Novels usually begin with an idea. Sometimes that idea comes fully-formed and ready to be written with a cast of fleshed-out characters whose dialogue crackles with wit and wisdom. If that is your experience, you may stop reading at this point and continue laughing all the way to your bank. If, on the other hand, you are now half-way through your first novel and wondering why you did not take up bog snorkeling or hang gliding as a less demanding alternative, read on.
Writing a first novel begins on a wave of enthusiasm. You are finally taking your idea and moulding it into words. You are putting flesh on the bones of ephemeral characters, endowing them with personalities, voices, locations and a time frame for their existence. They are doing your bidding and behaving with the exactitude demanded by your plot … or so you believe until suddenly at the halfway stage you run out of steam. A friend of mine who is an experienced novelist refers to this stage as the ‘belly drop’. Suddenly that taut torso you are moulding begins to sag in the middle and develop cellulite. But enough of the metaphors and on to the real problems that can arise at this point.
Characterisation is one area where writers can run into difficulties. You start off with a female character whom you envisage as having a meek, timid personality but every time she opens her mouth she’s lippy and self-opinionated. The hard man you created behaves like a pussy cat with manicured claws. The middle-aged woman drinking a bottle of wine every night is becoming increasingly recognisable as your workaholic boss and you have a vision of yourself leaving the libel courts, pursued by photographers.
A character, whom you secretly love more than the others (it happens), must display a behavioural trait that casts him/her in an unflattering light. Your writing becomes defused as you over-explain this behaviour in an effort to make it acceptable to your reader. You won’t succeed. You have to trust your reader to understand the many dimensions of your character’s personality.
The plot that began with a clearly defined path has trailed into subplots that meander off in different directions. These subplots are fascinating but are causing confusion and weakening your main story line. You struggle with point of view. Who is telling this story? You began from a clear character perspective but other characters keep intruding, demanding to be allowed their point of view. If you allow them this liberty, how will it affect the development of your plot?
The back story you hoped would flow effortlessly into the main narrative bulges like a rather distressing carbuncle every time you cast your eye over the page. Your dialogue is (a) clichéd (b) a reflection of your own thoughts and beliefs (3) indistinguishable between characters (d) static and does not move your story along (e) so repetitive and long-winded that even you are bored reading it back.
You attend a publisher seminar and come away convinced (a) it is impossible to find an agent (b) it is impossible to find a publisher (c) erotica is all that’s selling (d) you must write to a specific genre and your book can only be defined as ‘unique’ (e) you’ve discovered that writing The End simply means you’re starting your second draft (f) the writer you most admire and hoped to emulate has just listed the structure of your novel as ‘one of the great mistakes made by first time novelists.’
You discover that a real-life event linked to your fictitious plot occurred a year after the time frame you’ve established and a rewrite is necessary. A true-life incident that acted as a catalyst for beginning your novel is hindering your story as if develops its own energy and direction. As a stronger narrative emerges, this incident has to be distilled into fiction, otherwise it will limit your novel’s imaginative scope.
None of these problems are insurmountable. They are part of the learning curve that you travel when writing your first novel – and will be explored during the upcoming course: Your First Novel – The Halfway Stage, being held at the Irish Writers’ Centre, Sat 17th & Sun 18th November: 10.30am – 4.30pm. €150/135 members.
June Considine (aka Laura Elliot) is the author of sixteen novels for adults and children. As Laura Elliot she wrote The Prodigal Sister and Stolen Child, published by Avon HarperCollins. Earlier novels include When The Bough Breaks and Deceptions (New Island.)She has also ghost-written a number of high profile non-fiction books and is working on her latest novel. Her novels have been translated in many countries, including Germany, Holland, Russia and Italy. She recently e-published Deceptions by Laura Elliot and gained invaluable experience in the on-line publishing field.
Her books for children include the fantasy Luvender trilogy and the popular Beachwood series of books for pre-teens Her young adult novels include View from a Blind Bridge and The Glass Triangle. Her short YA stories have been broadcast on RTE’s Fiction 15 series and have appeared in a number of teenage anthologies in Ireland, the UK and US, including The Year’s Best Fantasy and Horror Annual Collection.