Well, that was a bit of a bust, at least in the strictest sense. I did not finish Pretty Boy in 30 days. I got the introduction locked down and mapped out the first six chapters, but once I started to move forward I quickly realized that speed-writing was not going to work for Pretty Boy unless I made an absolute mess of it.
Now, that’s apparently the point of Nanowrimo: just write and clean up later. What that plan fails to recognize is that if you can’t move forward because you don’t know if your main character has an indoor toilet or an outhouse, there’s simply no moving forward.
This method worked fantastically for other genres I play in that don’t require one to spend 30 minutes staring at the cursor while wondering if the main character needs to go outdoors to use the toilet. I blazed through multiple novellas and short stories. But when I tried to apply the same method to Pretty Boy, I ultimately got frustrated and wandered off to play video games.
Lesson learned, which was a part of this experiment to begin with. Some books just can’t be written in 30 days and that’s OK. Every book is different, and if I can write one in a week while it takes me three months to get to chapter five in another, that’s just how it goes. Rather than worry about it and beat myself up, I’m just rolling with it.
I’m almost at the end of the first week of this whole book-writing thing, and it has not gone according to plan.
First, I am working on a book. It’s just not the book I planned to write. For some reason, things fell flat on The ThornGarden immediately. The book is still waiting to be written, but now isn’t the time to write it, since I found myself pulling my hair out trying to locate the two books I actually need to proceed.
So, I’m working on the follow up to Shadows May Fall. Progress has been slow, filled with mini “Ah-ha!” moments. An intro I didn’t know was needed until I was utterly stumped come Chapter Two. A sub-plot that gets darker every time I revisit it. Having to break the no-research rule to stop and look something up several times because I can’t proceed without some minor detail. It takes place in a fictional town, which one would think would be easier to manage since I can just make things up, but ultimately turned into a project that involved stitching several real-life towns together, none of which have half the historical sources as Halifax did for Shadows May Fall. Then there’s the main character, whose arrogance I have to constantly keep in check.
It’s moving, and for the first time in about a year, but it’s not moving at the breakneck speed required for this challenge. I’d say the ETA looks closer to 60 days than 30. While I’d love to have the high of having finished a book in 30 days and being done with it, I’d rather have one that is readable, and the 50K/30 days method isn’t exactly the right method for getting me a readable book.
I can be a little manic about the health of my car. If it so much as sneezes, I’m thrown into a panic. Whereas I’d have to be near death’s door to actually drag myself to the doctor, I fuss over my little Kia and will drop everything to make sure it’s in near-perfect health. My car takes me to work, to play, to holiday, but most importantly it takes me off the main arteries to unassuming little places I find myself obsessed with finding.
This year, the theme was trains stations. It stemmed from the sequel to Shadows May Fall, Pretty Boy, opening in a train station in the early 1920s. All totaled, I visited five former train stations in rural communities, and at the end of the day they make up the fictional Port Croft train station where Charlie Gaston first spies the girl of his dreams.
The Antigonish station is currently the Antigonish Heritage Museum, which is more beautiful inside than it is out. The Tatamagouche station is currently an inn, and I stayed in one of the cabooses for the night and ate in the dining car — highly recommended for both — and it was here I was really able to get a feel for what it might have been like waiting for the last train on a rainy summer evening. The Pugwash station, now a library, had a busier feel to it, like it was the heart of the town, and was the only station I visited where the tracks hadn’t been turned into a trail — these tracks went right to the salt mine on the opposite side of the Pugwash Basin.
The Elmira station in Prince Edward Island was the only museum dedicated to the rail service, which was a little comforting to know that I’m not the only dork who drives an hour to the middle of nowhere to look at a train station. Their display was so massive I found myself taking pictures of it all so I could read it all at a later date, and it was really easy to just stand there and picture it as a working station. The “ladies waiting room” gave me a bit of a chuckle — I kept thinking of the station master in Anne of Green Gables asking Anne if she’s rather wait there, setting her off on a tangent about
I found my last station purely by accident — driving to PEI, I passed the visitor information centre in Cape Tormentine, where the ferry had been located before the Confederation Bridge was built, and I just thought to myself that the place looked like it might have been a train station at one point. I googled it once I was settled into my motel, and on my way back I stopped for a good look.
Though quiet now, Cape Tormentine struck me as the sort of place that had been busy most of the day back when the ferry and the station had been there. I’d like to have a look at this place when it’s open, but the day was gorgeous and just walking around by myself was still a pretty good experience. The trail went right to where the old ferry had been, which had a pretty serene view of the Confederation Bridge (ferry-goers have to cross over in Caribou, Nova Scotia these days.)
Overall, it was an interesting trip, but it wasn’t just about seeing with my own eyes the places that make up the next book. With Shadows May Fall, it was hit and miss on that front — I couldn’t see places that just weren’t there anymore, and it’s hard to tell if Halifax has retained any of the atmosphere it had in the early part of the 19th Century (though, aside from the reluctance to change with the times vs the desperation to stay relevant, I have a feeling that at least the attitude is the same) so I relied heavily on old photos and descriptions from those alive during that time. For Pretty Boy, the location isn’t real but is an amalgamation of smaller towns. I can pick and choose what I want and what I need, but at the same time you have to be aware of the social history that structures like old train stations bring with them – jobs, migration, local resources, prejudices, politics, and so on, even if I never mention these things in the books.