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The Ghost Story
As I've mentioned elsewhere, I'm working on another novel, a ghost story, but this one is being done a little differently. When I was at NECON, an editor said that they were looking for proposals for books in a series set around a particular fictional haunted inn. She handed out the "bible" of the inn's history and the specifications for proposals.
This intrigued me, and on the return flight from Rhode Island, I wrote what I thought then was going to be the first chapter of the book. Ultimately, some of it turned out to be the third chapter and the rest of it got scattered among the first three chapters.
I wrote a couple of other chapters, and then found a way to put them together that was somewhat different from what I'd originally intended. I've currently got nearly 10,000 words written and have set up the story and introduced the major players.
However, since this is being done "on spec" as it were, I'm outlining the book and will submit the outline and first few chapters rather than write the whole book and find out it's not what they want at all. Then I'd be stuck with this novel that was designed around a very specific set of guidelines and it would take a lot of work to recraft it into something different.
This is something akin to what happens when guidelines are sent out for a themed anthology of short stories. After the book is cast and rejections are sent out, editors in other markets find themselves getting the cast-offs, which are easily recognizable by their trappings.
One conspicuous and funny example started as a bit of a joke on the HWA board. Someone mentioned vampire c-o-c-kroaches and the joke turned into a benefit anthology. But all the stories had to work in vampries and c-o-c-kroaches. (Dashes to prevent my board censor from having a field day with this one.) For quite a while afterward, unselected vampire c-o-c-kroach stories went into circulation!
Anyhow, so, I've edited and edited and re-edited my sample chapters (and, to anyone who wonders, you should always send the first few chapters, not chapter four, chapter nine and chapter twenty, even if you think they are the book's best chapters!) and now I'm writing the synopsis for the rest of the book. This is a process akin to writing a book review of something that doesn't yet exist except inside my head. (Sorta like that old Elton John song from Blue Moves: Theme from a Non-existent TV Series).
What it means is that I have to know how the major thrust of the book is going to go and how it's going to end. Sub-plots and minor characters aren't important to a synopsis, so I can develop that later, but if it was a murder mystery, I'd have to know whodunnit, why and how. Book proposal synopses aren't meant to be teasers: they're meant to be spoilers. The entire plot is laid bare and you can't end with: "and you'll never guess how this all turns out."
However, that doesn't mean that you can't change the plot during the writing process. It does mean, though, that if you decide to change the plot, you need to let the editor know asap in case it runs counter to what they have in mind for the book.
It's a different approach to what I've done in the past and I find that I'm having a fairly easy time plotting this one out. I've been dreaming about the story regularly for the past month and I keep coming up with new elements that seemed to have always belonged to the story. Until yesterday, I hadn't really thought beyond the 9000 words, though. Last night I made some hand-written notes on the back of the last pages of the manuscript and today I've expanded that into most of the synopsis.
What helps with this book, I think, is that it takes place over a very short period of time (four days), whereas my other books were sort of open-ended in timeframe. They could have taken as much time as necessary. Also, the setting is very static--once I get the cast members together in the haunted inn, that's where everything happens.
I'm hoping to send this off before I go on vacation next Thursday. Then, the waiting begins. Fortunately, I have the other novel to begin revisions on. And another non-fiction proposal to write.
This intrigued me, and on the return flight from Rhode Island, I wrote what I thought then was going to be the first chapter of the book. Ultimately, some of it turned out to be the third chapter and the rest of it got scattered among the first three chapters.
I wrote a couple of other chapters, and then found a way to put them together that was somewhat different from what I'd originally intended. I've currently got nearly 10,000 words written and have set up the story and introduced the major players.
However, since this is being done "on spec" as it were, I'm outlining the book and will submit the outline and first few chapters rather than write the whole book and find out it's not what they want at all. Then I'd be stuck with this novel that was designed around a very specific set of guidelines and it would take a lot of work to recraft it into something different.
This is something akin to what happens when guidelines are sent out for a themed anthology of short stories. After the book is cast and rejections are sent out, editors in other markets find themselves getting the cast-offs, which are easily recognizable by their trappings.
One conspicuous and funny example started as a bit of a joke on the HWA board. Someone mentioned vampire c-o-c-kroaches and the joke turned into a benefit anthology. But all the stories had to work in vampries and c-o-c-kroaches. (Dashes to prevent my board censor from having a field day with this one.) For quite a while afterward, unselected vampire c-o-c-kroach stories went into circulation!
Anyhow, so, I've edited and edited and re-edited my sample chapters (and, to anyone who wonders, you should always send the first few chapters, not chapter four, chapter nine and chapter twenty, even if you think they are the book's best chapters!) and now I'm writing the synopsis for the rest of the book. This is a process akin to writing a book review of something that doesn't yet exist except inside my head. (Sorta like that old Elton John song from Blue Moves: Theme from a Non-existent TV Series).
What it means is that I have to know how the major thrust of the book is going to go and how it's going to end. Sub-plots and minor characters aren't important to a synopsis, so I can develop that later, but if it was a murder mystery, I'd have to know whodunnit, why and how. Book proposal synopses aren't meant to be teasers: they're meant to be spoilers. The entire plot is laid bare and you can't end with: "and you'll never guess how this all turns out."
However, that doesn't mean that you can't change the plot during the writing process. It does mean, though, that if you decide to change the plot, you need to let the editor know asap in case it runs counter to what they have in mind for the book.
It's a different approach to what I've done in the past and I find that I'm having a fairly easy time plotting this one out. I've been dreaming about the story regularly for the past month and I keep coming up with new elements that seemed to have always belonged to the story. Until yesterday, I hadn't really thought beyond the 9000 words, though. Last night I made some hand-written notes on the back of the last pages of the manuscript and today I've expanded that into most of the synopsis.
What helps with this book, I think, is that it takes place over a very short period of time (four days), whereas my other books were sort of open-ended in timeframe. They could have taken as much time as necessary. Also, the setting is very static--once I get the cast members together in the haunted inn, that's where everything happens.
I'm hoping to send this off before I go on vacation next Thursday. Then, the waiting begins. Fortunately, I have the other novel to begin revisions on. And another non-fiction proposal to write.
Comments
That's it, I wasn't sure before, but I'm fairly certain now... you've cloned yourself haven't you? ;D Amazing -- all the best with the new project(s)!
Lin
I tweaked and reworded, cut and pasted and went over the whole thing a dozen times with fine toothed combs...which means there's probably still a dozen errors in it!
I made one last pass through the sample chapters--four chapters, about 9000 words--and made only a couple of cosmetic changes, mostly to fix some inconsistencies with the synopsis.
The package went out in the mail this morning, and should arrive with the publisher mid-week, just before we go off on our vacation!
It's really nice seeing the processes of your work.
PLAN B's are always a good idea
Edited to say: I sometimes even go with a PLAN C or even a D.
do you have any more news about your ghost novel?
HBJ,
realizing that you've only just finished revisions on Missing Persons ...
The ghost novel is on hold until I find out if the series has been green-lighted for more books beyond the first three. I hope to talk with the series editor more at NECON for an update.
I get very attached to my projects! You need that child like vision. The imagination is my best guide! When the imagination is at the wheel, I'm held spellbound the entire trip. :) The writers journey is the greatest in the universe. Nothing compares.
It's hard to share another writer's vision. If the editor accepts your proposal, that's great! The odds are like one in a million. If not, market it elsewhere.
I heard Stephen King and Stephen Speilberg worked on a project together in the past. People say it wasn't finished because they couldn't see eye to eye. They're visions must've clashed. Creative minds rarely think alike.
If your story matches someone their vision, Congratulations!
You're talented enough to stick with your own visions and let your story grow into a Bev Vincent masterpeice!