E.C. Myer‘s first novel Fair Coin is a wild ride through wish after wish. This debut novel demonstrates a mastery of writing that has been honed through a variety of short stories. Here, Myers shares his writing process with us.
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Tamago: Do you have a regular drafting process when you write a book, or does that process vary from book to book?
Eugene: I always start with the same process, but it might be necessary to try a new approach once I get farther into the draft. My default method is to work out the major plot points and characters ahead of time. By the time I start writing, I might have scattered notes about character traits, bits of dialogue, plot ideas, a few scenes—not in any organized sense, like you’d find in an outline, but just fragments of ideas that I may or may not refer to while I write and which help guide the draft. This isn’t too different from how I would tackle writing a short story, though I might have even less figured out in advance for a shorter piece.
My third novel is an example of when my process changed considerably. It had too many characters and too complex a back story to keep everything in my head. I also had difficulty deciding what to write next during my writing sessions, which wasted the hour or so I set aside for them every morning. So I finally decided to try outlining every scene in the book, and it was exactly what I needed to move forward with that particular book. I returned to my old ways for the next novel.
Tamago: Do you write by yourself or do you write in a writing group? What do you see as the benefits of the method that you choose?
Eugene: A bit of both. I’m lucky to belong to a terrific writing group called Altered Fluid, and I also have a number of other trusted beta readers, but I don’t share my work—or even talk about it much—with anyone until I have completed a solid first draft on my own. All my first readers are smart people with unique writing strengths, areas of expertise, reading interests, experiences, and perspectives. Their critiques help me see if the draft is working the way I hope it does, for a wide range of readers, and shows me where I can make improvements in rewrites.
I think it’s helpful to know people who can not only tell you that a draft has problems, but can express what they are and offer suggestions for fixing them. Writing can be very lonely and frustrating—ultimately, it’s just the author and a blank page—but it’s so much better when you can talk with others who understand what it’s like. The communities I’m part of provide an invaluable support network when things aren’t going so well with writing or submitting my work, and it’s also great to share in everyone’s successes. Good news, even when it isn’t your own, can be a powerful motivator to keep going when you’re discouraged.
Another side benefit is that I often get to see their stories and novels before they’re published. As a fan of their work, I get a thrill from reading manuscripts before anyone else, and I’m honored that my friends value my feedback. And critiquing other people’s fiction absolutely improves my own writing.
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