Writing the Novel

by Lawrence Block; Block

I’ve been trying to think of one solitary instance over the past twenty years when it’s helped me to know that a novel has a beginning, a middle and an ending. And I can’t come up with a one. I learned at about the same time that in 1938 the state of Wyoming produced one-third of a pound of dry edible beans for every man, woman and child in the nation, and that fact too has lingered in my mind for all these many years, and it hasn’t done me a whole hell of a lot of good either. But I pass it on, too, for whatever it’s worth.

  A beginning, a middle and an ending?

  Let’s start with the beginning.

  Openings are important. In a more leisurely world—a couple of centuries ago, say—the novelist had things pretty much to himself. There was no competition from radio and television, nor were there very many other novelists around. The form was new. Furthermore, life as a whole moved at a gentler pace. There were no cars, let alone moon rockets. One took one’s time, and one expected others to take their time—in life or in print.

  Accordingly, a novel could move off sedately from a standing start. A long first chapter might be given over to a thoroughgoing summary of events which we are told took place before our story gets underway. It is not uncommon to encounter a Georgian or Victorian novel in which the first chapter constitutes little more than an extended family tree; the story’s protagonist doesn’t even land in the cradle until Chapter Two.

  Things are different now. Novels, crowded together like subway riders at rush hour, stand on tiptoe shouting “Read me! Read me!” They compete with each other and with the myriad other leisure-time activities clamoring for public favor. The reader, however prepared he may be for a long leisurely perusal, is not of a mind to spend a first chapter pruning a family tree. He expects a book to catch his interest right away; if it doesn’t, it’s the easiest thing in the world for him to reach for another.

  “The first chapter sells the book,” Mickey Spillane says. “And the last chapter sells the next book.”

  Spillane, I’m told, also claims to write a book’s final chapter first. His entire book is geared to build up to the impact of the finale, he theorizes, so he can best achieve a powerful climax by writing that last scene first, then writing the rest of the book as prelude, I can see the logic in this, but we’ll go with the premise for now that you’re going to write your book more or less in order, beginning with page one. If nothing else, it makes numbering the pages ever so much simpler.

  To return to the point, the first chapter does indeed sell the book. If it is to do so successfully, the reader must be caught up in the story as quickly as possible. Things must be going on in which he can become immediately involved. If you can open with action, physical or otherwise, so much the better.

  Beginners frequently have trouble managing this. I know I did. My first chapters tended to introduce characters. I would have them arriving in town, or moving into a new apartment, or otherwise embarking on a new chapter in their lives even as I embarked upon the first chapter of a new book. They would meet people and have exploratory conversations. What kind of a way is that to grab the reader’s attention in a grip of steel?

  There’s a trick I’m going to share with you. I learned it almost twenty years ago and I’ve never forgotten it, and it’s yours for $9.95. If I were you and that were all I got for the price of this book, I don’t think I’d have cause to complain. So pay attention.

  Don’t begin at the beginning.

  Let me tell you how I first came to hear those five precious words. I had written a mystery novel, the second to be published under my own name; Gold Medal issued it under the eminently forgettable title of Death Pulls a Doublecross. The book was a reasonably straightforward detective story in the Chandler-Macdonald mode featuring one Ed London, an amiable private eye who drank a lot of brandy and smoked a pipe incessantly and otherwise had no distinguishing traits. I don’t recall that he was hit on the head during the book, nor did he fall down a flight of stairs. Those were the only two clichés I managed to avoid.

  My original version of the book opened with London being visited by his rat of a brother-in-law, whose mistress has recently been slain in such a way as to leave the brother-in-law holding the bag, or the baby, or the bathwater, or whatever. In the second chapter London wraps the young lady’s remains in an oriental rug, takes her to Central Park, unrolls the rug and leaves her to heaven. Then he sets about solving the case.

  I showed the book to Henry Morrison, who was then my agent. He read it all the way through without gagging, then called me to discuss it.

  “Switch your first two chapters around,” he said.

  “Huh?” I said.

  “Put your second chapter first,” he said patiently. “And put your first chapter second. You’ll have to run them through the typewriter so the transitions work smoothly but the rewriting should be minimal. The idea is to start in the middle of the action, with London carting the corpse around, and then go back and explain what he’s doing and just what he’s got in mind.”

  “Oh,” I said. And glanced up quickly to see if a lightbulb had taken form above my head. I guess it only happens that way in comic strips.

  Now this change, which was a cinch to make, didn’t turn Death Pulls a Doublecross into an Edgar candidate. All the perfumes of Arabia wouldn’t have turned the trick. But it did improve the book immeasurably. By beginning with Chapter Two, I opened the book with the action in progress. There was movement. Something was happening. The reader had no idea who Ed London was or why this young lady was wrapped in her Bokhara like cheese in a blintz, but he had plenty of time later to dope out the whys and wherefores. After he’d been hooked by the action.

  (The reader may have further wondered where Ed London got the muscles to manhandle a rug with a corpse rolled in it; oriental rugs are pretty heavy, even without bodies in them. This whole question never occurred to me until years later.)

  Ever since Death pulled that doublecross, I’ve used this opening gambit more often than not. All seven Tanner books employed this device. In some of them I wrote a single chapter before doubling back to explain the book’s premise, while in others I let the story line run on for two or three chapters before flashing back and explaining who these people were and what they were doing and why. In the Tanner books, a secondary purpose was served by this technique. The opening chapter or chapters generally left Tanner up against the wall—suspended in a bamboo cage in northern Thailand in Two For Tanner, and informed that he’s to be executed at sunrise; on a train in Czechoslovakia in The Canceled Czech, with a cop asking him for his papers; and literally buried alive in Modonoland in Me Tanner, You Jane. This tension was maintained and even heightened by forcing the reader to pause for a flashback; the effect was that of a cliffhanger in an old-fashioned serial.

  This business of beginning after the beginning is a natural for novels of suspense and adventure and action. But it works as well in the sort of novel in which characters do not get tossed off Czech trains or buried alive or shot at sunrise. If your story is one of a young man’s loss of innocence in the big city, you don’t have to begin with him arriving in town. You can choose instead to open with a scene involving him and a girl he’s taken up with some weeks after his arrival. They’re at a party, or in bed, or having a fight, or whatever—you’re writing this, not me. Then in the next chapter you can fill in whatever background has to be filled in. The point, remember, is to involve the reader, to make him care what happens next. You do this by showing your characters in action, in conflict, in motion, not sitting on a park bench musing about the meaning of life.

  Innumerable examples of mainstream fiction of the highest order are structured along these lines. They open with a scene designed to get things off to a good start. Indeed, I’ve read a slew of novels in which the first chapter poses a crisis, the ensuing thirty chapters recount the hero’s entire life up to the moment of that crisis, and the final chapter resolves it. Jerome Weidman’s The Enemy Camp is a vivid example of this approach. By and
large this strikes me as too much of a good thing; if the problem is such that it can be stated and resolved in two chapters, why must we wade through a hundred thousand words of background between the statement and the resolution?

  Is it always a mistake to begin at the beginning?

  Of course not. Always is a word we’re trying to stay away from, remember? There are very few absolutes in this business of novel writing, and the First-Things-Second Principle is definitely not one of them. It’s extremely useful, and it’s always worth considering, but there are times when the best way to start a novel is the most natural way—i.e., at the beginning.

  Here are some examples from my own work:

  Deadly Honeymoon features a newlywed couple. On their wedding night thugs kill a man at a nearby lakeside cabin. Almost as an afterthought, the bad guys beat up the husband and rape the bride. Our leads do not report this to the cops but hunt down the villains themselves. Here I felt the rape scene was of paramount importance, supplying the motive for everything that follows and making the vigilante activity acceptable and even laudable. Furthermore, there’s more action and involvement in that rape scene than in the rather plodding chapters which follow, in which Dave and Jill set about the nuts-and-bolts work of tracking the killers. To open with them making phone calls and checking city directories and then flash back to the rape scene would be spectacularly senseless.

  Such Men Are Dangerous—written under the pen name of Paul Kavanagh—concerns a burnt-out ex-Green Beret on the verge of a breakdown who hies himself off to an island in the Florida Keys and lives a hermit’s existence. Then a CIA type drops in and involves him in a caper. This would have been a natural for the First-Things-Second approach, but I was more interested in establishing the lead’s character at the beginning since I saw that as the most important single element in the book. Moreover, I wanted to show the character going through the process of personality disintegration before he found his way to the Keys, then show the contrast achieved through some months of solitude and self-sufficiency.

  The Sins of the Fathers, the first of three books about Matthew Scudder, begins with his being hired by the father of a murder victim. The action which follows is gradual and I felt the book would build more effectively if events were dealt with in chronological order. The two succeeding Scudder books, however, open First-Things-Second.

  There are two schools of thought about the opening of a novel. One holds that the important thing is to get it written, the other that the important thing is to get it right. Both of them are quite valid, of course; the distinction is one of emphasis, and it will vary with the writer and with the particular novel.

  In my own case, a book is never entirely real for me until I begin putting words on paper. The words of an outline or treatment somehow don’t count. I have to be doing the actual writing, pulling finished pages of prose and dialogue from my typewriter. The pages may not be finished in any true sense; I may throw them out, or rewrite them any number of times, before the book is in final form. But they have the look of finished pages, and when they begin to accumulate to the left of my machine, I know I’m really engaged in the curious process of writing a book.

  Because of this, I probably start some books prematurely, before they’re as well thought out as they might be. My first drafts of my first several chapters are frequently a part of this thinking-out process. It’s in the course of writing them that I find out a lot of essential information about my characters and the plot in which they’re caught up.

  This happened in The Burglar Who Liked to Quote Kipling.

  Having already written two books about Bernie Rhodenbarr, I probably didn’t have to type out fifty pages of first draft in order to make his acquaintance. Nor was I running blind as far as plot was concerned; I already had a pretty clear view of the plot for at least the first hundred pages when I sat down to write page one.

  Even so, fifty pages in I decided I didn’t like what I’d done. The pace felt wrong to me. There were some characters I wanted to drop, some scenes I wanted to compress. There was a relationship between Bernie and his sidekick Carolyn Kaiser which I knew more about for having written the fifty pages; as a result I wanted to do them over so I could redefine it in the early pages. There were some things I knew about the plot that I hadn’t known when I started, and I wanted to lay the groundwork for them in my opening.

  On the other hand, I wrote a book called After The First Death knowing a great deal about the opening and not too much about what would happen later on. The premise is simple enough: a man has spent time in prison for killing a prostitute during an alcoholic blackout. He wins his release via one of those landmark decisions of the early sixties—Miranda, Escobedo, Gideon, one of those cases. The book opens First-Things-Second style, with Alex waking slowly, coming out of blackout in a Times Square hotel room, seeing a dead woman on the floor in a pool of blood and rocked with the thought that he’d done it again. In the second chapter he decides not to turn himself in, as he did the first time, but becomes a fugitive from justice. Then we’re at last told who he is and what it is that he seems to have done again, and then, the flashback completed, he searches his memory and gets a tiny flash of the moment just before he went into blackout, enough of a flash to convince him that he didn’t kill the hooker after all and that he has to find out who did. The rest of the book concerns his attempts to do so.

  I didn’t know who the killer was when I started the book. I didn’t even have a clue who the various suspects would be. All I really knew was how I wanted the book to open. That scene was vivid in my mind, and during the writing of it I got enough of an idea who the lead was to write the second chapter. After that point I largely plotted the book as I went along. For all of that, I never did have to rewrite the first two chapters. They were sufficiently well realized to hold up fine despite the fact that I wrote them without knowing what would follow them.

  By and large, though, first chapters are more apt to need rewriting than subsequent chapters, at least in my own novels. When this proves to be the case, I have the choice of rewriting my opening immediately or pushing on with the book and redoing the opening after I’ve completed the first draft.

  Again, the decision is individual and arbitrary. Do you get it written first or do you first get it right? I’ve come to the conclusion that I’m more comfortable with a book if I rewrite this sort of thing as I go along; otherwise my concentration on Chapter Fifteen, say, is diffused by the nagging awareness that Chapters One through Three have to make another trip through the typewriter. We’ll discuss this general dilemma again in a chapter on revision, but it seems worth a brief mention here because beginning sections are so often apt to be out of synch with the rest of the book.

  Knowing that an opening may very well need to be rewritten can make you sloppy. For this reason, I always proceed on the premise that what I’m writing is what will one day be set in type, word for imperishable word.

  But that’s just my approach. For another writer, that sort of sloppiness might be worth encouraging; he might be infinitely less inhibited typing an unabashedly rudimentary first draft on yellow second sheets than if he felt his words were being carved on stone tablets.

  The important thing, as I’ve said before, is neither to get it written nor to get it right. The important thing is to do what works.

  Chapter 9

  Getting It Written

  Writing a novel is hard work.

  Now writing anything well is work, whether it’s an epic trilogy or the last line of a limerick for a deodorant contest. But when it comes to the novel you have to work long and hard even to produce a bad one. This may help explain why there are so many more bad amateur poets around than there are bad amateur novelists. Writing a good poem may be as difficult as writing a good novel. It may even be harder. But any clown with a sharp pencil can write out a dozen lines of verse and call them a poem. Not just any clown can fill 200 pages with prose and call it a novel. Only the more determined cl
owns can get the job done.

  “I could never be a writer,” countless acquaintances have told me, “because I just don’t have the necessary self-discipline. I’d keep finding other things to do. I’d never get around to working on the book. I wouldn’t get anything accomplished.”

  Let’s not kid ourselves. It does take self-discipline. On the dullest day imaginable, I can always find something to do besides writing. I have innumerable choices. I can read, I can watch television, I can pick up the phone and call somebody, I can hit the refrigerator—or I can decide instead to sit at a typewriter, pick words out of the air, put them in order, and spread them on the page.

  Unless I can consistently choose to work, I’m not going to get books written.

  Self-discipline takes a variety of forms. In this regard we might consider two of the most prolific novelists the world has ever known, Georges Simenon and John Creasey. Each wrote several hundred books, and each achieved considerable prominence in the field of crime fiction.

  John Creasey wrote every day. He worked seven days a week, fifty-two weeks a year, producing approximately 2,000 words each morning before breakfast. His routine never varied; at home or abroad, tired or bursting with energy, he got up, brushed his teeth, and started writing. He admitted his behavior was compulsive, explaining that he couldn’t relax and enjoy the rest of the day unless he’d first tended to his writing chores. If you write 2,000 words a day, you are going to turn out close to a dozen books a year, and Creasey did just that for most of his lifetime.

  Georges Simenon’s approach was altogether different. You may have seen a television documentary on his writing habits; it has had considerable exposure over the educational channels. Typically, he would pack a bag and a typewriter and travel to one European city or another where he would check into a hotel. There he would work in the most intense manner imaginable, immersing himself utterly in his work, avoiding human contact for the duration, and producing a finished manuscript in ten or twelve days. The book finished, he would return home and resume his everyday life, letting the plot gradually develop for his next novel, and ultimately heading off to another city and repeating the process once again.