In this series of posts, I’m going to be taking you behind the scenes of Greythorne and the process I went through to write it. Part 1 looked at the development of the original idea.
When I tell them I’m a writer, a lot of people respond with “Oh, I often think I’ve got a book in me!” The crucial difference, however, between an author and someone who has a book in them is this next part of the writing process – the author is able to figure out how to get the book out of them and onto the page.
Exactly how you do that is a very personal thing. Some people like to know who they’re writing about before they decide what they’re writing about – so they start with characters. Personally, although I need at least a rough understanding of my main characters, I like to start with plot.
How-to-write books often divide people into ‘plotters and pantsers’ – those who like to outline every detail before they start, and those who would rather just fly by the seat of their pants and see where they end up. George R.R. Martin famously described this far more eloquently, noting that writers are either ‘architects or gardeners’:
“I think there are two types of writers, the architects and the gardeners. The architects plan everything ahead of time, like an architect building a house. They know how many rooms are going to be in the house, what kind of roof they’re going to have, where the wires are going to run, what kind of plumbing there’s going to be. They have the whole thing designed and blueprinted out before they even nail the first board up. The gardeners dig a hole, drop in a seed and water it. They kind of know what seed it is, they know if planted a fantasy seed or mystery seed or whatever. But as the plant comes up and they water it, they don’t know how many branches it’s going to have, they find out as it grows. And I’m much more a gardener than an architect.”
I used to be an ‘architect’ (or a ‘plotter’ – though that sounds far more sinister). In my early novels (which were never finished, let alone published) I plotted things out obsessively – at one point even writing 10,000 words of character studies. These were mostly fantasy stories, and world-building obviously requires a lot of work behind it, but it turned out to be counterproductive, because by the time I got round to actually writing I found I’d run out of steam.
So when Greythorne came along I decided it would be a chance to try something different – I was going to start with a very rough outline of the major plot points, but from then on I’d ‘pants’ it and just see how it went. And, oddly enough, it worked. The novel turned into a standard three-act adventure structure (which I’ll discuss more in Part 6 – Editing when I deal with the issue of saggy middles) without me even needing to think about it that much. Having the major ‘way-points’ to aim for kept me on the right track, but I also had enough freedom to explore the characters and the world without being tied down too tightly. So I’ve discovered that I’m not really an architect or a gardener, but more like a conservatory builder – the best of both worlds.