One Writer's Working Methods

PAUL GALLICO
 

(Z" If ^O USE the writing of a novel as an example (and other
I     forms of endeavour—short stories, articles, screen treat-

Ji mcnts, etc.—basically follow the same pattern) it naturally
begins with an idea and no one can tell anyone else where ideas
come from.

Once the idea is there it is examined for credibility, validity,
timeliness and value, with due attention to the inner push or the
desire or need to write it. Yet, speaking as a professional writer,
there are many things that one needs to write, or feels that one
wants to, but cannot afford to because one knows that nobody
would want to read it.

Once the idea is considered acceptable and workable it may be
followed by the preparation of a plot outline, followed by re¬
search or the research may come first, or both research and plot
development may go hand in hand. A good deal depends on the
story, where in some cases what you find during research may
either limit or expand your ideas, or cause you to change some
facets of your plt)t.

For me, research consists of visiting the location of the story if
possible, taking still and moving pictures on the spot for my back¬
grounds as well as tape recordings and making copious notes. Fur¬
ther research will consist of buying and reading technical books
having to do with the subject of the novel or «ith the profession
of any of the chatacters if I am not familiar \\-ith that profession.

Every novel I write is like an education in some aspect of mod¬
ern life and for each book I acquire a considerable library, such as,
for the Alexander Hero stories, some eighty books on various
aspects of spiritualism, stage magic, photography, psychical re¬
search, etc.; for Love, Let Me Not Hunger, books on the circus;

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