The first one I had written
it was about a part of my life, about real events, the
elements of fantasy were very few; with this one it was different, it was
totally fruit of my imagination. Written like this, from week to
week - with the terror of not being able to meet the delivery of the
aim for readers - without a plan, without a strategy, just improvisation.
I thought back to the salient facts and was pleased to see that they were all born for
case. I was reminded of the story Massaron said: the characters do that
they want, they don't care what the author has in mind. It seemed some sort
of witchcraft and instead he was right. I had tested myself by motivating mine
he lies to train so that he could create something of his own. And since in
extreme situations, I bring out the best to save the c ** o, I had come to
write about seventy episodes.
Not For Fashion Victim had allowed me to learn while keeping the
wonder of the reader. And now that I had to come up with an ending, I was thrilled.
On the ninth of January I come to the conclusion of the novel. I have it
written in three episodes, Giaco and Valeria have decided to read them all together.
I look at them again, one after the other, I check that there are no mistakes,
I take a deep breath and hit enter. The phone display shows that the
message was delivered.
Appearance. I look like you expect the outcome of a pregnancy test. I walk
back and forth around the room making an estimate of the time it can take
reading, to get an opinion, to receive a response.
A response that comes a little later.
Both are enthusiastic - but that was to be expected: I'm biased. Perhaps, for the
moment, the ending better remain secret. Now it's my turn to give a
judgement. I'll put all the bets together and try to blend them for
make the story more fluid. I will have to work a lot and since you can't
rely on rebellious and impossible to manage characters, I do not want
make advances.
After two weeks, I have a draft that looks good to me, I decide to
send it to my literary agent for a critic to read by
which to have an opinion. Waiting for an arbitrary response, I resume writing
the story of Eva and ten days later, I have two episodes ready. I decide to
launch the premiere on the following Monday: readers will be happy, but it's me a
cheer up a little less that same Monday, when I get the response
arbitrary. My agent emailed it to me. I'm sitting next to the
bed, the phone is attached to the socket. I open the document and in
silence, I start reading.
Even if you see written that 'the novel has great potential and many interesting ideas', the flaws - the ones that I myself had noticed - are now black and white, and have not been an oversight. I complimented myself too quickly. I thought I respected the psychology of the characters, however, in some places, I have the impression of having forced it. Even the credibility of the events narrated, which I previously considered good, now seems weak to me. I was good, but not good enough. Or maybe not.
I just conceived the novel in a different way: an episodic story is different from one destined to be read in one breath. If on the Facebook page I have always been the one to tell readers when to stop, with an entire novel they will decide it.
With a plan and behind the scenes, I know I can write a better story, and that's what I'm going to do.
For the sake of the narrative pace, there are episodes that I will have to give up. To compensate, I will invent others and give space to some characters who played a marginal role in the first version. The ending I have already written may also change.
A film is different from a fiction: it's time to go on stage, to work hard, to write a new story, but not just any one: it's Melissa we're talking about.
Illustration by Valeria Terranova
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