Happy New Year 2022—CoronaLife Day 663

Happy New Year, everyone! I feel a bit like life is just on repeat: here in NJ we are in the middle of a COVID case spike that dwarfs the original wave in 2020. When the pandemic started, I began the counting of CoronaLife Days. I never thought I would still be counting the days almost two years later.

2021 was in many ways, a year of waiting for me. Waiting for illustrations for my YA book. Waiting for the proofread of my genealogy book. Waiting for this pandemic to end. Lots of waiting.

My hope for 2022 is that it will be a year of action as the waiting ends. I will get my illustrations. I will get my proofread. Both those books will be published. And I hope with all I have that we will also finally see this pandemic burn itself out, and life can return to normal—although with over 826,000 dead and hundreds of thousands more permanently disabled from COVID, life will never again be normal for many of our neighbors.

Living in the uncertain limbo of the last few years has been stressful for me. Many times I have just wanted to scream from sheer frustration. I am hoping this year I will find some relief, and that I will have the mental and emotional space to work creatively again.

I wish you and yours a safe and happy New Year, and hope 2022 will be healthy and productive for you!

The Art of the Collaborative Writing Process

I talked last week about collaboration agreements and creative control, but people often ask me about the process of working with a collaborator. How does it actually work? After all, writing is usually a solitary pursuit.

Truthfully, every collaboration partnership will find the process that works best for them. In non-fiction, the most common partnership is where one person provides the knowledge or expertise while the other does the actual writing. It can work this way in fiction, too, where one partner who loves research provides the details the other writer needs to make the book’s world pop.

In fiction, probably the most important consideration is voice—the novel must have a consistent voice and feel to the writing all the way through. The exception, of course, is when the writers purposely want two distinct voices or points of view in the structure of the story, such as alternating chapters from different characters’ POV. In the vast majority of cases, however, the book should feel “whole,” with no indication that multiple writers had their fingers on the keyboard.

The best way to achieve this is to have one writer be the primary writer. The primary should be the writer whose natural voice best fits the purpose and tone of the story. This will mean less revision later for reasons of voice, which is one of the harder things to edit and revise for if it is not strong from the start.

The primary writes the first draft; then the secondary takes it and makes edits, additions, suggestions, etc.; then it returns to the primary to be “polished” into the proper voice. Some may choose to have the secondary write the first draft and then the primary work it into the right voice in a rewrite, but I believe that is an inefficient process. The primary would almost certainly have to do a complete rewrite of every chapter to get the voice the collaborators want.

In my collaborative fiction project, I am working with two other writers. We each bring different strengths to the table. I am the primary writer, because my voice is the one we liked best for the project. I tend to focus on character and emotion. One of my collaborators, Jim Kempner, is excellent with plot and research. My other collaborator, Jeff Pero, is a line editor with a great nose for writing action. So our process goes something like this:

We all hash out the outline of the book. This was an enormously fun part of the project, full of synergy and enthusiasm. I then wrote the first draft. Then Jim took it and added detail and description and poked holes in the plot and logic, which he then mended. Jeff took it from there, checking for grammar but also policing the pacing and action. We all, of course, also kept an eye on character and dialogue and all the other things we writers need to juggle!

After Jeff, it came back to me, and I polished it, massaging all of Jim and Jeff’s inserts into the voice of the book. Then we all sat down together, read it out loud, and made line-by-line edits.

And that is how the three of us wrote our book, The Egyptian Enigma.

Have you ever worked with a collaborator? What was your process like?

WP-Backgrounds Lite by InoPlugs Web Design and Juwelier Schönmann 1010 Wien