Yesterday, I was writing at one point while listening to the “Gladiator: More Music From The Motion Picture” CD I’d gotten for Christmas (along with, uh, Sara Bareilles – now, there’s a musical contrast):
At the outset “More Music’s” inner sleeve notes make clear that what’s heard on the CD are often “first drafts” of music from the film, or music that didn’t make it. So technically it isn’t from the released, final “Motion Picture.” (By the way, if you’ve never seen Gladiator, it is really something else. Superb.) Composer Hans Zimmer writes:
Musicians can get away with that, whereas a novelist would probably look ridiculous doing something similar.
Every draft I do is dated that one day. The next day is another draft, dated that day, and so on. If I make a subsequent change, I can always go back to an older iteration and re-use something. I never “obliterate” an eclipsed version so it’s lost forever.
I’m continuing in that “approach” with the brand new, third volume’s (very early) manuscript. Doing it that way, I’ve kept hundreds of Word drafts from the two now finished novels. The completed books unsurprisingly often ended up rather different when compared to what was in early drafts.
One example: Names. In Passports, initially “James” and “Béatrice” were known by other names. “James’s” earlier name just didn’t click for me, nor fit within his family scheme I was developing. In fact I now recall “Béatrice” actually had two earlier names. I went for “Béatrice” in the end owing to it having been a common name given to many Frenchwomen born from the 1960s until the mid-1970s. Both new names, to me, worked better in the stories. Now, I can’t imagine them called anything else.
In Frontiers, “Rita” is first mentioned while James’s parents – Jim and Joanne – and grandmother are chatting about his upbringing (while he is safely well out of hearing a continent away):
“Hmm, not high school. They were in junior high. He was fourteen. Ninth grade,” Joanne corrected herself slightly.
“Rita was his first real girlfriend,” Jim turned to Lucy and recalled fondly. “In some class she passed him a note with her phone number. At first, he didn’t want his mother to know.”
“Hiding things from his mother began pretty young with him,” Joanne declared.
She had a different name too, which I changed only about a month before publication. Her previous name was, to me, just too similar to another character’s name. It was as simple as that: I didn’t want any reader confusion.
Understand, though, I won’t reveal here what their earlier names were because I don’t want anyone thinking about any of them, “Hey, Rob, I liked that other name better.” ;-)
Another example. I must have made at least two dozen major changes to the opening chapter of Frontiers. By that I don’t mean stuff here and there. I mean I shredded and re-shredded the entire thing – background, location, happenings, nearly all of it – repeatedly until I was satisfied with it.
I did that because several times after I’d re-read it, I still didn’t like it. “It doesn’t convey what I want,” my shoulders slumped again and again. “And it’s the first chapter!”
I can’t see myself as a writer ever releasing the whole “first draft” of a finished book to show readers “the process.” The “sneak peeks” I had shared into Frontiers over the year were just that – and largely finalized. The final version is THE STORY. Looking back on them now, the earlier drafts, frankly, often make me cringe.
Anne stepped up to him. “Oh, yes, of course.” She added, “You’re turning into a silly old Frenchman. Do me a favor, if you’re looking to make a fool of yourself with a girl fifty years younger than you, at least wait until after I’m dead.”
What they do with them after I’m gone someday is entirely their call. In that, I suppose I see things a bit like Isabelle’s mother, ripping good-naturedly into Isabelle’s father in Frontiers. What happens after I’m dead, well, happens.
Have a good Tuesday. :-)