Before I wrote She’s on First, I had only two college courses on writing: nothing like the richness of fiction writing courses offered today. I had no fiction-writing workshops, either. As I tell students when I teach novel-writing workshops, it’s possible to write a novel without having taken courses in novel-writing.
But I was guided by two factors, the first of which is that by the time I was in my early 30s I had read approximately 3,000 novels of all kinds, from the greatest literature (Virgil, Dickens, Austen, Twain, Faulkner, etc.) to the lowliest pulp (mystery and adventure novels that are better left unnamed). For at least two decades I usually read three novels a week.
If you want to write fiction, then reading fiction is paramount to your training. By the time you’ve read 500 or more novels, you will have absorbed patterns, even though you may not be able to name these patterns. This knowledge will help guide you through the construction of your own novel.
The other factor that guided me through the writing of my first novel was that after I knew I was ready to write a novel, but before I actually started to write it, I walked to the local library and began taking out books on how to write the novel. This was in the early 1980s, and even back then the library had close to 40 books on the single topic of writing a novel. I spent days in the stacks, taking notes. I probably spent three or four months reading and studying the how-to-write-a-novel books.
One of the how-to books I read back then explained how to write a book in 365 days, so that became my goal (though I didn’t make it — more about that later). Today I’m amused at how much “more” is expected of beginning writers: several recent how-to books promise to show you how to write a novel in 30 days!
In addition to reading 40 or so books on how to write a novel, I also read at least that number of baseball books and baseball instruction manuals (how to play each position, where the cutoff man goes on a particular play, and so on). I paid particular attention to how baseball players think and talk: the way they see the world, as evidenced by what they say when they (or ghostwriters) write a book.
Another thing I did was research women in sports. I was interested in a woman playing on what is perceived of as a “men’s team,” but there was no literature relating to this situation. I do remember reading everything I could about Billie Jean King and her match with Bobby Riggs, even though tennis is not a team sport like baseball is. And I also read whatever I could about female sports reporters: what situations they faced in simply trying to do their jobs. What these reporters faced seemed most like what Linda Sunshine (my story’s hero) would face, and I got many of my ideas from reading about the reporters.
One of the pieces of advice many how-to-write-a-novel books give is that you should have both the beginning and the ending firmly in mind before you begin writing. The “middle” (usually 80-90% of the book) is something you can outline before you begin to write, or something you can invent as you go along.
In grade school I learned how to outline using Roman numerals as well as capital- and lower-case letters. But I was not thrilled with the idea of outlining my novel in this manner. This process seemed so t-e-d-i-o-u-s. But I did understand the need for “an outline,” as opposed to “outlining,” and so I created a quick, scrawled outline for She’s on First. Taking three sheets of blank paper, I divided each into thirds horizontally. This gave me nine horizontal sections, and I numbered them 1-9, for the nine chapters.
Then, in the horizontal spaces, I jotted thoughts for each chapter. Basically, these scrawled notes were about the events and conflicts in each chapter, the POV character in each chapter, and the forward movement of the baseball season. I felt comfortable with this non-outline and referred to it often while writing the book.
Because I was working a full-time job while attempting to write my first novel, I had to really discipline myself to work on the manuscript every single day. I hoped that if I could write a page a day, I would have a 365-page book within the space of a year.
On most work days I managed to write half a page to a full page after dinner each night. Then, while driving to work the next morning, I would think about what came next — either a continuation of the scene or summary I had been working on, or something new.
Unfortunately, when I reached the middle of She’s on First I encountered a major block: my plot required one of the characters to die. This upset me so much that I didn’t write anything for five full months — which meant that I did not finish my first novel within a year, as I had planned.
You may be relieved (or perhaps frightened) to know that since that first experience I’ve become more callous, killing off characters left and right without regret.
During those five months when I was avoiding working on She’s on First, I attended novel-writing workshops. What stands out most vividly for me is that in every workshop I took, there were dozens of writers who had one, two, or three unfinished novels in their files.
I most decidedly did not want to be a writer who had an unfinished novel in her files — I wanted to be a writer who accomplished what she set out to do. And so, after three or four such workshops, I went back to work, armed less with knowledge of how to write a novel than with a burning desire to finish the novel I had started to write.
This experience, coupled with my love of baseball, is probably one of the reasons I autograph so many books with the phrase, “Bring the runner home.”
You can read the first chapter of She’s on First here.