So,
how do you write a novel in collaboration with someone else?
Once
people have checked out whether we've been published, that's the
question I'm most asked when I mention what Gary and I are doing.
Easily,
is the answer.
Well,
maybe 'easily' doesn't quite describe the writing itself. That's
still fraught with all the usual writerly difficulties and
challenges. But the collaborative process has been remarkable in its
ease.
Gary
had an idea for a story. He tried putting it down on paper and
decided he hadn't found two separate voices, so he asked me whether I
wanted to have a go at writing the girly bits. (I thought he nailed
the two voices actually, but I wasn't going to turn down the
opportunity.)
The
original plot was - well, I don't think he'll mind me saying that the
original plot was a tad scanty. I just had a look back through my
emails to see how he initially described the storyline but,
unfortunately for posterity, I didn't keep it. However, it went
something like this:
Long
time married couple, husband dies leaving wife a few letters that
describe their relationship as they send her off on an ash-splashing
journey.
Well,
that's no plot, not hardly. It's not even a blurb, but it was enough
to set us off. To start with, writing was simple division of labour.
Gary wrote Trip's letters and I wrote Ruth's narrative. By the
second chapter (or location, as it worked out), we had pretty much
found our rhythm. My style's a bit easy-listeninh – it doesn't
leave a lot for the reader to infer and uses too many adjectives,
ellipses, dashes, lists. Gary's very fond of two word sentences and
takes liberties with tenses. We seem to balance each other out.
It
became obvious quite quickly, though, that something was missing.
The letters and narrative batted back and forth with Ruth reacting to
what Trip told her in his letters. Sometimes she agreed with his
memories and sometimes she didn't. Who was right? With one
character dead it's tough to stage a story so readers can draw a
conclusion for themselves. We met one day to flesh out the plotline
– there's a photo in an earlier post of the multi-coloured plan
that came out of that session – and realised then what was missing.
The truth. Ruth and Trip through the camera's eye, without
interpretation from either of them.
I
love the process of writing the flashback scenes most of all. Gary
and I don't live anywhere near each other so getting together to
write is an every now and again event. At the same time, neither of
us wanted the other to write on their character's behalf. Our
solution has been to use facebook chat to improvise the dialogue,
then one of us does an edit job.
It's
an amazingly satisfying experience. What's surprising (to me at
least) is how fully formed is the dialogue that splurges out of us.
It generally needs very little editing. Below, I've copied directly
from facebook an extract of the flashback (typos, comments to each other and everything) to the student union bar
from chapter 1:
What I don't have a nickname. Oh now I am
disappointed.
trip.
Sorry?
trip, that's your nickname
because you did
once, i mean, we saw you and... never mind. (she is blushing now, aware that he now realises she has noticed him before)
because you did
once, i mean, we saw you and... never mind. (she is blushing now, aware that he now realises she has noticed him before)
(delete - because you did once - and that
reads well).
Trip. Well Ruth Totty, my names Toby. Toby Trip Maguire. Pleased to meet you. (holds out his hand)
Trip. Well Ruth Totty, my names Toby. Toby Trip Maguire. Pleased to meet you. (holds out his hand)
well. that's another thing. about public
schoolboys. you shake hands
Of course. Traing for the corporate world.
How was it? Nicely firm and manly, but with a hint of gentleness,
trust and compassion?
(she can't help but laugh)
and only very slightly damp.
look, luara's coming back. she really doesn't look like she's got a broom stuck up her arse.
and only very slightly damp.
look, luara's coming back. she really doesn't look like she's got a broom stuck up her arse.
Looks like she wouldn't mind one
though...Oops sorry. Besides not my type.
rubbish, laura's everyone's type.
Nah. Too scary. Self-possessed. I think
you're a bit in awe of her. You shouldn't be. And don't think you
have to copy her either.
who? me? i don't copy her! (she looks over
at laura and blushes again. she knows she does)
i'm just... anyway, she is pretty and there's no need to be mean to her.
[we need to get in the born at 35 bit - just remembered it goes in here somewhere]
i'm just... anyway, she is pretty and there's no need to be mean to her.
[we need to get in the born at 35 bit - just remembered it goes in here somewhere]
True. No need for rmeanness ever. You
missed you cue, you know, back there...
what cue?
The bit where I said she's not my type.
oh... oh... well... who is your type?
(His eyes sparkle) Aaah, too late, Totty,
too late.
Well, that has cleared up something I've been wondering about. Nicci French is married to herself isn't she, so that might make it easier (or a heck of a lot more difficult!. I think you two meld together very nicely - in a literary sense of course. The styles contrast but not too wildly. Brilliant.
ReplyDeleteha, thanks! i sent chapter 1 to a 'literary agent' (read 'romantic fiction flogger') having spoken to her at a writer's event, she thought gary was a figment of my imagination, a not very clever invention to sell a weak book!
ReplyDeleteI am, of course, a figment of many women's imagination...
ReplyDelete