Writing a Sequel to The Place of Dreams

I officially signed Hafan Deg with the lovely agent on January 3. When I refer to her, I have difficulty saying 'my' agent, as it sounds pretentious. So I say, 'the lovely agent I signed with', which is less in your face. As I become more confident, I'll feel less selfconscious using the 'my'.

Her first official suggestion was to change the name of the manuscript. It's now called The Place of Dreams, which you've probably seen in the sidebar. The second biggie is that she asked if I would consider a sequel to the book. In all my dealings with agents, hinting gently that I have other manuscripts I want to sell, I've never thought about sequels for any of them.

My first reaction was that it couldn't be done. The book had been rather exhausting, taking a long time to get it the way I wanted it. It's something of a saga,  and it took many re-writes to bring the major raison d'etre to a satisfactory conclusion, all the loose ends tied up, and everyone more or less living happily ever after. But I haven't stopped thinking about it since the idea was presented to me--how my protagonist, Karen, could pick up from where we left off.  I now think it could work. I'm two-thirds through the fourth novel, at a tricky forensic pathology (Google is brimming with information on that!) bit in the book, but Karen is now popping into my head constantly and I've even started making some notes.

If my (did it!) agent suggested a sequel, it surely indicates that she believes Karen is too interesting to abandon to one book--that people will be so involved they will want more. Considering how long it took me to get her this far, it's all rather surprising, but very rewarding. As I become more comfortable in this role of agented writer, I'll ask more questions, as there is still much that I don't know, but right now I'm humbled by it all, and will probably remain that way until an editor is found, or until my agent tells me to relax and enjoy the ride.

I think I'm a fairly good writer, certainly do the best I can manage, but it's hard to be too confident in this business, isn't it? How awful to brag about it all, only to fall on your face when a publisher isn't forthcoming. I appreciate a certain amount of irritable rumbling from some of you, 'She's working on her fourth novel?'  But I'll keep on writing, whatever happens. There could be ten novels, who knows? Not one of them published. We don't write to publish, but do have a need to share our ideas, our view of the world, and publication is the only way to do that on a scale larger than this blog.

I suppose what I'm saying is that you should never stop writing just because you have other manuscripts tucked away that have generated little interest. Ten novels, even twenty, doesn't preclude the publication of your very next one, and with luck all those others will then be picked up, too. Except for British writer, R.J. Ellory (he writes who-dunnits exclusively set in the U.S., and does it well, even as he lives in Birmingham, England!), who confesses he has over twenty manuscripts in his attic that never sold, that will remain there. He has since published many subsequent novels, and it frustrates me that he hasn't felt the need to look at the first twenty again, but perhaps, after all this time of honing his craft, he is honest enough to acknowledge that they just weren't good enough, and not worth resurrecting.

Over twenty novels discarded--now that's what I call a true apprenticeship. Good luck with yours. Perhaps you're about to receive your Certificate of Completion in the form of a contract. Not that it will guarantee anything, but you can have it framed, and show it off to your friends. I now have three! I'm hoping the last one holds true to its historical association with good fortune.

Until next time, stay safe, and get back to work.

The How of Your Writing? - Stop Analyzing

Writer and writing teacher Darcy Pattison, on her site, Fiction Notes, said that she'd be interested in seeing a posting on how we write kissing scenes. I questioned her about it, because she's so clever and certainly more than capable of writing about The Kiss. I blithely didn't wait for her response, but simply threw some ideas down and pasted them into her comments box. She responded that she wasn't looking for samples, but a detailed description of the how - the technique involved in producing those words.

So today I have a confession: I don't have a technical approach to my writing. I understand all those lovely sites that talk about flow, voice and rhythm, but when they suggest the premeditated analysis and explanation of the words, discussions about character development and plot structure - well, this, for me, would discombobulate my work, and my head, and I can't do it.

My plots rarely follow my original rough (two-page) outline, because my characters develop as I go, and they take over the plot. I'm often surprised at where they take me. At times, of course, I have to dig them out from where they're mired, but not too often. The only certain thing is, and I've said it before, I always have my ending in mind from the start, and I know I'll get to it eventually. It's always been this way for me.

I don't know how I write, nor do I need to know. If I were to rush off now and take writing courses, I believe it would spoil my approach, not improve it. I took just one writing course in my life, some time ago, and that was because the final parts were about how to get your book published. No doubt, Prof. Hans Ostrom would shake his head at this, if he were to see it.

Which brings me to your writing. If you're writing properly - have the very best knowledge in matters of spelling, punctuation, general grammar - then the flow of your writing is unique to you, and shouldn't be overshadowed by worries about the technique you use. Take writing courses, by all means, if you feel you need improvement and believe, passionately, that you are meant to write and that this will cinch it. If you're brave and rebellious, you can even break those very rules - but at least know the rules you are breaking before you try this. (Think James Joyce.) However, over and above syntax, please just get on with it.

Reading good books and poetry is still one of the best ways to hone your craft. No one begins from a vacuum, writer and artist alike. This is the apprenticeship from which you'll never graduate; we never stop learning, do we?

The act of writing is a world apart from analysis and critiqueing. This is why we have such a hard time doing the revision work, because we're using another part of our brain. The hard-nosed editor in you is unrelated to the soft, overly-sensitive soul of your writer.

To do your very best work, listen to it as you write, let it sing to you, feel the rhythm of your words, sense when things are out of place, or missing entirely, and decide, sadly, but firmly, when you've said way too much. Do, for pity's sake, READ IT OUT LOUD. If you're honestly satisfied, and not just making do with that weak bit of dialogue in chapter ten, you can safely leave the criticism/praise to others - be it writing buddies, agents, editors, and - soon, I hope - your book-buying public, reviewers and critics (the last two, with luck, from the New York Times).

I love Darcy's work, and follow her posts avidly. I've learned some interesting things from her, but not the 'how' of writing. I said at the start that I didn't want to know. Like analyzing love, it spoils things. Just let it be.


Strachan is about three chapters from the end. I haven't been sleeping a full 7 hours this last few weeks, knowing how close I am. If I get completely carried away, and no one visits, I could be finished by Monday. It's heaven to know the book will not be playing on my mind when I go to England in August. I would have made lousy company over there, head-writing the whole time! When I'm doing it, I get this weird, blank look on my face, I'm told. Like I'm high...

Have a wonderful 4th of July weekend!