It’s week three of the NaNoWriMo writing marathon and some participants are feeling frantic. I’ve seen comments from writers that they’ve got lots of words that in total feel like a confused mess, or they’re just now getting down to the brass tacks of writing after spending the first two weeks laying out the plot. We’re not supposed to worry about editing, but some people feel they need to in order to get back on track.
There are as many writing styles as there are participants. I went into this with a lot of background research already in the can – I’ve often used that type of research to spark ideas – as well as a pretty solid outline of my first book’s plot with threads that will tie into Books Two and Three. I also created detailed diagrams of two key locations in Book One, a small town where the bulk of the action takes place, and a college campus within that town. To me these places are vivid in my mind’s eye, but laying them out on electronic paper in a way that made them work logically solidified them. Now, when my heroine is exploring these places, I can describe her exact path as if she was navigating a real town or college campus, and I’ll be consistent every time the action takes place in these locales (I hope 😊).
Writing reminds me of taking photographs. For a long time on my travels I took photos of the famous places we visited. My slides of Egypt, for example, where my hubby and I went early in our marriage, are pretty standard shots – the Pyramids, each of us sitting on a block of the Great Pyramid, the Sphinx’s enigmatic face, the Nile, cruising up the Nile… Well, you get the idea.
But as time went on I began to use more of a painter’s eye, to capture more scenes that told a story. Paintings by the old Masters like Rembrandt are tiny novels in paint form – you have to study all the components to understand what they’re telling you, from the choice of colours, the use of light/shadow/emphasis, and the artist’s decision of what to include both in the foreground and in the background. Every single detail was put there for a specific reason, and so it is with good photographs, especially travel photographs.
I began to realize that most of my viewers would never actually see or experience what I was standing in front of at that moment, whether it was beautiful or ugly, so I wanted to be able to bring it to them virtually, through my photos.
A couple of years ago my hubby and I visited Colonial Williamsburg in Virginia, a microcosm of the American Revolutionary war. The docents were exemplary in explaining in unflinching detail what life was like for residents on both sides of the conflict. Walking through one of the original houses from the time period, that of a wealthy landowner, I was struck by this document in the home and had to take a photo of it.
It lists the family’s possessions and their monetary value, and included in that tally were all the slaves. Along with items of furniture and garden tools, each slave was assigned an amount in pounds sterling, the currency in use in the colonies before the Revolution. Each of these humans were valued as pieces of property, and not even of equal value. If you were a strong adult male, for example, you were worth more than someone aged who couldn’t do as much work any more. There right in front of me was something that brought to life the awfulness of the slave system in a way more compelling than many shows I’ve watched, because it wasn’t just a portrayal, it was a real thing. Any person who sees this photo will likely be able to feel the same emotion I felt standing in front of that piece of paper.
As writers it’s our job to do the same thing as this photo or a piece of art, to create a scene which is in our head so vividly that our readers can see it too, and can feel the emotions of the characters, whether love, fear, anger, revulsion, lust, hope, despair. If we’re writing about something that really happened it’s easier, but if we’re creating an entire imagined world in a book we have to be able to see it as if we’d lived it before we can share it with you the reader. So I empathize with my fellow marathoners in trying to get that out onto paper. We do it because there’s a story that simply must be told.
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