As I mentioned, I recently won #NaNoWriMo 2014. It was a long haul. I had quite a few nights where I was up until 4:00 or 5:00 in the morning. My back is killing me. I spent several days in a daze, barely able to focus on anything else.
The novel is complete. At 160,484 words, it’s both the biggest NaNoWriMo victory I’ve ever had and the longest novel I’ve written in the series. As you can see by the progress meters on the sidebar to the right, it’s 28,000 words more than the previous novel. This was more-or-less what I expected, and the reason why is the first “thing I learned” from NaNoWriMo:
I learned to better estimate word counts
When I first wrote Manifestation, I had no idea how long it would be. I also didn’t know how the story would shift away from any original plans I had. These shifts can lead to longer word counts on some drafts, since the story expands in places I didn’t expect, then shorter word counts in revisions, when I cut scenes that end up not fitting the new direction the story went in. One of the consequences of these unexpected turns is that the structure of the novel can change.
For example, when I first started the series, I already knew where the third volume, Collapse, would end. I had a scene in mind for the climax and what consequences it would bring. I started writing with that goal in mind from early on, always trying to move Gabby Palladino and Tock Zipporah, the two main characters, in that direction. But at the time that I started writing, I thought that would be the end of volume two, not volume three.
I had originally planned Manifestation to stop in a place that is now somewhere around the middle of the second book, Contamination. I had a story arc planned out for Gabby that would take her through various family dramas, build on her romantic relationship with her main love interest, Callia Gainsborough, and help her grow from the introverted teenage girl we see at the beginning into, well, you’ll have to wait and see what she becomes. But when I was moving past the 100,000 word mark on Manifestation, I realized I needed a lot more time to get Gabby to the point I wanted to take her in. So I devised a new climax for Manifestation, finished the first book, and started the second one.
Then, when I was near the end of Contamination, the same thing happened again. I had a point where Gabby’s relationship with Callia was really just getting off the ground, where Gabby’s understanding of the supernatural changes to the world around her are finally coming together, and where Gabby’s growth as a character was reaching a major turning point. But a turning point isn’t a climax, and I realized I needed another 50,000 words or more to get Gabby the rest of the way down that path. Like with the first book, had I not come up with a different ending, the total length of the book would have been over 170,000 words. Instead, I started the third book, and about halfway through Gabby reached the point of character development I’d originally planned. It was mostly smooth sailing after that to finish the third book, reaching the climax that had originally been planned for book two.
This year, I went into my writing expecting and planning for a length of 150,000. I came up with this number by considering the various story arcs of the previous books, how many main characters had leading roles in each, and how much world building had to be done. When I crossed the 130,000 word mark, I reanalyzed based on the number of scenes left, and adjusted my word count estimate to 160,000. The final total word count was only a few hundred off of that second estimate.
I plan to consider these variables when working on future books as well, so that I’ll have a better idea of how much will “fit” in one book. That way I’ll be able to avoid major restructuring like I went through in the early books.
I learned the difference between a “romance” and a “love story”
As you may have seen by recent blog posts, I’ve been studying romance novels lately. I have a few serious problems with the common romance tropes I’ve seen. Examples include characters who seem to constantly profess their love in the narration without me seeing love in their actions, characters who are too perfect (perfect bodies, perfect hair, flawless morals, etc), characters who fall in love too quickly without enough development of their relationships, and the unrealistic nature of the “happily ever after” ending. I’ve been trying to avoid abusing these tropes in my own writing, by either breaking them entirely, or at least approaching them from different angles in order to avoid being cliche.
However, a new variable was recently brought to my attention. I recently wrote a post about exploring infidelity in romance stories, where I considered the possible roles cheating might play in the development of a story. In particular, I cited novels like The Notebook, where the female lead started off in a relationship then cheated on her fiance with the male lead, who she eventually ended up with. After writing this post, however, one of my romance writer friends directed me to the rules of the Romance Writers of America, and I learned there are some things you can’t do if you want the story to be considered an official “romance.”
According to the RWA, a story is only a “romance” if it has A Central Love Story and An Emotionally Satisfying and Optimistic Ending. That is, the love story can’t be a subplot, and it can’t have an ending that isn’t in the “happily ever after” category.
A happy ending, according to my friend, means things like no cheating. You can’t do anything to betray the relationship or make the reader stop rooting for the characters to get together. If the reader reaches a point where they wish the characters would break up, it’s not a “romance.”
An interview with Nicholas Sparks has another quote that I found interesting in relation to this idea. He responds to the question:
Q: You once said the difference between a love story and a romance is that “love stories must use universal characters and settings.” What did you mean by that?
“Universal” means you feel as if they are real. You feel like you can know them. I don’t write stories about astronauts or CEOs of Fortune 500 companies or millionaires or movie stars. These are stories of everyday people put into extraordinary events that are also very real in ordinary people’s lives: accidents, a past you want to get away from, a husband that got violent.
Now, I don’t necessarily agree with his entire view here, but what he’s basically saying sounds like “romance novels have unrealistic characters but love stories have ordinary people.” I wouldn’t call this a 100% accurate statement, but it touches on what I mentioned above. Most romance novels I read have people who are too perfect. They’re rich, famous, gorgeous, and flawless. Now, I think you can have a traditional romance novel that has believable, down-to-earth characters (just many of the ones I’ve recently read don’t). But if you go by Sparks’s views, romances are fantasies, while love stories are more realistic.
Even if you disagree with how sparks describes this difference, I do think that the distinction is related to the “no cheating” rule I already mentioned. Characters who cheat on each other would spoil the perfect fantasy of the ideal relationship. But characters who have to struggle to heal and forgive after an affair might better represent the kinds of people we see in real life.
I’ll probably follow up with some more things I learned in a future post. It was definitely a long and educational experience.
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