Mystery writer Sue Grafton has described her writing process as driving at night in fog: she can only see as far as the headlights. I can certainly relate; my discovery drafts are like driving cross country without an atlas or a particular route in mind. I know I’ve got to get from Alabama to San Francisco, but I’ll be damned if I know which roads I’ll take or where I’ll stop for the night. Driving or writing like this might seem a little dangerous.
Well, yeah…dangerously exciting.
But with only a destination in mind, I’m free to follow my
instincts and listen to my gut. I can
take the scenic route rather than the deadly dull interstate. I might run into some interesting characters
along the way, and very often do.
Sometimes they even try to take over and drive the car! By taking the unplanned path, I am more
likely to stumble upon some nifty finds, like the tourist trap promoting a
weredog whisperer, or Bubba’s CafĂ© where they serve a mean batch of fried
zombie dee-light, or have a run-in with a kooky cult calling themselves The Church
of the Blue Suede Shoes. I careen
willy-nilly across the landscape of my imagination in search of a story with
only my destination to guide me.
And yes, there are some downsides. I take wrong turns, come across road blocks
and have to detour, sometimes lose my way or go round in circles. But the truth is this: I cannot outline
beyond the beam of the car’s headlights in the fog.
But that’s my discovery draft process. After I’ve finished my road trip, I am now
quite chummy with the original characters I set off with. Oh, sure, a few of them might have been left
stranded out in the middle of nowhere with a hitchhiker taking their
place. Someone in the back seat might
now be next to me in the front seat, and the person riding shotgun might now be
tied up in the trunk. One or two might
have changed their names. But it’s all
good.
With my motley crew assembled and a successful route
discovered, my first revision is more like filling in the missing pieces of a
jigsaw puzzle. I look at how all the
pieces fit together and work together as both a whole and individually. It’s all got to add up to a coherent and
interesting picture. This is the point where
I actually make an outline so I’ll know where to add the missing bits.
My third revision is most like a sculptor working in
clay. This is the point where I might
add more clay on one side and shave off excess on the other. I carve in the little details that will
enrich the final work. The clay is still
soft and I can make any necessary changes to the piece that will benefit the
whole. This is also the point in my process where I focus on style issues, such as sentence structure,
word choices, spelling, grammar, typos, etc.
Unless a writer’s discovery draft is stylistically rough, there’s no
need to waste time correcting and improving style until the major story
elements like plot, character, dialogue, pacing, and description are pretty
well set.
So, road trip, puzzle pieces, and sculpting clay: they all
add up to a finished, published piece, in this case, The Haunted Housewives of Allister, Alabama.
Buy the Book on Amazon
Buy the Book on Amazon
Susan Abel Sullivan lives in a Victorian house in northeastern Alabama with a husband, two dogs, and way too many cats. When not writing she likes to get her groove on by teaching Zumba classes. She is a graduate of the Odyssey Writing Workshop for speculative fiction. Her short fiction and poetry have appeared in numerous online and print publications, including Asimov's Science Fiction Magazine, Andromeda Spaceways Inflight Magazine, ASIM Best of Horror: Vol II, Beyond Centauri, New Myths, AlienSkin, and Writers' Journal. She is the author of The Haunted Housewives of Allister, Alabama; Cursed: Wickedly Fun Stories, and Fried Zombie Dee-light: Ghoulish, Ghostly Tales. Visit her website at: http://susanabelsullivan.weebly.com/
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