The first time I finished writing a novel was 1999.
I was eleven, and as far as I was concerned, the handwritten story that filled a whopping 64 pages of my blue-lined exercise book was an actual novel. Looking back, it would have been about 12,000 words or so: around the length of the Honours thesis I would go on to write 13 years later, and just a little longer than THE SCROLL OF ISIDOR.
My “book” was a sci-fi story called CAPRION’S WARNING. The main character, Nick, was a twelve-year-old Italian boy with seventeen immediate family members. I may have been projecting a little of myself, plus identifying with and/or being enamoured by Nick Kontellis from Emily Rodda’s Teen Power Inc books. Nick’s friend Luigi (Mario Kart was big at the time) got kidnapped by some aliens after a school disco (which figured prominently in my life at the time) and so Nick and his friends had to get in a spaceship and rescue Luigi. The whole story was essentially a global warming parable from the aliens; it was fun, but it made absolutely no logical sense.
I was quietly chuffed with myself when I finished that story. Looking back, I don’t
remember telling a soul. When it came to my creative side, I was incredibly withdrawn and secretive. My family never read a word of my work, nor my friends. In fact, the one time two of my mates tried to open an exercise book I’d accidentally left on my desk, I went into primal neanderthal mode and screamed at them to give it back. It culminated in a wrestling match in which the book was torn in half; thankfully, my desperation (and, I’m sure, their perplexed terror) enabled me to win that one – they never read it. (Incidentally, they are still good mates, they are possibly reading this, and they totally know who they are.)
In hindsight, finishing that story was kind of a non-event. I just turned the page and started the next little nonsensical pre-teen story – one that would never be completed.
I wrote constantly in the intervening years, but the next time I completely finished a project was 2011. For a number of reasons, I’m not going to name this project at the moment, but it occupied my mind and heart for a longer time than any other project to date has. This story was a piece of Pokemon fanfiction I posted on an online forum, and it had quite a large readership, especially in the first few years, though I retained a smaller group of dedicated readers until the end. I wrote the first chapter of this in late 2001, when I was thirteen, and completed the entire series of four novels in late 2011, aged twenty-three.
Actually completing that fanfic was one of the most difficult and gargantuan tasks I’ve ever undertaken – and I was once coerced into waiting eight hours in line for a Delta Goodrem concert in the middle of summer.
The feeling when I completed that series of four novels? Devastation. I fell apart and sobbed like you wouldn’t believe. Everything conflated at once: the joy of finishing such a long-term endeavour; the satisfaction of persevering for so long; the sorrow of saying goodbye to all those characters, whom I loved, especially the core cast; and the utter devastation at the end of my youth.
Because, of course, that whole project enveloped my formative years. Inhabiting that world was something I did daily, whether at the laptop or not, for an entire decade, and I grew so much during that time. At the start, I was a pimply thirteen-year-old dealing with puppy fat and wet dreams and dial-up Internet (and I couldn’t say which was the most awkward to deal with). By the end, I was in my early twenties, doing an Honours degree and working for a university and a bank simultaneously. The story had evolved, too, from being a juvenile “trainer fic” to an exciting action-adventure with a decent level of maturity. Even writing this now inspires me all over again.
I said once in an interview on that forum that I was treating that story like a training ground for my “real” writing. It was an astute observation: I knew that story could never get published given the trademark/licensing issues around fanfiction, so I just enjoyed it as a project of love and used the practice (and the feedback from some excellent readers) to hone my skills.
After that project was done, I was ready for the real deal.
In February 2015, after ten months of planning and three months of writing, I completed my first full-length novel of original work (YA Fantasy). I didn’t cry, which in hindsight tells me a lot. From memory, I moodily crept onto the patio, played Desperado by The Eagles on low volume from my phone, and smoked a cigarette or three while watching the sun rise (it was about 5am and I’d pulled an all-nighter). I did feel the achievement of finally completing my first novel: it was very gratifying.
But despite that smoky, nebulous state of triumph, I didn’t have a visceral response. The manuscript had a lot of structural problems, and I knew it. Beta reader feedback, a series of edits, a mentorship, and a copy edit all followed. When I completed draft number seven in late 2016, I was exhausted and sick of it, but my initial feedback from agents tells me it’s still not quite there.
And the reason I now know that for sure is that, one week ago, I completed my second novel.
And what a stark contrast it bears to the first one.
I started writing my second novel – let’s call it DAMAGE CONTROL, even though that’s just a placeholder title – in July this year. From the beginning, I had the overwhelming feeling that this book – a straight-up YA story – was the novel that would find publication first. Peter Parker would say his Spidey sense was tingling; Dennis Denuto would say he had a vibe; Kath Day-Knight would say she had a feeling in her waters. Everything just seemed to mesh together.
Call it what you will, but that feeling gripped me for two months and didn’t let go until I finished the final chapter last week. DAMAGE CONTROL is the most close-to-the-bone, intensely personal piece of fiction I have ever written. It felt like it poured out of me fully-formed; like twenty-nine years of pain were slowly and gingerly extracted from my blood. It was almost a channelling experience: when I reread some of the lines, I can’t even remember writing them.
As American sportswriter Red Smith famously said, “Writing is easy. You just open a vein and bleed.”
Red was right.
Once you open the vein and allow yourself to bleed, writing is the easiest and most natural thing in the world.
But it was something I had never done before.
CAPRION’S WARNING was more or less pure juvenile nonsense writing.
My teenage fanfiction was adrenaline-fuelled escapism.
And my first novel was essentially people-pleasing in literary form: calculating my moves, crafting a product for an imagined readership, second-guessing what the readers and market and editors and agents might want. In short, everything except being authentic, and genuine, and unabashedly myself.
DAMAGE CONTROL is me without a single inhibition. I’ve hidden nothing. Every fear, every fragility, every insecurity, every obnoxious word and thought is on display here for the world. It is a fictional work, entirely, but the characters embody the best and, frequently, the worst parts of me as the author: the things I am ashamed of; the things I’ve been hurt by.
My blood is on every page.
And it makes all the difference – because it actually works.
My first beta reader was completely blown away. He cried twice during the novel, especially towards the end.
“This is the best thing you have ever written,” he declared at the end, without hesitation. “This is very brave …”
As for how I felt when I finished it?
First was the sorrow: I cried, like a little kid who fell off his bike.
Then came the euphoria: I went to the gym and sprinted on the treadmill, adrenaline crushed into my bloodstream and music pounding in my ears.
And finally, satisfaction: I went out for ice cream with my fiance.
The most exciting outcome of finishing this novel was that it enabled me to understand, and define, myself in a way I hadn’t been able to do before. And my hope is that, in my being honest and vulnerable and brave, my readers will be able to make the same discoveries about themselves.
Finishing this novel has been an intense and rejuvenating experience.
I cannot wait to share it with you each.