So, with holiday money racking up (always lovely) I’ve had the chance to purchase a few goodies for my bookshelf. At the moment, I’m in the middle of a wonderful book called The Weekend Novelist by Robert J. Ray and Bret Norris. While reading it for the past week or so whenever I caught a free moment, I’ve had several epiphanies about my own novel series that I’m both excited and irritated about. I’m sure most if not all writers have experienced the moments when, completely out of the blue, an idea hits you that will pulverize both your plot and your sanity which, while not necessarily a bad thing, tends to be a bit like pulling the rug out from under you. That’s what’s happened to me. Three times. In five days. I’m hanging on by a coffee-soaked thread.
For one, I found out that my leading character, whom I originally thought was unknowingly adopted as a baby and never told his true parents’ identities, was in fact raised by his father. In the woods.
I also found out that the novel does not take off with the death of the MC‘s adopted mother, but with the capture and kidnapping of his biological father. Naturally and unsurprisingly, I have yet to be informed of exactly how said father is captured and ‘napped.
And the quaint forest village where he was originally raised turned into a city fortress built into the side of a mountain.
However, I think, despite my exasperation with this strange new direction the story is taking me, I quite like the idea of writing it.
But back to the book. I highly recommend it to any writer, especially those who have trouble finding time to write. I do have some warnings about it, though not everyone may necessarily be bothered by the same things I am. The style and structure of the book can be restricting in some ways; it reads like a week-by-week lesson plan, with specific exercises and lots of plotting and character work. Each chapter is intended for a certain number of weekends, and while you can skip certain sections that aren’t interesting or valid to you personally, you would do well to read all of the chapters so that you can understand the book thoroughly. I enjoy the plotting exercises especially because I happen to be a bit of a plotter and I enjoy working out the kinks in a story and fleshing out ideas. Using this book’s suggestions and an old sketch book I found lying around the house, I’ve been having quite a time exploring the ideas of Ray and Norris and it’s really benefited both me and my novel. They both seem to be very seasoned writers and it shows in the way they approach writing. One thing that they focus heavily on which I’m not crazy about is “objects”. A good number of lessons focus on developing objects to associate with characters and situations, which in itself is a great thing to mention; however, 40+ pages are spent on this topic and after a while it gets tedious. I found myself skimming a lot of it.
This book has been really handy for plotting and character work, but I’m more than halfway through it and they haven’t even begun approaching the actual writing of the novel, which seems a bit odd to me considering they claimed in the introduction that, using the book’s methods, the reader is supposed to have a completed rough draft. I’m not particularly trying for a completed draft in 52 weekends, but it would be nice if the book didn’t seem to stray so much from its original purpose.
Having spewed out that mini-rant, I would still definitely recommend it as an addition to your bookshelf. There are many exercises in it which have helped to get me out of a tight spot, and it’s very easy to follow, with examples from both published books and samples from the authors’ own writing.
I hope everyone has had a wonderful holiday season surrounded by those you love and those who love you, and fingers crossed that this coming year is a great one!