Disclaimer: Ye gods, this is no how to guide. This is just an on-going collection of thoughts as I work my way through the process. They may or may not be useful or entertaining to people; it is more likely they may well end up providing a great deal of amusement to me when I look back over my posts and realise what a load of nonsense I was talking. So please do not think I am laying down rules here or instructions – I am just laying out some writerly jams. Or something.
Disclaimer the second: This is a giant wall of text so I have chosen to break it up with pictures of old cartoons. Look I’m sorry but I’m not sorry.
The Thundercats just had the BEST idea – Let’s all laugh at Snarf!
Let’s go back to the very beginning (a very good place to start*). Where do you get the idea for your fantasy trilogy? Well, the good thing about starting with this is it is a completely impossible question. I cannot answer it. ‘Where do you get your ideas from?’ is traditionally the question writers hate the most, and the truth is we do like to sound like we know everything, and it’s annoying when we don’t. I wish I could tell you where The Copper Promise really came from, or where exactly it started, but if there was a eureka moment it has been lost in the mists of time. The truth is, I think, that books start out as a gradual thickening of ideas. Lots of little ideas will start to bunch together, and eventually they will grow little legs, and suddenly you have a thing.
I knew that I wanted to write modern sword and sorcery, and there was this loveable rogue I wanted to write, who was a woman and *pop* Oh there’s Wydrin, and perhaps the characters are a sort of dysfunctional group who wind each other up, and I really like dragons…
Actual picture of me, having an idea
I do have a theory about this thickening of ideas though. I think that writers tend to fall into two groups: writers whose ideas centre around characters, and writers whose ideas centre around stories. I am a very character-driven writer, and the characters of the Copper Cat trilogy were all in my head long before I knew what the story was. Other writers that I know well often talk about having an idea for a story first, and how sometimes bits of other stories latch on to that and become a book. I think (and this is a slightly wilder theory) that often story-centric writers (that is to say, writers who begin with the story idea) gravitate towards science-fiction, that genre of ‘what if?’. This is probably why the one SF novel I wrote revolved around a shoal of fish living in an exo-suit and a gangster spider.**
That isn’t to say, obviously, that character-driven writers have no story, or that story-driven writers can’t do characters. We’re all making the same journey, we just get there in different ways.
For me the question is rarely ‘What is the story?’ but ‘Whose story am I telling?’
Now, should writing a trilogy change how you approach having ideas? Does it differ, at this very early stage, from writing a standalone book? I think not. Is the idea big enough for a series? Does it naturally split into three, or four, or ten books? For me specifically, because I start with the characters (and I always have more than one main character) I am rarely worried that I won’t have enough story to go round, because I have their whole lives to play with. If anything, I’m not sure where to stop… (I’ll come back to this in the next blog, on planning)
So in terms of helpfulness, how do we assist the thickening of ideas? Here are some things I have been known to do:
Dedicated daydreaming time. Carving out a slice of time when you don’t have anything else to do for a bit. Easier said than done, of course. And I think the key to this is not to sit glaring angrily at your desk trying to boil your own eyeballs in your head with ‘THINK OF A BLOODY IDEA DAMNIT’ but to summon the sort of imaginative play-think-dream-time you would have had as a kid. Alright, that sounds like bollocks, I know. The truth is, 99% of your best ideas will come when you’re on the bus, or having a shower, doing the washing up or falling asleep, which is why:
Have a notebook with you. I HEAR YOUR COLLECTIVE GROANS: ‘Jeez Williams, everyone already knows this, you charlatan.’ Yes okay, but really, my notebook is never more than a few feet from me unless I’m in the shower. Ideas get thicker faster if you’ve written them down somewhere.
True fact: Battlecat looks after He-Man’s notebook for him.
Read lots of everything you like. People have a lot of differing opinions on this, but I’m going to go with a straight up: read what you bloody well like. I know some people suggest you should read bad books so you can learn what not to do (ye gods no, life is too short) or read those stonkingly enormous bestsellers so you can steal their secrets. Some people I know won’t read books that are in any way similar to the book they are writing, just in case something seeps through, and I know people who read exclusively in their genre to absorb as much as possible. I try to read lots and lots of what I love, and I try to figure out why I love it so much.
(I do sometimes avoid reading books written in the first person while I’m writing, as I write third person POV and I like to keep my brain in the right headspace – however, this is clearly nonsense as I just read Fool’s Quest and The Empty Throne, both amazingly good first person books and I REGRET NOTHING)
Look out for odd things, and collect them to your bosom. Often for me, ideas tend to spawn from a single image or a scrap of random information. I read a description of an enormous ancient city in a history book not so long ago. Threatened by the possibility of invasion it had been abandoned, and this sprawling metropolis – one of the greatest cities in the world at the time – was claimed instead by weeds and prowling wolves. Reading that, I knew I wanted to write about such a place, and that was one of the seeds that eventually grew to be The Ninth Rain.
Ideas are attracted to each other. Get enough of them in the same place, and stories start to happen. You’ll know when it happens, because you won’t be able to scribble in your notebook fast enough, and suddenly everything makes a beautiful kind of sense as all the pieces plop delicately into place. It is, in my opinion, one of the finest parts of the writing process – the little hitch and flutter in your chest that means your book is coming alive.
When you have your idea – or your membranous collective of ideas – then you can start planning, which will be part 2 of this blog series. And if you have any questions about ideas, or why I have an unhealthy obsession with Thundercats, do stick them in the comments.
*thank you, Sound of Music.
** I probably shouldn’t write SF.
Look, this just makes me happy, okay?