Lizzie Borden, process, Uncategorized
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Beginning and Developing a Scene: See What I Have Done

First attempts at your novel are almost never right. The second and third attempt doesn’t fair much better but it gets closer. Everyone has false starts but the point is to write those false starts one word after the other and build on that,  see what you can make of it. You can’t be proud of something if you never write it in the first place. You also can’t be proud of it if you don’t revise or reimagine. At least, this is how I feel. But beginning’s are daunting. Every time  I start something new I have the same feelings and thoughts: I panic I won’t finish it, I fear the ugly work that will come, I worry I won’t get better as a writer, and there’s always little voice that tells me ‘You’re not good at this. Give up now. You’ve nothing to offer.’ I both dread and embrace the beginning of a new project.

But then I start. I’m very stubborn. I hate being told I can’t do something (especially when it’s me telling myself!) So I wrestle with the slumps, am overjoyed when it goes well. Then I get ready for the drafts (these have their own set of feelings but no need to go into that). I tell myself: I love these characters so much that I’m prepared to do almost anything to get their story down. I’ll rewrite and rewrite until I mentally can’t do it anymore. And sometimes that little voice will crawl into me again. But I persist. 

I have lost count of the drafts I wrote for See What I Have Done. Over the eleven years it took me to write the book I know there would have been at least twelve drafts (more. I know there was more). Some drafts changed dramatically, while others very little, perhaps only a narrator’s storyline was drafted, perhaps the draft concentrated in building the mood of the manuscript. In hindsight I know I wrote this book in the worst possible way. But living, learning.

I was terrified and overwhelmed when I began writing Bridget as a narrator into the novel (she was once a peripheral character. Now she’s probably my favourite part of the book). Want to see me at my most vulnerable on the page? Here are some Bridget excerpts from various stages of drafting, right to the finished page. Much of what I wrote never made it into the manuscript that was submitted to publishers, let alone the final version of the book. But writing passage after passage of false starts helped me shape the character and allowed me to strategise how I would use Bridget in the book. 
The very first day:




As you can see, it’s not particularly interesting, not even particularly good writing but each day I sat down with Bridget, her voice shifted into her own and I started getting a better sense of how she might have felt about the Bordens and what she might know about the family, the secret things.

Eventually I began writing actual scenes. Here is the first attempt to write the ‘winter lock in’ that eventually made it into the final version:



I worked this draft a few times. When the manuscript went out to publishers, this is what the scene looked like:



Once I sold the manuscript I went through a whole year of edits and a bit more rewriting. This is what that fragment of the scene looks like in the uncorrected proof version:



Could I have kept going, kept revising and reimagining? I’m sure I could’ve. I’m sure some readers out there will think I shouldv’e scrapped the whole thing. Maybe maybe not. But this is what the book is. I’m taking what I learnt about See What I Have Done and using that knowledge for my second novel, discovering what type of writer I’ve become, where I might go next. 

This entry was posted in: Lizzie Borden, process, Uncategorized

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writer, observer, reader, procrastinator. My debut novel, See What I Have Done, published by Hachette (ANZ), Tinder Press (UK), Grove Atlantic (US), Piper Verlag (German), Editions Payot & Rivages (French), Hollands Diep (Dutch), Edizioni Piemme (Italian), GW Foksal (Polish), Palto Publishing (Turkish), MunhakDongne (Korean) SEE WHAT I HAVE DONE (Awards and Some Praise) WINNER OF THE ABIA LITERARY FICTION OF THE YEAR 2018 WINNER OF THE MUD LITERARY AWARD 2018 Longlisted for the Women's Prize for Fiction 2018 Shortlisted for the Indie Book Award for Debut Fiction 2018 Shortlisted for the Strand Critics Awards for Best First Novel Longlisted for the ABIA Matt Richell Award for New Writers 2018 For the originality of its voice and the power of its language and imagery, See What I Have Done deserves to be considered a Gothic classic - THE SATURDAY PAPER See What I Have Done is a meticulously researched and boldly imagined book that crackles with tension throughout. Schmidt's portrayal of Lizzie is haunting and complex, a deeply psychological portrait that forces the reader to question their preconceptions about what women are capable of - for better and worse. Both disturbing and gripping, it is an outstanding debut novel about love, death and the lifelong repercussions of unresolved grief. - The Observer Schmidt is a consummate storyteller whose account of the Borden murders is utterly compelling. - Australian Book Review Schmidt's writing is rich and confident, painting a vivid portrait of a household with something rotten at its core. It's a strong debut that promises much from an original and compelling new voice in Australian literature. - The Guardian There are books about murder and there are books about imploding families; this is the rare novel that seamlessly weaves the two together, asking as many questions as it answers. - Kirkus Reviews [An] unforgettable debut ... Equally compelling as a whodunit, 'whydunit,' and historical novel. - Publishers Weekly Heralds the arrival of a major new talent ... Nail-biting horror mixes with a quiet, unforgettable power to create a novel readers will stay up all night finishing. - Booklist This novel is like a crazy murdery fever dream, swirling around the day of the murders. Schmidt has written not just a tale of a crime, but a novel of the senses. There is hardly a sentence that goes by without mention of some sensation, whether it’s a smell or a sound or a taste, and it is this complete saturation of the senses that enables the novel to soak into your brain and envelope you in creepy uncomfortableness. It’s a fabulous, unsettling book. —Book Riot Eerie and compelling, Sarah Schmidt breathes such life into the terrible, twisted tale of Lizzie Borden and her family, she makes it impossible to look away. —Paula Hawkins, author of The Girl on the Train

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