The Writing of Varjak Paw

This piece was written for the British Library's Discovering Children's Books website, and will hopefully be viewable there again soon.  

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I started writing Varjak Paw in January 1997, inspired by watching my own cat's adventures as he went out into the world for the first time.  Every time I begin a new book, I make a deal with myself: no-one else will ever see my first draft.  That way, I can be completely unselfconscious, safe in the knowledge that however bad it is, only I will ever know!  This is a vital part of my working process, so the earliest document I can share is the 2nd draft of Varjak Paw.  

2nd Draft

This is the first page of the 2nd draft, written in February 1997.  I always write by hand on early drafts, as I find it flows better that way.  At this stage, I imagined an opening in which Varjak climbs a curtain at home.  The only thing that remains from this scene in the published book is a reference on page 35: "even Varjak, who could sometimes make it half way up a curtain before Mother or Father shouted him down."  But some of the description found its way into the scene of Varjak climbing the wall in Chapter Five, which is the pivotal scene of the book.  So although this opening was deleted, the work wasn't wasted; it was all part of the process.  

8th Draft

As other parts of the book developed, the opening remained focused on curtain-climbing until the 8th draft, which was the first one I sent to publishers and agents.  This is the first page of that draft, which dates from late 1997.  By this stage, I was writing the book on my computer as a Word document, which I would then read through and edit on printouts.  

9th Draft

Varjak Paw was rejected by every publisher and agent I sent it to.  However, an agent gave me some very useful feedback on the 8th draft, as a result of which I rethought it, and went back to hand-writing the 9th draft as if it was the first draft all over again, to free myself to reconceive it.  This is the first page of that draft, written in March 1998.  It's a total mess, but this is the first version where you can glimpse the outlines of the opening as it ended up in the published book, so it was a crucial draft.

11th Draft

After three drafts of rebuilding the book from the ground up, I felt confident enough to send it out again.  This is the first page of the 11th draft, which dates from Autumn 1998.  It was another crucial one, because this was the draft that was read by my agent, Celia Catchpole, who took it on and showed it to my publisher and editor, David Fickling.  It was on the basis of this draft that he offered to publish Varjak Paw, while making it clear that he thought it could be improved.  Of course, he was right!

15th Draft

This is the opening of the 15th draft, written in July 2001.  David Fickling believes that you should keep working on a book for as long as it takes to make it as good as you possibly can.  So we had worked very hard on it, and it was getting closer to its final shape, now opening with Varjak's desire to go Outside.  But big things were still changing; it's interesting to see my note to myself to change 'Mum' and 'Dad' to 'Mother' and 'Father', establishing the tone of Varjak's life at home.  

16th Draft

Finally, in October 2001, I wrote a draft that opened with the Elder Paw telling a Jalal tale, as the published book does.  It had been a long, hard process of trial and error, and many things would still change on the 17th draft – but when I wrote the words "The Elder Paw was telling a story," I think I knew it would be hard for me to find a better opening for my book.  

Published

I continued to work on Varjak Paw until October 2002, bringing the total time I spent on it to almost 5 years.  The 17th draft was the last official draft, but it continued to change even after that, as it went through galleys and proofs, and as Dave McKean worked his magic on the text, transforming my Word document into the beautifully-illustrated book that was finally published in January 2003.  Everything had changed, yet the spark at the heart of the book remained the same: the adventures of a cat going out into the world for the first time.

Three Steps To Writing

Last year, I was asked to give some writing tips by the fantastic Little Star Writing.  You can read my original blog on their website, but I thought my readers might enjoy it too, so here it is!

I like to break writing down into three steps. The first step is HAVING AN IDEA. People often ask me how to get ideas. The truth is that we all have ideas, all the time. Just think of yourself as a reader rather than a writer – and then write the story you would most love to read yourself!

That's how I had the idea of writing Phoenix. I’ve always loved space stories. The stars have always filled me with a sense of wonder. I love the thought of other life; other worlds, out there in the universe… Yet there aren’t many books set in space for younger readers. So I had to sit down and write my own!

The second step is WRITING A DRAFT, in which you tell yourself the story you want to read. Do a bit of it every day, until you reach the end. But remember that no-one can write a great book in just one draft. I've never met a single writer who could do that; a book is too big and complicated. You need to build it over a number of drafts.

The way you do this is the third step: EDITING. Once you've written a draft, try to read it as if someone else had written it. Stop being the writer, and become the reader again. And then, as the reader, ask yourself all the questions you ask of every other story you read. What works? What doesn't? What should there be more of? And less of? Then go back to being the writer, and do everything you can to make it more like the story you want to read. Keep doing this, again and again, until it's the best version of the story you can possibly write.

To illustrate how much things can change in this process, I'm going to show you an early draft of Phoenix. First of all, for comparison, have a good look at the extract above. It's the opening of the final, published draft. Once you know it well, have a look at the opening of my early draft:

Can you see how much has changed? It's gone from first person to third person. From present tense to past. It's become a dream. The setting has completely changed. The only thing that's the same is a character gazing up at the stars. That's the heart of it; but everything around it is different!

That process took me 13 drafts. It was long and hard – but it was worth it, because Phoenix is the book I wanted to read; a book that didn't exist before I wrote it. And you will feel the same about the stories that you write. So I'd like to wish you all happy writing, and happy reading – because in the end, the key to being a writer is really just being a reader!

Writing Tips #4: See Where The Strength Is

People sometimes ask me for writing tips, so I'm doing a series of them on this blog.  If you want to read the previous ones, they're here.  They talk about the process of getting an idea, and writing a first draft.  This one is about what happens after you've finished your first draft.

The important thing now is to get distance on your story.  Take some time away from it, until you can read it as if someone else had written it.  Stop being the writer, and become the reader.  And then, as the reader, ask yourself all the questions you ask of every other book you read.  What works?  What doesn't?  What should there be more of?  And less of?  Once you can answer these questions, you'll know what to do on the second draft.  You become the writer again, and do everything you can to make it more like the book you want to read.

This process has been beautifully described by Marilynne Robinson, author of Housekeeping, Gilead, Home and Lila, who teaches creative writing at the University Of Iowa.  She discussed it in The Paris Review Interviews Vol. IV, and I like what she says so much that I'm going to quote it in full:

INTERVIEWER

What is the most important thing you try to teach your students? 

ROBINSON

I try to make writers actually see what they have written, where the strength is. Usually in fiction there's something that leaps out – an image or a moment that is strong enough to center the story. If they can see it, they can exploit it, enhance it, and build a fiction that is subtle and new. I don't try to teach technique, because frankly most technical problems go away when a writer realizes where the life of a story lies. I don't see any reason in fine-tuning something that's essentially not going anywhere anyway.  What they have to do first is interact in a serious way with what they're putting on a page. When people are fully engaged with what they're writing, a striking change occurs, a discipline of language and imagination.

Writing Tips #3: The Secret Of The First Draft

So here's the third tip I would give any writer (if you want to know the first two, they're here).

On a first draft, give yourself a daily minimum word count: something you can easily do.  The amount will be different for everyone, but I usually aim for 4 sides of A4 – 1,000 words.  If I feel like doing more, that's fine, but it doesn't mean I can do less tomorrow; I have to do at least 4 sides a day.  While I'm doing this, I don't look back or edit or even wonder if what I'm writing is any good.  I just write 4 sides a day, every day, picking up where I left off yesterday, always moving the story forwards.  

Every time I stick to this, within a couple of months, an amazing amount of writing has somehow happened.  That's how I wrote the first drafts of Varjak Paw and Phoenix, and that's the secret of how to do a first draft.  Don't judge it, don't worry about it: just get those words down on the page, whatever they are.  Momentum is everything.  If you try to edit while you're writing a first draft, chances are you'll never finish it.  But keep moving forwards, and you'll reach the end before you know it.  

Then it's time for the next draft... which I'll talk about in the next writing tip!

Writing Tips #2: Everyone Writes In Drafts

Here's the second tip that I would give any writer (if you want to know the first, it's here).

No-one can write a great book in one draft.  I've never met a single writer who could do that; a book is just too big and complicated.  You need to build it over a number of drafts.  Everyone does this differently – but believe me, everyone does it.

The best example I can think of is Jon Stallworthy's Between The Lines: WB Yeats's Poetry In The Making.  I found this in a second-hand bookshop, and it changed my life.  Stallworthy meticulously went through all of Yeats's discarded drafts, and reconstructed evidence of exactly how he'd written his poems.

Here's the finished text of my favourite Yeats poem, The Second Coming (click on the image to see it large):

Brilliant, isn't it?  Hard to imagine it could ever have been any other way.  But have a look at the first draft:

"The germans are now to Russia come"???  And look at this – several drafts later:

"The second Birth"?  Clearly, he didn't even know what the poem was going to be called, well into writing it!  Even very near the end, he was circling around the incredible final image that now seems so inevitable – developing it through sheer bloody-minded trial and error:

When I read this, I realised that even someone I thought of as a genius had to build their work layer by layer, draft by draft.  No-one just sits down and has perfect work pour out of them.  And if this is true of a poem, how much more true must it be of a novel?

Writing Tips #1: Finding Your Story

People often ask me for writing advice. So I'm doing a series of posts here, where I'll be giving my own tips, and collecting some favourites that have inspired me.

I'm beginning with my all-time favourite piece of writing advice. I like it so much, I have it pinned up on the wall of my study.  It was written by JD Salinger, in his novella Seymour: an Introduction.

"If only you'd remember before ever you sit down to write that you've been a reader long before you were ever a writer. You simply fix that fact in your mind, then sit very still and ask yourself, as a reader, what piece of writing in all the world would you most want to read if you had your heart's choice? The next step is terrible, but so simple I can hardly believe it as I write it. You just sit down shamelessly and write the thing yourself."