A novel always starts out in the back of my mind as a nebulous zygote. A character or a single scene is the seed from which a beautiful child (novel) will be born. It grows there in my mind without my noticing it until one day it solidifies. I say to myself, “Ah ha! There is a story there to write.” It is time for the birthing process to begin. For some people, this means “pantsing” a rough draft without any thought beyond the original seed. For me, I prefer the outline process to give myself a solid foundation with which to build on.
I like to begin the outline process with pen and paper or in Word on my desktop. The pen and composition books are easier to take with me and give an extra layer of creative play that I’ve come to value. There is something about the feel of paper and a pen in your hand that is comforting. It slows down the process enough to allow you to think the details through. I always use a pen, not a pencil. I do not want to be able to easily erase what I’ve written. This is not a time for editing, but for allowing unhindered expression to come forward. I can not do this on a computer due to my fast typing speed. Lately, I’ve been favoring the notebook method over using Word on the computer to outline.
When starting a notebook, I will put the name of the novel at the top, the year I started working on it, and what volume this notebook is. Sometimes there is only one volume, sometimes there are more. For my first novel, I barely had any notes at all. Most of my ideas were in my head alone. Now I find that there is more value in putting the ideas down on paper as best I can. A novel can stretch out over a few years time in the the writing of it. That is a long time to remember tiny details.
My novel’s beginnings are a scrawl of different things. Mind maps where a central character or scene is at the center and I ask myself “what if” questions and then write down ideas as they come no matter how strange around the central idea. Most of these “what if” scenarios are cast off as illogical or too far fetched. Ideas that I like, I highlight, but otherwise simply leave them in the notebook. I sometimes will write down narratives of scenes that have come to me. I don’t go into details, that will come later with the writing of the novel itself, but I try and capture the essence of what is percolating in my subconscious.
I start doing “interviews” of the main characters as they come to me. It is a method that I learned in a creative writing class last year. I make a note of the character’s physical features and find an actor that he can be loosely based on. I begin to formulate the personalties and emotional and intellectual goals and ideals of each character. I write down phrases that would be common to them alone, gestures and other habits that help make the character his own person.
Since I write science fiction and fantasy novels, I find it helpful to rough out a map of the land I’m writing about. Nothing of great detail, enough so that I know where everything is located and can have a good idea as to how long travel time is between the different locations in the story. If I decide that a map will be useful to the readers later, I either will create a better one myself or hire an artist to draw one for the book.
At this point, I open up a file in Scrivener and start to set up the project. In the research area, I create files for the character sketches, the location descriptions and decide on keywords to represent each character, location and special object. This helps me to track information during the revision phase of writing. I also like to print out this information to fit into my writing filofax journal so that I can take my research information with me when I write outside my home. I consider the Scrivener files to be the master copies and my filofax the copy. When I update the information, I update Scrivener first and then print out a new page for the filofax. I like to use the filofax since I don’t have to worry about electricity or waiting for the information to load up in a computer. What I need is all there organized in my writing journal without distraction of the Internet.
Once the research information is in Scrivener, I start an “outline” file in the research area. I write a short paragraph of each scene of the novel from beginning to end based on the highlighted areas of my mind maps from the notebooks and the short scenes that I’ve already written down on paper. The master outline is one file in the research area of Scrivener and a copy is printed for my filofax writing journal. At this point I’ve closed my paper composition notebooks and am working completely in Scrivener.
The final step, before I begin drafting, is to take each outline paragraph and create a separate file for it in the drafting area. I will give the scene a title, write a short synopsis of it in the scrivener card and then paste the entire description paragraph into the document notes section of the inspector. I also label and put in the status of the newly created file.
Every writer uses a different method to create their novels, this is the way I cobble together mine. I consider Scrivener and my filofax writing journal to be the key elements of the system. Scrivener organizes my research and novel information and the filofax is its backup shadow that comes with me everywhere. Together, they form the backbone of my creative process and help to make writing my novels easier.
There are times when you meet a fellow author and things just click. I had that experience when I met this author. Like Patrice, I am a fan of Jane Austen fan fiction and of fantasy, so I was tickled to see that she has published in both of these genres. Please give a welcome to Patrice Sarath here on No Wasted Ink.
My name is Patrice Sarath. I am a writer from Austin, Texas. My fantasy series, Books of the Gordath, includes Gordath Wood, Red Gold Bridge, and The Crow God’s Girl. My sequel to Jane Austen’s Pride & Prejudice, called The Unexpected Miss Bennet, came out of my great fondness for Austen’s works. I also write short stories, which have appeared in Weird Tales, Alfred Hitchcock Mystery Magazine, Black Gate, and Realms of Fantasy, and other magazines and anthologies. When I’m not writing I’m mucking around with horses or riding my bike or playing with my dogs.
When and why did you begin writing?
I was five years old when I wrote my first book. Maybe younger, because I couldn’t actually write. But I wrote the best monster story ever and then threw it dramatically into the fire, because it didn’t measure up to the ideas and images in my head.
Can you share a little about your current book with us?
The Crow God’s Girl is the third book in my Gordath cycle, but it is not the conclusion of the trilogy; in fact, it can be read as the starting point. In The Crow God’s Girl, Kate Mossland, a 21st century teenager from North Salem, New York, is trapped in an alternate fantasy world. Everything is going to be okay, though, because she is betrothed to a noble young man and she is going to be quite wealthy and well-protected and respected. Of course, the best laid plans are the ones that an author loves to gleefully upturn, so naturally things happen to upset that apple cart. Kate discovers that she has hidden strengths that carry her through to a new life far from the one she originally thought she was destined for.
What inspired you to write this book?
The entire Gordath cycle came out of my experiences growing up in Connecticut. I rode horses there — it’s some of the prettiest horse country in the world — and riding on the trails you could be a few miles away from the highway but it felt like the middle of nowhere. What would it be like if you could ride your horse straight into another world? I brought that idea into the Gordath cycle and it continues in The Crow God’s Girl.
Do you have a specific writing style?
I’m not sure how to describe my style — I think that’s best left up to my readers. However, when I was writing The Unexpected Miss Bennet, I adopted a modified Austenesque style. Austen was a busy writer but she can also be very modern and stripped down, even if we don’t always see that. My Miss Bennet tends toward Austen’s stripped down style with I hope something of her wit. It begins, “It is a comforting belief among much of society, that a plain girl with a small fortune has no more interest in matrimony than matrimony has in her.”
How did you come up with the title of this book?
That’s a great question! I have a wonderful writer’s group called Cryptopolis. I put several title ideas out to them — the working title of the book was Lady of Temia — and then one of my friends came up with something completely different. And it stuck. So if you need a title, call Patrick. He’s good at this kind of thing. My first book, Gordath Wood, was my title — Red Gold Bridge was suggested by my editor at Penguin, Susan Allison. And I am proud to say that I came up with The Unexpected Miss Bennet, which I think really suits my book.
Is there a message in your novel that you want readers to grasp?
I don’t really do messages. That’s for readers to come up with. I want readers to enjoy my books, re-read them, find different nuances they missed the first time, etc. But messages should never be a writer’s mission. Well, that’s of course for every writer to decide. But messages are not my mission anyway.
Are experiences in this book based on someone you know, or events in your own life?
The inciting event in the Gordath cycle is getting lost in the woods. When I was 12 years old, I got lost in the woods and went missing for a very long day. I use some of that in the first book when Lynn Romano first disappears in Gordath Wood. It was a scary, exhausting day, and I know I put a lot of my experience into her experience. And of course, the opportunity to ride in some of the prettiest countryside also made it in the book.
What authors have most influenced your life?
Jane Austen and J.R.R. Tolkien. Stephen King. Robert Louis Stevenson. Georgette Heyer. The Brontes. Barbara Kingsolver. There are others, but these are the authors who come to mind first.
If you had to choose, is there a writer would you consider a mentor?
I am friends with and fans of several writers, but none who I would consider a mentor. That said, I learn from all of them.
Who designed the cover of your book? Why did you select this illustrator?
Aleta Rafton did the cover art for The Crow God’s Girl. I selected her because I love the covers she did for Gordath Wood and Red Gold Bridge and it was important that this book to have the same look and feel. The cover designer is David Chang, who is in my writer’s group, Cryptopolis. He did a fantastic job.
Do you have any advice for other writers?
At this point, if you are a writer, aspiring or otherwise, you’ve heard it all. Everyone has said the same thing, and there are only so many ways to say, write every day, persevere, always learn, always seek to hone your craft, and develop a thick skin so you can withstand rejection but also learn from criticism. So there’s no point in saying it all again, really. That’s the only formula I have.
Do you have anything specific that you want to say to your readers?
If you like fantasy, romance, and adventure, you will like The Crow God’s Girl. So please, take a look and check it out. I promise you won’t be disappointed.
Covert art by Aleta Rafton
I connected with Duffy Brown on Twitter and she kindly consented to do a guest post here on No Wasted Ink about her writing space!
I love anything with a mystery. While others girls dreamed of dating Brad Pitt, I longed to take Sherlock Holmes to the prom. I have two cats, Spooky and Dr. Watson, and conjure up who-done-it stories of my very own for Berkley Prime Crime. Iced Chiffon, out October, 2012, is the first in the Consignment Shop Mystery series. Killer in Crinolines is scheduled May, 2013. In my other life I wrote romance as Dianne Castell and am a USA Today bestselling author.
I wish I could say that when asked to take a picture of my office for Wendy and No Wasted Ink, she caught me at a bad time. Truth be told when it comes to my office it’s always a bad time. There’s always a map taped to the wall. This time the map is Savannah. There are a lot of one way streets in Savannah, twenty-three squares that are mini parks, as many churches as bars and a ton of incredible Southern restaurants. I need a map to keep it all straight.
Then there’s my love of Sherlock. I’m a Sherlock dork. Have a Sherlock hat in my office for inspiration. Do you see his pipe, a Sherlock action figure (yeah, there really is such a thing)? I even have Sherlok as my license plate and named my cat Dr. Watson.
Then there’s the notes taped to the wall and promo on the floor. I got the cutest pens. They have the chalk outline of a dead guy on top. I have thousands of bookmarks to mail out, notepads, magnets, flyers, posters. At least there aren’t any dirty coffee cups and half-eaten doughnuts. Actually there would never be half-eaten doughnuts in my house anywhere! Doughnuts are one of my five food groups behind ice cream and before diet Coke.
I just gave my office another look-see. Did you see the discarded bra? Lordy, I forgot that was there.
It’s how I plot out a mystery. I get that big sheet of drawing paper you see on the floor, divide out twenty-one squares (one for each chapter) and start plugging in scenes. I do it outside to inside, meaning I know how the book starts and how it ends then plot a middle action, red herrings, clues, suspects, a few more dead bodes. I have a big eraser so I can change things around.
You wonder why I just don’t use sticky notes. Well one time I had the window open and a big breeze came along. I learned my lesson!
Berkley Prime Crime
Consignment: Murder series
-Iced Chiffon Oct, ’12
-Killer in Crinolines May ’13