L’Île de Lamantines
Working on the setting for the first three chapters of the new novel, along with bits of dialog and description and an overall plan. Coming together slowly. When a lot of action is dependent on geography I usually do some close sketches to keep myself oriented as I write. This is the rough sketch for the fictional island in the Antilles that I’ve been working with. It’s called L’Île de Lamantines, or Island of the Manatees (click to expand, but be warned, the full sized graphic is big).
I add to the notes on the sheet as I come across details in my reading. When I’m finally finished with this it will be quite crowded with text.
… that’s the wrong term. There’s a period when the story is coalescing, coming together in strange ways in my head. I think about details and snippets of dialog and ask myself questions: what is it Hannah wants here? why is this character so persistant? what does the air smell like just now?
I keep myself busy with research and reading, reading, reading (a study on the history of the British army called Redcoat just now). Making notes to myself, and losing them and spending an hour looking for the notes and then starting all over anyway. Studying maps. Maps are great for helping the process along (for me personally).
Somebody asked on the discussion board at Yahoo whether or not plot comes first, or how that works. I can only answer for myself, and here it is: yes and no. I have the greater historical framework to pay attention to, and that is a kind of mega-plot I can’t change. Or not much, anyway. From there, it’s a fairly organic process for me. I have an overall knowledge of what’s going to happen (at least, I think I do; sometimes big things change half way through because a character just refuses to go along with what I had planned). While my conscious is busy thinking things through (okay, in this next chapter Jennet will have to…) my subconscious is getting up to tricks, and will spring surprises on me at the oddest moments. While I was writing Into the Wilderness I had no idea that Julian had seduced Kitty until she came around the corner in the middle of the night and ran into Elizabeth. Then it made perfect sense. Julian was a healthy male without female companionship and with a terrible habit of acting out on his worst impulses, what else was he going to do? That’s the way my plots develop: by hook and crook.
Just now the whole fifth book is simmering, and I’m jumpy and will remain jumpy until i get the first chapter nailed down. Gabriel García Márquez (One Hundred Years of Solitutude) once said that it takes him forever to write the first sentence, and everything flows once he’s got that down. For me it’s a whole chapter. I have thirty pages written that I will rewrite and rewrite until I’m comfortable that I know the setting and the characters and where they’re headed (at least at first).
If you know Márquez’s work or any of the authors who are known for magical realism, you might notice that I actually lean towards such things myself once in a while, in a small way. Think of Treenie.