When most people sign with a publisher for their debut novel, the contract is for two books. This is how I signed with Headline, and it felt pretty good at the time. Getting a contract for something I hadn’t even written from one of the big five is quite the mental endorsement, and injected a bit of confidence when it came to sitting down at my desk in front of a blank screen. Kind of, yeah, I got this. But any confidence I gleaned from having already signed a contract was shattered by the process. Book two was one of the hardest books I will ever write. It was the first time I ever had to work to a deadline, and the first time I was writing with specific people in mind who needed to like the finished product. But with their help and support and some cheer leading along the way, I got there with only one rewrite. But setting out to write book three was something different again, because I was doing so out of contract.
Before getting an agent or publisher, selling one of my books and securing representation was the only thing I ever thought about, and it often felt like an impossible task. I was plagued by questions: Am I writing something that an agent will like? Will this book make it out of the slush pile? Will anybody even read it? I just had no idea. But this time I started writing book three knowing that at least my agent would be looking at it. I started book three knowing that I had already sold two books, so theoretically at least, could sell another. I was starting to write with all the knowledge I had gained from the lessons learnt in writing the previous two. That gave me a sense of freedom to really focus on the crafting of the story, rather than wonder what the hell I was going to do with it once it was written.
And I honestly thought I had learnt my lesson with book two; write the book, and do it only once. Decide on a story and stick to it. Before I began I had the whole story planned out, and I got about 80,000 words in without any problems or questioning myself. I had a near-complete first draft, albeit rough and raggedy. But then the unthinkable happened; I got another idea that was infinitely better. And that raised a dilemma. Should I rewrite book three as well?
So there I was with an almost complete book, no contract, and an unwritten idea that was just begging to come out. Did that mean what I had written was no good? Did it need tossing? I had learnt a lot of lessons writing two books, but it seemed that insight into the value of my writing was not one of them. Stephen King wrote in his memoir, On Writing, that, “Sometimes you have to go on when you don't feel like it, and sometimes you're doing good work when it feels like all you're managing is to shovel shit from a sitting position.” Did that mean I should stick to the book I had already written? I wasn’t keen to disobey the master, but I decided against it, shoveled it into a drawer, and set out to rewrite book three.
A couple of weeks later, sitting in London having dinner with my agent, celebrating the fact that book two was finally finished, she tentatively approached the idea of book three. I confessed that yes, it was written, but that I had plans to rewrite it. She must have wondered who the hell she had signed. She asked for five or six polished chapters in order that she might submit to my publisher, but it turns out I couldn’t deliver them. I’ve never been very linear when it comes to writing, and I have to accept that the first draft of anything I write is utter horse shit. Until the final pages are polished, the first chapters are ugly. But that’s OK, because I know that now, and I try not to let it bother me. That’s one of the things I have learnt. So I just kept on going, even when it felt tempting to go back to that book that was already written. Now the new book three is complete, and has been read and edited by my agent with tentative approval. I have completed an edit myself and it’s now back with her.
So are we there yet? I have no idea. Will this book secure me another contract? I have no idea about that either. I have learnt not to second guess what people will think. The market is tough, and I have no idea whether or not there is space for another one of my books. I sure hope there is, because I already have book four planned. The synopsis is probably the easiest I have ever written and I feel really confident about the story that lies ahead. But this time I am also planning a chapter breakdown before I even begin to write the book. Because although there is still so much that I don’t know, what I do know is this; I do not want to write this book twice. But at least I’m feeling confident. So again as I sit down to write the first draft of my next book I'm going to say, yeah, I got this. I think I know what I'm doing. For the time being at least.