forwards? Or does it stall at certain points?
Are there parts when I drift off when I’m reading through? Why do I think that happens? Can I do without that bit or is there a more interesting way to write?
What is the thing on every page that will make the reader turn to the next page? You can break it down even more. What is the thing about any given sentence that will make the reader finish it? And will reward them enough to make them want to read the next? And the next and the next?
Is there too much description? Not enough description? Do things happen for a reason? Is that reason believable?
Have I got the balance right between action, description, dialogue and inner thoughts? Am I ‘telling’ too much? Or just not ‘telling’ in an interesting enough way?
Are there enough twists and surprises? Is there one killer twist? And then is there another killer killer twist after that? Are they all believable twists?
And so on.
I’m sure you can think of questions of your own.
Whatever questions you ask, ultimately only you can answer them. Because only you can make the decisions that will determine what kind of book you write.
You can talk things over with other writers, you can show things to beta-readers. You can listen to what other people have to say.
But ultimately, you’re the one who has to make the decisions. Because you’re the one who’s writing the book.
Just make a damn decision.
The point for me is not so much what decision you make. Just that you make one. That at some point in the writing process you exercise conscious control over what you are writing.
You can make your decisions as you go along. That’s mostly how I work. But other writers do it differently I know.
Writing without thinking too much about it can be very freeing. It can open the sluice gates to the subconscious.
But at some point you have to start taking control over what you’ve written so freely and unthinkingly.
At some point, you have to start interrogating your novel.
Introducing…
Psychotopia
A game for the times we live – and die – in. Enter Psychotopia, a dark new dystopian novel from the author of the acclaimed Silas Quinn mysteries.
PSYCHOTOPIA, LEVEL ONE. Create your own boutique psychopath, then deceive, manipulate and be ruthless, spreading mayhem and destruction to reach the next levels.
It’s the computer game for our times. After all, the amount of crazy in the world is increasing.
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| Amazon |
Senseless violence on the streets is becoming the norm. Can Dr Arbus’s ground-breaking device identify and neutralize psychopaths before it’s too late? In this increasingly dysfunctional world, surely Callum standing by Aimee after her devastating encounter with Charlie is proof that real love and goodness can still win in a world that’s increasingly rotten…
Or can it?
R. N. Morris is the author of ten novels. The latest is PSYCHOTOPIA, published 31 October, 2018.
A Gentle Axe, was published by Faber and Faber in 2007. Set in St Petersburg in the nineteenth century, it features Porfiry Petrovich, the investigating magistrate from Dostoevsky’s great novel, Crime and Punishment. The book was published in many countries, including Russia. He followed that up with A Vengeful Longing, which was shortlisted for the Duncan Lawrie Dagger Award (as the CWA Gold Dagger was briefly known). A Razor Wrapped in Silk came next, followed by The Cleansing Flames, which was nominated for the Ellis Peters Historical Novel Dagger.
The Silas Quinn series of novels, set in London in 1914, began with Summon Up The Blood, followed by The Mannequin House, The Dark Palace and The Red Hand of Fury. The next novel in the series, The White Feather Killer, will be published in April 2019.
Taking Comfort is a standalone contemporary novel, written as Roger Morris.
He also wrote the libretto to the opera When The Flame Dies, composed by Ed Hughes.
Social Media Links –
Twitter: @rnmorris
Facebook page: https://www.facebook.com/Psychotopia-298585774308801/
Website: rogernmorris.co.uk
Facebook page: https://www.facebook.com/Psychotopia-298585774308801/
Giveaway!
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