Andrew Blackman is living “a writer’s life”, and you can learn all about it on his blog of the same title. The long and short of it is this: he was a Wall Street Journal staff writer for a while, then participated in NaNoWriMo in 2007. During that month of intensive wordsmithing he finished a draft for his first novel, The Holloway Road, which went on to win the first ever Luke Bitmead Bursary for New Writers in 2008. It was then published by Legend Press the following year to some acclaim, even earning a spot on the short list for the Dundee International Book Prize. He published his second novel, A Virtual Love, earlier this year and moved to the island of Crete soon thereafter for cheap rent and a view of the Mediterranean Sea, where he can “live simply and concentrate on writing,” according to his website. Jealous yet? Well, you’re not alone.

Blackman’s blog includes occasional insights to his life and career as a professional writer, as well as tips and tricks for up-and-comers in the industry. Subscribers get a free copy of the eBook “$250,000 Writing Contests”, which could potentially save any writer of short fiction many countless hours of outlet-searching for their polished-yet-unpublished pieces. On a personal note, I can tell you that his guest post for the popular blog, The Renegade Writer, on using the “TK” method while drafting has saved me tons of time writing magazine articles and anything else in which a tedious research effort had the potential to morph into an all-consuming waste of time.

Fresh from a meditation retreat somewhere even quieter than his rural home site, Blackman was kind enough to speak with me via email about the writing process for both of his books and—spoiler alert—even clues me in about his progress on novel number three. It seems that a good relationship with a publisher—even a relatively small one—really can affect a writer’s approach. And even the pros are constantly learning, incorporating new information and experiences, and evolving with regard to their perspective and their process.

Here’s the unedited text of my questions to him and his email response, also unedited:

CB:  Maybe you can start by telling me a little about that first novel- how long did your first draft ultimately take? And what about the revision process? How many read-throughs were there before you set it free? Finally, did you find the process of writing your second novel to be similar to the first, or was it perhaps an altogether different experience?

AB:  Good questions. The process was completely different for each novel.

I wrote the complete first draft of my first novel On the Holloway Road in a month, and that first draft was remarkably close to what eventually got published. I went over it, added a few scenes, straightened out a few logical inconsistencies, fixed a few ugly sentences, and then let it go.

Shortly after finishing, I found out about a newly-established prize for unpublished writers, the Luke Bitmead Bursary. I sent off my manuscript, not expecting much, and was amazed when a few months later I was invited to an award ceremony in London and announced as the winner. The prize was £2,500 and a publishing contract with Legend Press, a fairly small independent publisher in the UK.

After revelling in the win for a while, I panicked. They’d only judged the prize based on the first three chapters. What if they hated the rest? I spent a few frantic days making last-minute revisions, but I don’t think I changed anything much – it was more just agonising over words here and there.

To my surprise, my editor at Legend Press didn’t make or recommend any major changes either. It was more line-editing stuff, like breaking down some of my long and winding sentences into smaller pieces. So the process from start to finish was very easy, and the published novel was mostly completed in that one-month manic writing binge.

For my second novel, it was totally different. I wrote much more slowly, and edited much more thoroughly. With the first novel, I’d had the freedom of not expecting it to be published. Second time around, I had an agent and a wiling publisher, and knew the chances of publication were high. The second novel was also more complicated in theme and structure, so there was more work to do.

So I spent about a year and a half writing the first draft, and then wrote a second draft with major changes – whole chapters deleted, characters dropped and introduced, personalities and plot radically reshaped. And then a third draft, and I showed that to my agent, and he recommended some pretty major changes. For example, the novel is narrated by different characters in different chapters, and he felt the voices were not distinct enough. Going back through the whole novel and changing the voices took months by itself, and then there were elements of the plot that had to be rethought, characters who had to be made more believable or sympathetic. I think this stage took another year. I showed it to him again, and he was happier, but recommended another draft.

Finally it was done, and it was just the publisher’s edit, which was pretty light again. All in all it was about four years from start to finish.

I’m now pretty close to the end of my third novel, and it’s a similar process to the second. I think that’s my way of working in general – slower and more considered. On the Holloway Road was more of a one-off. I’d been working on a novel before that for years (a novel which remains, and will always remain, unpublished!), and had got so sick of it that it felt incredibly liberating to free-write for a month without the burden of expectation. I was viewing it as an exercise, to rediscover the joy of writing, and never dreamed that I’d end up with anything publishable. Maybe I’ll try some speed-writing again one day if I get stuck, but for now the slower pace is working well for me, so I’ll stick with that.

All the best

Andrew

Do you have any experience with novel writing, NaNoWriMo, or a publishing success story you’d like to share? Leave a comment below or email me—I’d love to hear your take on things!