Change of Scene (and genre)

It’s been a tough writing year for me. And by tough writing, I mean no writing.

Which isn’t actually true.

While my work on my middle grade fantasy novels stalled (basically completely) which makes me feel like I am not writing at all, I did start co-writing a series with one of my amazing critique partners, Samantha Cohoe. We’ve written two novels so far, including setting aside time, limiting distractions, and writing 30,000 words combined in only three days.

So my no writing, looks very much like being quite productive after all.

What are some of the not-so-secret secrets to our success?

• Meeting genre-expectations: We’re writing mysteries with a light romance touch to it. That gives us a structure and a framework. We need a body. Someone to have actually done the deed. Other suspects who could have reasonably murdered our dearly departed character. A hot person of interest who our main character wants to get close to but something is keeping them apart. Knowing things we have to include to meet the expectations of reader in this genre give us a bunch of scene and character ideas. Which leads me to…
• Bookends: We usually know roughly where the book will start but importantly, we know how it ends. We know the climax scene and the basics of how our main character will discover the true killer. But what to write?
• A runway: Rather than calling it an outline, we start laying out the scenes of the book and developing a ‘runway’ – and once we have enough runway, just like at your local airport, we take off! Calling it a runway vs. an outline feels lighter, and also removes some of the pressure. And takes us out of a singularly linear approach. Because we runway…
• Front to back and back to front: Our runway starts at the beginning-ish – and then usually somewhere around the middle, we hop around to our end scene (which as I said, we already know), and then we work back toward the middle again. Layering in, fleshing out, leading us to our destination, tightening and weaving as we go. But what’s the most important syllable in that sentence?
• Collaboration: WE are writing a book. WE are brainstorming together. WE are counting on each other to get the thing done. Whichever one of us has the most energy helps motivate the other, and WE go back and forth on who is cheerleading who. And we have a built-in audience and readership – each other! Which also means we have more than one opinion to take into consideration, so it’s important that we decided…
• We will not be too precious: We made an explicit agreement that we’re not going to be rigid in our thinking or in our demands. If something isn’t really crucially critically important to us, and the other person has a different opinion… we bend. We move on. We find a third option we can both dig. Something like that. There is basically no hill that we’re going to die on. And when the other person has a way to make a scene funnier, a line tighter – we take it. Take the edit. Make it better. Two heads are better than one.

This experiment/experience has been a real game changer for me. Having someone else count on my productivity keeps me to deadlines. Writing in a completely different genre has opened a brand new well of creativity.

Have you switched it up? What changes have you made that have inspired you and worked well for your writing?