What I Learned from Writing TRR

Every book is a learning experience. This is something I have been trying to drill into my college students’ heads while teaching my novel writing class this semester. No two projects are the same, and every book teaches you new things. Some more than others. The Reanimator’s Remains (TRM #3) is one of those books where I felt like I stretched myself and came out the other side a better writer. This isn’t a blog patting myself on the back. It’s more so a postmortem on what I think I did right this time.

The Reanimator’s Remains is the third book in the Reanimator Mysteries series, so I was working with characters I had already worked with twice before. This is important because I think being able to grow as a writer can be dependent upon being comfortable in other areas of the book. Knowing who Oliver, Gwen, and Felipe are and being very confident in portraying them made it much easier to step out of my comfort zone when it came to plot level intricacies. I had never really written a plot (or subplot) that relied upon flashbacks. As a creative writing teacher, I know these things can go badly fast. I was worried about how to sprinkle Felipe’s memories into the story in a way that a) feels natural b) doesn’t break up the action too much c) is useful to the story/his characterization. Felipe is a character who holds his cards close to his chest, so the chance of him spilling all of his traumatic backstory to Oliver was slim to none. Ultimately, I decided the best way to deal with this was through dreams (which can be risky in their own way), but the dreams end up tied into the overarching plot of the story, not due to Felipe’s memories per se but something else. Each dream ended with Felipe waking up in a way that scared and/or disoriented him, which helped to keep the tension from dipping after. I think the big thing about feeling like you leveled up your writing is that you’re just more aware of all the moving parts and how they link together. Instead of dropping them, I have been focused on how can one feed another.

The other thing with this book that I think made it a little better than my previous stories is that I leaned into the things my writers like or have told me I’m good at, which comes down to rich descriptions and crying men. I don’t like drama for the sake of drama in books, which is why I hate third act break-ups in romance novels. With this book, we have two established main characters who love each other very much. They are each other’s main vulnerability, and at this point we know their fears. Half of writing The Reanimator’s Remains was playing on Oliver and Felipe’s fears, especially the ones readers are already privy to. This sort of thing upped the ante when it came to the tension between the characters, and even if readers know things will end up all right, they are still feeding off the other character’s fear. My favorite thing to write is the third act mental breakdown (as opposed to a break-up) where one of the characters has to be exceedingly vulnerable and the other has to meet them where they are and accept them for the hot mess they are. It’s a level of emotional intimacy that just makes the romance so much deeper. This book also has a sex scene that isn’t a sex scene, but I won’t go too deep into that because I don’t want to go too much into spoiler land. All I will say is that sex scenes are about being naked and vulnerable, and the sex scene that isn’t a sex scene is all about letting someone else care for you when you struggle to let down your guard.

Something I feel awkward about sometimes is how I write descriptions. I love a lot of detail. My writing influences are very Victorian, which means I enjoy a useful, well-placed description rich in detail. Part of me worries my descriptions are boring or that modern audiences don’t like them, but I have to remind myself that my audience likes a beefy, evocative description. I actually had a reader tell me how much she loved the creepy cathedral in The Reanimator’s Heart, so in book 3, I was like f it, I’m writing a creepy forest, and you all are going to like it. So I went ass-deep into research about bogs, forests, etc. and let the freak fly when it came to my descriptions. I am a romantic goremonger by nature, so I leaned into it in this book with the Dysterwood, the dead people, and the [redacted] mentioned in the story.

As you become more comfortable with your style as a writer, you need to lean into the things that drew people to your work in the first place. Sometimes, you can go overboard, but for the most part, appealing to your readers by playing to your strengths is rarely a bad thing. Do what you do but better. Keep an eye on all of the spinning plates and figure out how to make your narrative work by having the pieces feed off each other rather than act as discrete, separate parts of the plot/construction. Most of all, never stop trying to get better at your craft and learning.