I
have enjoyed this enforced week at home, even if I haven’t elevated my foot as
much as I should. I’m ready to move on and get back into the world. My foot,
however, is not. The ankle is still puffy, and I still have fleeting but fairly
serious pain at night—like what I imagine phantom pain is like if you’ve lost a
limb. The doctor said to check back in two weeks if it isn’t better, and it’s
only been four days since I saw him.
I’ve
been busy at my desk and feel good about what I’ve done. After a strongly
positive review from my beta reader (how he’d laugh at that term), I sent “Murder
at Peacock Mansion” off to an editor. My chores for today were to write a blurb
and a synopsis—I know, I know. The synopsis should come first. But I get
involved in the story I’m telling, and it changes so far from any synopsis I
did before writing that the idea is futile. I know people who keep chapter by
chapter outlines as they go—probably a great idea, but once again it would stop
the flow of my story-telling. I read today that we should be open to new ways
of editing and revising and I agree—except that I don’t want to. I rely on a
good editor to tell me if I’ve run amuck.
Before
I labored over a blurb, I checked my file—and I’d already written a better than
average blurb (at least in my opinion). Started the synopsis and it went
poorly, sounding like “And then this happens, and then that.” My novel
disappeared in the mechanical retelling. So I gave up and completed my final
chore—asking two authors to write short endorsements of the work. To my
delight, the first two I asked agreed. I’m feeling really good about the week’s
accomplishments.
I’ve
been thinking about the craft of writing a lot lately. I follow the Sisters in
Crime listserv and that of Guppies (a subgroup) religiously, and there are lots
of posts like the one just referred to about revision and editing. Some authors
make elaborate outlines, do extensive character profiles, keep spreadsheets,
etc. —in short, they have the book almost written before they type “Chapter
One.” Certainly would have helped me with a synopsis if I'd done that.
I’m
a pantser. I get that first sentence, and I’m off. I do believe the old saw
that your characters tell you what’s going to happen if you’ll only listen to
them. So I write without a clear plan of what’s going to happen or where I’m going
next. Of course, that’s why I ended up with a woman having two college-age
children in one chapter, four children in another, and then one. She now has
one diva daughter, about to go off to a women’s college.
I
ask myself often if I truly value the spontaneity of my method or if that’s a
cop-out. Maybe I’m too lazy to learn about spreadsheets and Scrivener and One
Note and all those writing tools my colleagues talk about. Or maybe you really
can’t teach an old dog new tricks.