Writer & Editor
When it comes to writing a novel, there are two schools of thought: you can plot it out first with an outline, or you can just wing it, writing by the seat of your pants. I’ve always been a pantser.
But after years of endless revisions to a novel I started in 2003, I decided to give outlining a try. And I’ll never pants a novel again.
I was tagged by poet, writer, and mushroom photographer Ariel Gordon to take part in the Next Big Thing Blog Hop, so today I’m going to chat about my work-in-(interminable)-progress, Bark at the Moon.
(Before I forget, I’ve tagged Angélique Jamail, Noree Cosper, Jóhann Thorsson, and Peter Dawes, so hop on over and visit. And while I didn’t tag them myself, do check out Chadwick Ginther and Emmie Mears.)
Without further ado, here we go:
Dear Teen Me:
When I look at you, just about to hit Grade 12, I think, who is that skinny kid? And right, the hair.
I’m going to try to put this in such a way that won’t make your trademark stubbornness (which got you through that nasty, soul-crushing period of self-doubt and depression in Grade 11) immediately shut your ears. Crap, I think I’ve blown it already.
Full disclosure: I’ve not only read Chadwick Ginther’s Norse-mythology-infused novel set in Manitoba, Thunder Road, I got to do so in my capacity as freelance copy editor. So I felt, having had a part in its production, I shouldn’t interview Chadwick about his book.
But, I figured, there was nothing wrong with hosting him as part of a blog tour. (Info on the book launch can be found at the end of this post; he’ll also be appearing at Thin Air: the Winnipeg International Writers’ Festival this autumn.)
Time has a way of changing your perspective on things, and favourite movies and books are no exception. The article below was originally published in 2004; and since then I’ve reread The Two Towers and rewatched the movie version. So rather than just tinker with this I decided to let it stand, with some second thoughts added in.
I still like both book and movie — but they are very, very different creatures.
Director Peter Jackson had a thankless task in adapting the second part of The Lord of the Rings for the big screen.
The difficulty lies in the fact that Tolkien originally intended The Lord of the Rings to be a single volume. His publisher balked at this; it was too much of a risk for a book whose only known audience consisted of readers of The Hobbit — in many ways a vastly different book. Thus the story was published in three volumes.
One writing axiom is “keep your characters in trouble.” Another is “keep your reader guessing.” Budding fantasy writers — and, indeed, suspense writers — could learn a thing or two from The Two Towers, the middle part of J.R.R. Tolkien’s The Lord of the Rings.
The action picks up with the Company of the Ring in disarray, seeking the Ringbearer, Frodo, as they are ambushed by orcs. (If you haven’t read Lord of the Rings, stop now; if you’ve only seen the movies, this discussion will make no sense — the movie and the book versions of The Two Towers have totally different structures, among other differences.)
All the reader knows from The Fellowship of the Ring is that Frodo has decided to go to Mordor alone, and Sam has gone with him; Aragorn, Gimli and Legolas know even less, as they variously fight the orcs and finally discover Boromir succumbing to his injuries, having failed to stop the orcs from abducting Merry and Pippin (which he doesn’t get a chance to tell them).
