Finding time to get stuff down is the age-old problem for any writer, as real life tends to get in the way, most notably employment. For the last six months I haven’t had that problem and have enjoyed the luxury of writing whenever I want, but I’ve just got back into full-time work and so my opportunities are more limited. As I discussed in my last post, I’m still wading through the first draft of my third novel, and I’m desperate to get it finished so I can take a short breather and work on something else. But now I’m working again my writing time is shoehorned into a few frantic minutes in the evening. This is having a notable effect on two things, one of which is certain and the other is more tenuous, but both worthy of explanation.
To say that work makes it more difficult to write is a bit of a misnomer, if I’m honest. Only the very best make a living out of fiction, the rest of us muddle through as best we can. But if you want to write every day, you can. Elmore Leonard used to write two pages before work every morning, getting up at 5am to do so. I suspect some snatch small periods of time whenever they can, regardless of location or time of day. I wrote my second novel Playing with Fire whilst working nights, and this suited me perfectly. Home at 5am, sleep until lunchtime, write for a couple of hours every afternoon, then do it all again. This suited me well and I think helped shape the narrative. Once it got to around 1pm I started to focus on the upcoming writing period, the problems of everyday sliding into the background somewhere, trying to encourage the muse to show up. Having this regimented structure I think was the difference that got the first draft completed. It’s hard when you’re unpublished and halfway through something that has grown bigger and scarier than everything that went before. It’s a weight, and one than can be so daunting the fear can inhibit. But for me, having that couple of hours, that thousand to two thousand words a day to work on in a specific time window, got it done. It made it more manageable, breaking it down into one session at a time, and I managed to overcome my doubts.
Now though, I’m on a more regular nine-to-five schedule. Due to the travails of commuting, I’m up at 6am and home over twelve hours later, Monday to Friday. Unlike Mr Leonard I’m not much of a morning person, so getting up at the crack of dawn to write would see me flagging with exhaustion after a few sessions. So my only chance comes post-dinner in the evening, once the thoughts of the working day have cleared and there’s space up top for creativity to flow. But even that this period seems to have squeezed into an hour at most at the laptop. I can barely write for more than that before fatigue sets in. In days gone by, two to three thousand words per session was achievable. Now I’m lucky to get a quarter of that.
I also worry if my physical state is affecting the quality of the manuscript. I like to hope that the characters voices will push themselves through regardless, but as tiredness takes me over the concern is that whilst I’m getting the bare minimum down, it could easily be of such a poor state that it will need to be discarded or heavily edited in the rewrite. I used to have brilliant days where I’d look at the clock and two hours had gone by and somehow three or four pages had been written like it was an elaborate magic trick. Now I clock watch and get frustrated when in my short time frame I’ve written barely a paragraph.
Still, the draft will be finished by hook or by crook if I’m drawing a bus pass by the time it’s finished – I am nothing if not stubborn. I guess it’s impossible to quantify whether my new lifestyle has helped or hindered the work, or if it would have come out the same regardless; it doesn’t stop me wondering, though.