About a week ago, it began to thunderstorm in the middle of November…and it rained for three days. The storm—insignificant to many—took me back to when I was a preteen and first writing Bad Bloods. I recalled how much I enjoyed the overall storyline but struggled with the simple aspects of the novel, mainly the weather.
It seems silly, doesn’t it? Here I was, able to write a storyline in a made-up world with imagined characters, but I couldn’t figure out something as mundane as the weather patterns. In fact, one of the aspects I had to change in the rewrite was the moon cycle, which ended up being a lot more complicated than I ever predicted. (Mainly because the moon plays a significant role in the book.) But we’ll get to that issue in a minute.
A little background on my yet-to-be-released two-part series: Bad Bloods takes place in November of 2089. So, literally, the entire story happens in 30 days. The original version only happened between November 1 to November 27—because I wasn’t the best at pacing yet—and this created an interesting conundrum when I went back to rewrite it. The two main problems? I wanted the story to happen from November 1 to November 30, and I wanted the full moon to happen on the exact date it will happen in the future year of 2089. The original version was off, but the original version had a lot to tell me. And while I think many writers look at this example as pretty extreme—considering the decade that passed between the original and the rewrite—I think we can look at this lesson of mine as an example of a writer’s first draft going into the initial editing stages. There’s a lot to do. And some of it can be overwhelming. (As an extra, you can check out a map of the calendar to show just how much changed from the first version to the second version. Blue stands for Daniel’s POV and pink stands for Serena’s POV. I even included the new split between November Rain, part one, and November Snow, part two. The new one will now be on the Extras page instead of the old one.)
When I was eleven and first writing it, I knew I wanted nature to play a significant role, but I didn’t want to be a cliché. I didn’t want it to rain when characters were crying, and I didn’t want it to thunderstorm when something bad was about to happen or when someone was angry. It sounds simple enough, but it’s very tempting to allow the weather to foreshadow the characters when you’re trying to make it important. But I wanted it to be symbolic on its own, like an addition to the antagonist being the city rather than one political leader. The question was how to go about it.
I didn’t have a clue, and I remembered being very frustrated as I tried different things over and over. I even recall talking to my dad about how I couldn’t get the weather to feel natural. And that’s when he pointed something out that is so simple I couldn’t believe it never occurred to me
Why not just use natural weather?
So, I did. (Thanks, Dad.)
That year, when November rolled around, I recorded exactly what happened, and I went through the book and added it in. Amazingly, it worked out perfectly, and nature gave me the perfect symbol without me having to force it. This is also why the full moon was on a different date in the original than it should’ve been. Even though the moon has now been changed in the rewrite, the weather has remained the same.
This wasn’t an easy task in the rewrite—keeping many elements while changing others—but it is a delight to know that my answers were, quite literally, right outside my window.