Now that I
scrapped my first novel idea, this month I started from scratch again.
What happened was comically similar to what happened when I started from
scratch the first time.
That is, first I came up with a social sci-fi idea, and then settled on
an anti-romance with an unusual narrative structure. Well, now you
know where my heart's at.
The first novel idea I had was based on the premise of mind-cloning. We have a 1st person protagonist who participates in psychological research, and they copy her brain state. A generation later, the copy is uploaded to a robot, and so begins our story. A generation later, another copy (or copies) is uploaded, and another story is told in parallel.
The first novel idea I had was based on the premise of mind-cloning. We have a 1st person protagonist who participates in psychological research, and they copy her brain state. A generation later, the copy is uploaded to a robot, and so begins our story. A generation later, another copy (or copies) is uploaded, and another story is told in parallel.
The idea is not really about mind-cloning. The point is to examine the way that culture recursively reacts against itself over generations (and to do so without changing protagonists!). And the other point is to watch the protagonist piece together facts about her past lives, constructing self-serving narratives about them.
Then I got another idea, which is the one I'm currently working on. The basic theme of this novel is the construction and deconstruction of romance. It's the story of a couple, told through the eyes of a friend. This friend constructs an elaborate narrative, with a rather loose relation to reality.
One of the major principles of writing fiction is "show, don't tell". This is usually a pretty good rule. In a few cases, it's actually better to tell than show, often because you're describing something of only marginal importance, and don't want to give it the whole rigamarole of vivid prose. However, for writing an unreliable narrator, I take a third approach: show AND tell, but what I show and what I tell are perpetually in conflict with each other.
Here's why I think this novel idea will work better than the last one. I have a strong "plotter" tendency, in that I tend to plan things out. And then, in the writing, things don't turn out the way I expected, and getting things back on track involves large contortions. But for this novel, I made a conscious decision to not plan things out. I don't know exactly what will happen to the characters. This seems to work well so far.
