You’ve just finished your first draft and you’re right to be very proud of yourself. Particularly if you’ve done a lot of polishing and redrafting, you might well think it’s perfect. You smile at yourself in mirrors and tell strangers at the bus stop that you’ve ‘written a book’. You are dreaming of resigning from the day job and can barely resist browsing property websites to see what castles are for sale. You might even have sent your draft out to a publisher or two and can’t understand why it’s not immediately on the best seller lists.
This is the First Draft High. Congratulate yourself: you have achieved something most writers do not manage. You have created characters and put in the time and work to complete a story for them. You know the satisfaction of that last full stop. It’s a great time to sit on the hillside and look back at how far you’ve come.
Then take a deep breath and look upwards at the summit. I’m sorry to break it to you but there is probably still quite a climb ahead before your book is ready for strangers.
If you’re still reading this, you have the makings of a published writer. Your first draft is like the first row of squares on this game of snakes and ladders: there are many more squares to climb before you are home. Except that snakes and ladders is a game of pure chance. Writing is not – there are steps you can take to improve your chances.
If you haven’t already, find yourself a group of kindly, like-minded souls you can rely on for encouragement and fun. (Sorry but it’s a sad fact that friends and family might not always understand the writing process, nor be as much on your side as you might like.) If you always come away from your writing group feeling low and out of joint, find another one or set up a one of your own. You need a combination of support, thoughtful review and fun. In the words of one of my most treasured writing teachers, most writers are ‘convalescents’ and need tenderness as well as criticism to thrive.
Keep studying the craft
Now that you have that first draft under your belt, you know better what you are looking for and can go back with fresh eyes to the many resources that have helped you get this far. There will still be more gold there to discover.
When I started my writing groups in 2011, there were many writing groups and courses available. Mine were always different from the mainstream in two main ways. Anyone was welcome as long as they had a passion to write. There was and is no sifting or qualifying process and my writers might not have written anything before. That does not stop them being full of great stories and progressing to fine writing careers.
The second thing is that writers are welcome to stay in my groups as long as they like; some are still with me all these years later. My courses follow pretty much the same cycle each year – character, plot, tricks of the craft – with no sense of coming to an end. The writers keep finding new aspects of the craft to excite them and intensify their writing, delving deeper each year as their needs and talent develop.
In other words, we all keep learning this wonderful craft all our lives, and what fun it is.
A room of our own
Virginia Woolf said in 1929 that “a woman must have money and a room of her own if she is to write fiction“.
Virginia Woolf painted by her sister Vanessa Bell
Woolf was writing in a world dominated by men of a particular educational slant and her words apply to all of us, whoever we are. But it’s counsel of perfection and lack of a whole room ‘of our own’ needn’t hold us back. Jane Austen wrote at the kitchen table, young Ted Hughes at a small table in the hall. I’m a believer in giving your writing self as much physical space as you can, not least because it sends a message to everyone else that you are serious about this, and that in that designated space you are to be left in peace.
Again, the field has never been in fuller bloom, with free online courses jostling with MA university courses and many others. A selection of day courses from time to time might work well for you or a weekly evening class. Try everything you can afford – I have never done a writing course without coming home with at least one useful nugget though of course some are better value than others.
Writing is rewriting
The fundamental truth about writing to a professional standard is that it is all about rewriting. Huge, sometimes tedious amounts of it. We all do it, we have to.
Even Dickens kept a pretty sizeable bin handy.
The trick is to enjoy it. Why do our precious first drafts need more attention? The main reason is that we carry a perfect version of our story in our heads and a first draft is bound to be still some distance from it, though we take time to able to see that.
Whenever a famous writer mentions all the rejections that came their way before they became successful, they encourage you to keep sending your work out, not to lose hope. They often forget to add that there may well be no sense in sending out a rejected text as it stands.
Rewrite, buff it up, go through it with a fine-tooth comb to see where it can be cut, tautened, deepened, generally improved. When I sent out the first draft of my first novel, I believed it was the very best I could manage – otherwise I wouldn’t have submitted it – but an agent was quick to point out that, although she liked the characters and scenario, the draft needed ‘a lot of work’. Her response put me in the dizzying circle of Hades reserved for rejected writers, but she was right. My draft was also far too long and diffuse.
I saw those four dreaded words – ‘a lot of work’ – as rejection and it stopped me writing for months. Eventually, I learned that it was a compliment. Sometimes agents and publishers will say, ‘Not this time but keep writing!’ Or ‘Not this time but send us your next one’. Treasure these words in your heart: they mean it.
Musicians work for hours every day to be good enough to perform in public and we writers are just the same. Our writing exercises are the equivalent of musical scales and arpeggios. In rewriting we practise over and over to find what works and what works better, so that the best options come to us more quickly. We work at some parts of our story again and again from different angles to see how differing light shines on them. We write much more than readers ever see. We read other writers and listen to them as much as we can. Above all, we refuse to be easily satisfied because our readers deserve our best.
HOW DO WE REWRITE A FIRST DRAFT?
There is a universal pattern with us writers. When we have just finished something, we are thrilled with our work. We’re convinced it is a flawless work of genius and will stun the world. A few days later our hearts drop and, as we look at it again, we see nothing but rubbish. How could we ever have thought it (or we) had any merit at all?
Never at this second stage throw anything away. You are not the best judge at that time. Later we can look again with enough composure to see that some of it doesn’t quite work but other parts really do. You might even feel an inner buzz at that point as you start to edit, knowing that you can lift your game.
Leave it to cool
So, whenever you have just finished something big, take a rest from it for a few weeks. If you wake in the night thinking of improvements, jot them down and store them away for later. If you can’t resist the urge to tinker, start your cooling period over again. When those drifting afterthoughts have truly dried up and you’re enjoying other things, it’s time for you to open your draft again.
THE BIG READ
Are you ready for an exercise? A really big one, much more than five or ten minutes? OK.
Set aside a whole day or maybe two when you will not be disturbed. Turn off all the buzzing things and screens and warn people that you’re busy. You’ll be available later but not during this precious time. I tend to do this on a sofa with biscuits handy because sometimes it can feel like self-surgery. But it must be done.
Think yourself into the mind of a stranger who knows nothing about your novel. If you dare, try to think yourself into the mind of a really cynical editor or agent who has seen it all. Then take a deep breath and read your draft straight through in as close to one sitting as you can.
In a bright, happy colour, mark your good bits, the bits that really sing out. You might even remember the excitement of writing them. Congratulate yourself on that writing.
Do some bits now feel underwritten and need more? Are there other patches that sag, feel too long? Repetitions? Inconsistencies of plot? In another colour, write yourself notes and instructions in the margins – but don’t stop, keep reading.
Above all, put big red lines through anything dull. If you don’t, somebody else will.
Try at all costs to keep going until you’ve read the whole draft right through. If you need to visit the loo or have something to eat, mark where you were able to do that. It’s always worth noticing where anyone puts your story down.
Do you see now why your cooling period was needed? The objectivity you need is impossible while you’re still rolled up in the excitement of fresh writing.
Always save your first draft – you might regret some of those deletions – but that’s all it is now, a first draft. You’re making your second and it will be miles better.
You’ve finished your read-through? You have a healthy crop of instructions to yourself for further action, and a lovely lot of ticks and positive notes too? Great! You’ve worked really hard so put it all safely away, pat yourself on the back and go for a walk, smiling. You have completed another big climb.