A Quote by Emma Donoghue
Some writers can produce marvelous plots without planning it out, but I can't. In particular I need to know the structure of a novel: what's going to happen in each chapter and each scene.
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The thing with film and theater is that you always know the story so you can play certain cues in each scene with the knowledge that you know where the story's going to end and how it's going to go. But on television nobody knows what's going to happen, even the writers.
As I work, I see my writing - each scene, each chapter, each section, each book - in three-act structures and classic myths, and I analyze them through the handy filter of the detective story.
Whatever they do, criminals and non-criminals act in particular ways. Some writers, for instance, use computers, others pen and paper. Some write in the morning, some at night. Each writer has a distinct style, with variations in grammar, sentence structure, and voice.
In my experience, writing a novel tends to create its own structure, its own demands, its own language, its own ending. So for much of the period in which I'm writing, I'm waiting to understand what's going to happen next, and how and where it's going to happen. In some cases, fairly early in the process, I do know how a book will end. But most of the time, not at all, and in this particular case, many questions are still unanswered, even though I've been working for months.
Writing a novel isn't like building a brick wall. You don't figure out how to do it, and then it gets easier each time because you know what you're doing. With writing a novel, you have to figure it out each time. Each time you start over, you just have the language and the idea and the hope.
The coaches hate each other, the players hate each other... There's no calling each other after the game and inviting each other out to dinner. But the feeling's mutual: They don't like us, and we don't like them. There's no need to hide it, they know it, and we know it. It's going to be one of those black and blue games.
What I do usually is read the book first, for pleasure, to see if my brain starts connecting with it, as a movie. And then, if I say yes, I read it again, only this time I take a pen and, inside the book, I say, "Okay, this is a scene. I don't need this. I'm going to try this. I'm not going to take this." And then, I use that book like a bible and each chapter heading, I write a menu of what's in that chapter, in case I ever need to reference it. And then, I start to outline and write it. I get in there and it starts to evolve, based on having re-read it again.
After I finish writing a chapter, I'll print it out, cut it up into paragraphs, and cut away any transition sentences. Then I shuffle all the paragraphs and lay them out as they come. As I arrange and hold them next to each other, very quickly a natural structure for the chapter presents itself.
In general, each form is a relief from the other forms. I can't write a novel after a novel. I just use up all the material each time, and I need to rest.
We don't need no more danger, we don't need no more difficulties, we don't need no more misunderstanding, and we don't need no more violence. We need the people to see each other and know of each other, feel each other, touch each other, share with each other, and change hearts with each other.
I like to let each thing happen - direct it a little consciously, maybe - but just kind of follow the vibrations I get in each particular circumstance. We don't plan theatrics. We hardly ever know which set we'll play.
I am a businessman at the end of the day. I have grown up with Excel sheets. I start out writing my novel with spreadsheets and the milestones in each chapter highlighted.
a novel is not born of a single idea. The stories I've tried to write from one idea, no matter how terrific an idea, have sputtered out and died by chapter three. For me, novels have invariably come from a complex of ideas that in the beginning seemed to bear no relation to each other, but in the unconscious began mysteriously to merge and grow. Ideas for a novel are like the strong guy lines of a spider web. Without them the silken web cannot be spun.
Going out is such a hassle. The singles club scene where you sit down, talk, get to know each other, hang out-it's such a big ordeal.
Each driver has some particular style, and you compete against each driver in each race a little bit differently.
I try to get a feeling of what's going on in the story before I put it down on paper, but actually most of this breaking-in period is one long, fantastic daydream, in which I think about anything but the work at hand. I can't turn out slews of stuff each day. I wish I could. I seem to have some neurotic need to perfect each paragraph?each sentence, even?as I go along.
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