Let There Be Words
(the birth of Maggie Grant)
Posted on November 11, 2024 by Catherine Lynwood
I’m currently in the throes of writing my first novel, The Alpha Flame. I’ve always wanted to write novels, but like so many things in life, there was always something getting in my way. Now, I’m fortunate to be at a stage where I finally have the time to make this dream a reality.
As a full-time graphic artist, I find my work provides ample inspiration for this project. I’m also lucky to have a great deal of help from my daughter, Samantha, who is very much a part of this journey. Thanks to her support with the technical side of things, I can share this blog and podcast with you. Thank you, Samantha!
For many years, I thought about writing a book but didn’t know where to begin. Truth be told, even now, I’m still very much in the dark—but I’d like to think I’m a fast learner. Through this blog and podcast, I’ll be updating anyone who’s interested in my writing progress and discussing what I’m learning along the way.
I plan to share insights into different aspects of writing, from developing characters and plot to tackling more down-to-earth topics, like punctuation. It’s funny: as a reader, punctuation is something I’ve rarely noticed consciously. I read every day—at least half an hour—but do we really pay attention to punctuation? Writing makes me realise how much it matters, and I’m beginning to see its nuances.
If you’re like me and you’ve wanted to write a book for some time, you’ll have come across all kinds of advice. I’ve found it helpful to listen, take in what I can, but give it time to settle before I apply it. So far, if I’ve learned one key thing, it’s to trust my gut. It took me some time to do this, but it has significantly reduced my stress.
One of the first things I considered was how long my book should be. Resources generally suggest that between eighty thousand and one hundred thousand words is ideal for popular fiction. Fortunately, I recently received advice from fellow Brummie author Lee Child, who confirmed that this range is a good guide—though there are always exceptions even in his own work!
Initially, I worried about reaching that length. My experience with writing usually maxed out at a few thousand words, so this felt daunting. But within a couple of weeks, I was surprised to find I was rapidly approaching seventy thousand words and had only just set up my main characters! Reviewing it, I found I hadn’t padded the story with unnecessary descriptions or long-winded dialogue, so my challenge shifted from worrying about “enough” words to managing “too many.”
I’ve since learned that complex characters tend to demand more space, and I’m more relaxed about the word count now. My main character, Maggie Grant, is a young woman with plenty of layers, and she requires some explaining. Rather than simply describing her, my goal is to show Maggie’s evolution into a fiery, alpha female through a series of compelling events. I expect the novel to reach around one hundred and eighty thousand words.
Another piece of advice I received was on how to approach the structure of my work. As I mentioned, my initial attempt yielded a huge number of words, and they flowed very easily. But with that flow came a lack of direction. Some authors simply dive in from day one, with no detailed plan for chapters or plot—just a fledgling idea in their heads. I quickly discovered this approach wasn’t for me.
My first attempt wasn’t a total loss, though; it sparked several interesting ideas that I’ve since woven into my plot. Now, I plan things a bit more. Alongside my book manuscript, I keep an accompanying file with a chapter outline. It’s just a series of bullet points for each chapter, but it keeps me focused. I’ve worked out who meets whom, what happens when, and where everything fits.
For me, having this structure is essential. Without it, I’d be tempted to include too many ideas too early, which would confuse the reader and disrupt the story’s flow. My goal is to take readers on a rollercoaster through each chapter. I want to create peaks and troughs that draw them in, keep them engaged, and leave them eager for what’s next, without overwhelming them.
Another issue I struggled with early on was deciding how long a chapter should be. This question feels as complex and contradictory as the overall word count. I read both physical and audiobooks, depending on what I’m doing. If I’m on the sofa at night, I’ll usually pick up a physical book. But if I’m in the car, obviously that’s when audiobooks or my favourite podcasts come in.
To research chapter lengths, I asked friends and family about their reading habits. Most people I spoke with use chapters as natural stopping points; few like to stop reading halfway through one. However, they generally agreed on one thing—they don’t enjoy overly long chapters. I’ve found that reading a chapter out loud is the best way to judge its length. This is where my daughter comes in. Often, I’ll have her read a chapter to me once it’s complete. Hearing someone else narrate your story back to you is invaluable, not only for how long it takes them but for hearing it from a fresh perspective. I aim for around twenty minutes per chapter, though there are shorter and longer ones, too.
Listening to someone read my work also helps me catch issues I’d otherwise miss. When I read from my computer screen, I become ‘word-blind.’ Just like your nose tunes out bad smells over time, your eyes can do the same with spelling mistakes and typos. Having Samantha read my work lets me experience the story as a listener, and I hope to be so absorbed that I forget everything around me. If the story flows, this happens naturally, but if it doesn’t—oh dear—it’s painfully clear.
Repetition is another thing to watch out for. I don’t know about you, but I tend to use the same words in my day-to-day speech, even when better options exist. In writing, this can sound dull and unimaginative. When someone else reads it back, you notice it more. Here’s a tip: if I’m uncertain about a passage, I use Microsoft Word’s review feature to have it read aloud. The voice may sound robotic, but that’s the beauty of it. It reads exactly what you typed, and if there’s an error, it stands out like a sore thumb, making it hard to miss.
So, who is Maggie Grant? She’s just eighteen at the start of the book, though I’m not sure how much older she’ll be by the end—I haven’t written that far yet. If this novel succeeds, she may even have more adventures. Maggie’s character is interesting and layered. She has natural, deep red hair she hasn’t cut in years, reaching the base of her back—a nod to the big-hair trend of the early eighties.
My inspiration for Maggie came from various people I’ve known, but primarily my own daughter, Samantha, whose feisty personality shapes much of Maggie’s character (though I hope Sam doesn’t mirror all of Maggie’s behaviour!). Maggie also has some parts of her personality that aren’t so great. Ultimately she’s a complex personality and occasionally her darker side comes to the forefront.
Maggie is a non-conformist. She doesn’t pick arguments for the sake of it but won’t accept things at face value just because society expects her to. She has her quirks and, yes, a deviant side. I’ll leave you in suspense about that to avoid spoilers! Her alpha personality drives her to live life fully, though she’s careful not to hurt people she cares about. She’s clever, but at times her impulsiveness gets her into trouble.
Physically, Maggie is petite—five feet six inches, slim, with green, almost “witchy” eyes and a sprinkle of freckles on pale skin. Her fair complexion means she burns easily and never tans. She’s self-conscious about her figure, particularly her chest, a common enough insecurity.
In the early eighties, society was less inclined to label everyone, and people who didn’t fit in were simply “different”—a bit like Maggie. She’s feminine yet passionate about cars, especially her Triumph TR6 PI, a classic soft-top sports car that plays a recurring role in the story.
As I’ve alluded to, I’m not great with sophisticated technology, and setting my novel in the 1980s has helped me immensely with this. It was a time before mobile phones; most people had a landline, but you didn’t use it much—certainly not before six o’clock if you could help it. This setup brings unique challenges, though. If a character wants to talk to someone, they can’t just send a text—they have to make a call or go see them in person. Similarly, unless they experience an event firsthand, they won’t know the details until someone tells them. There’s no Facebook or Instagram to fill in the gaps.
Throughout the book, Maggie experiences a whirlwind of events, from romance and passion to emotionally taxing situations. Though small in stature, she’s physically capable thanks to her dad, who runs a karate school. Don’t worry, though—it’s not all martial arts action. Maggie draws on her training when she needs to but is no action hero. She’s a firecracker in her own way.
At this point, I have no idea how Maggie’s story will end. I do know she has plenty of surprises to face along the way—some of them quite huge! One thing’s for sure, though: as her journey unfolds, she gathers a loyal band of friends who will be there to support her when she needs it most.