Loneliness relief: collaboration & writing

Having slogged three years to write a debut novel – that’s really a novella – I’m finding myself more and more drawn to collaboration as a default mode of planning for and engaging in future projects.

It’s partly to do with wanting a fresh start – Two was revelatory and educational to write, but also a fearful trudge with no apparent end in sight (personal matters which coloured the narrative itself, and others that didn’t, further cast a shadow on the experience).

But it’s also simply down to that alchemy of opportunity and the desire to experiment with different forms. As is the same with most of my generational colleagues – I suppose – experiencing fiction was always a multi-media experience for me: what with cartoons, comics, video games, cinema and literature usually existing side-by-side, and even more so now that ‘media convergence’ is such a blatant aspect of everyday life that even the term itself sounds redundant.

TWO_TeodorReljic

A comic book project of mine is currently on the rocks, but some TV/film based stuff might just take off. Either way, the process of creation for each of these things was markedly different to what I experienced with the novel.

Brewing largely in my head throughout its three-year conception period, Two was as obstinate and unwieldy a draft of novel that you can imagine – perhaps more true than ever in this case, with a parallel narrative structure defining its contours.

The new projects, on the other hand, are being put together in an atmosphere of constant dialogue – quite literally,  plot points and character beats are drafted in conversation (with a whiteboard and marker never too far behind).

I’m finding it to be a great way of busting out of the warrens of endless possibility on the one hand, crippling self-doubt on the other, which tend to characterise the pitfalls of writing prose fiction from scratch. Collaboration both gets you out of your own head to enjoy some fresh air, and forces you to ‘make your case’ to another person at every turn.

Discovering the joys of structure mechanisms for storytelling is also something of a revolution for me. Again, like most people I know – or know of – I was initially sceptical of applying any form of overt structure to any piece of fiction I write a priori. For the usual reasons, of course: takes the fun out of it, ruins spontaneity, etc. Breaking out of that prejudice and exploring these options is proving to be far more liberating that I’d previously thought. But that’s something I’d like to talk about further in a future blog.

Here’s hoping that you’ll also hear more about the aforementioned projects here soon. Meanwhile, click here for all you need to know about Two, including where to order it from.