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So I cut back to 10k words and spent a couple of years writing and cutting and rewriting my way up to 40k. So I decided to try a new approach.
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During this time Machine Man went from idea to online serial to published book. It was nice to work on something with a linear relationship between time spent writing and book length. With all the other stuff stripped away, it immediately felt more like a real story. I ran it up to 80, words without too much trauma, relatively speaking, sticking with this new format of alternating point-of-view chapters: Wil, Emily, Wil, Emily.
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That became increasingly challenging as the ending loomed and I needed to bring story threads together. I managed to make it work anyway, kind of, and finished a first draft , words , but it was complicated and hard to follow, with too much jumping around in time and space.
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I already experienced it and felt bad. The structure also made it impossible to change anything. My first drafts always need a lot of reworking in the back half, since they evolve through a beautiful, natural, organic process of creative discovery, instead of from a plan like a sane person would use. So I straightened out the timeline, moving scenes to where they made the most sense from a story point of view, rather than the dictates of an alternating chapter structure.
That sounds neat and tidy, like you can click and drag a scene from one place to another and it will snap into the right place, but the reality is more like operating on someone who has their big toe growing out of their forehead. You create a lot of ragged edges. There may be some crying involved. Ideally I would have an idea, plan the book, and write out a first draft in chapter order.
I have to wade in there and figure it out from ground level. But maybe you can! Why is Lexicon told out of chronological order? Is this entirely for the sake of suspense? Aaron Good question! So a linear structure is simple and powerful because as a reader you want to know what happens next. Which is often the case with stories that flip between multiple points of view. Multiple narratives are deceptively slippery. Linear is a solid default. But you can do a lot more as a writer when you free yourself to leap around in time, since now you can reach forward and backward to include anything that impacts on the part of the story you want to tell.
Our lives would be a lot more dramatic if we could do this in real life. Every small triumph or disappointment, imagine if you could build up to it with scenes from your past that illustrate just how significant and poignant it is. Most novels have some of each, of course; even the most linear story has, if not flashbacks, then reminisces of the she-had-been-here-once-before-five-years-ago variety.
Almost everything I do on the macro level is for the sake of suspense. It would be annoying to follow one of them on that journey and then have to go through it again with someone else. Similarly, hers adds some solidity and meaning to his, which would otherwise be more chaotic and confusing.
There would be a way to do it differently, but an awful lot would have to be different. To straighten out the whole book, I think it would break so hard in so many places, it would need to become a different book altogether. Really, though, the answer is that this is the way I found into the story. I write tens of thousands of words trying to find a story that might be hidden inside an idea, and for Lexicon that process generated two pieces I liked: the eyeball thing and the street hustler.
So I explored those more, and delayed figuring out how they would connect until later. But the magic part is the icing: all the subtleties of tone and dialogue and a hundred tiny indefinable things that may even escape notice. This is a bit of an exaggeration; I do usually start with some kind of story idea. I go straight to the icing. Obviously a lot of both the cake and the icing will evolve simultaneously.
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And in the end, both need to be delicious. But I feel more confident in my ability to figure out a delicious cake to go under some great icing than the other way around. This may not be a smart way to work, by the way. Tens and tens of thousands of words of cake. My favorite thing to happen this year: Eagle eyes by C.
Story here. Hello Mr. Barry, I was required to read your book Lexicon in my college literature class and enjoyed it very much. So my question is: Who the hell is Lee Bob Black? She thinks you made him up basically. Something to do with marketing and illusion. Can you help me out?
Is Lee Bob Black a persona you made up or are we digging a dry well here? Taija Lee Bob Black is an actual person. That website with his work on it is completely legit, not a carefully constructed piece of reality augmentation for the book. Basically I needed a lesser-known poet. In the book, people get poet names based on rank, so Woolf and Eliot and Yeats are serious headkickers, while Lee Bob Black could be a younger guy working the streets.
The real Lee I had met in St. Kilda sometime around when his friend graffitiied my house.
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Anyway, we got talking and then he moved to New York and we lost contact, but I remembered his great little poems. Lexicon provides the core infrastructure for shaping workspace, defining privacy and connection, and optimizing productivity. Integrated cable management solutions support plug-and-play at the worksurface.
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