Today, I wanted to do something a bit different and talk about my own writing—a topic I don't usually touch on. But here it is. 'Statue of a Woman' is the first project I’ve ever completed to a standard that makes me truly proud. I don’t often share my writing process or journey, so I thought it would be a challenge to create a post about something personal and meaningful. I won’t go into too much detail about the book itself, as I’m still in the middle of revisions and haven’t tackled the third draft yet. But I do want to share a bit about the journey of how I finished it, how long it took, and the ups and downs I faced along the way. It might feel a little uncomfortable for me to make this post, but here’s to trying new things. Let’s see how this goes!
About my book
This project is a Gothic historical family drama, with a queer romance subplot that’s a significant part of the story. The book is steeped in themes of tragedy, haunted house, ghosts, family issues, and unhealthy emotional attachments. I’m throwing out all these themes now because they’re easier to share than trying to sum up the actual premise of the book. It’s funny how, as authors, we can talk in depth about what our stories mean, but when it comes to explaining what actually happens in them, we tend to go a little silent. So, I guess I’m staying true to that stereotype!
I could, however, share the opening quotes. The dedication is for my grandfather, and it reads: “You’re still wherever I go, in the smell of sandalwood and the light of every early dawn.” As for the opening quote, I decided to go with something original that just came to me—it felt fitting and encapsulated the book’s themes perfectly. It reads: “The dead stay with us, a great gift in some cases, but quite a nasty surprise in others.” The story deals with ghosts and hauntings, but also the haunting nature of the living and the burdens they leave behind.
The manuscript is a bit of a beast, clocking in at 97,000 words. While that’s decent, beta readers gave feedback earlier this year that made it clear I needed to add more context in certain areas. Their main consensus was that they wanted more—more depth in the subplots and richer descriptions. Descriptions aren’t my strong suit; I focus more on internal monologues and dialogue. But the feedback showed I had some inconsistencies. For instance, I went into great detail about the groundskeeper’s cottage, which was vivid and almost came to life on the page, but the haunted manor itself? Not so much. I left that big, imposing house to readers’ imaginations, assuming they’d know it was large and eerie without more specifics. That’s definitely something I’ll be working on in the third revision.
Speaking of which, I’m taking this manuscript with me on my road trip with my dad—an adventure through Europe, starting with Croatia, where I’m from. I'll be visiting family and drawing inspiration for the story, which is very much centered around familial ties. Maybe I’ll even create a vlog about the third revision process and how the trip goes in general.
The Journey Behind the Book
To give you a sense of the journey with this project, I started writing it in September 2022 when I began my Master’s program in Creative Writing at Edinburgh Napier. I wrapped up the first draft in October or November of the following year and then spent February of this year doing a full second revision. I sent it out to beta readers after that, but since then, I haven’t really looked at it. I kept telling myself I couldn't start the third revision until my best friend read it, but honestly? I was just procrastinating.
It’s surprising how quickly I managed to write this book, given everything else going on. At the time, I was juggling my Master's degree, running a full-time business, and handling a dozen clients each month—it was hectic. Despite that, I managed to write consistently, averaging about 5,000 to 10,000 words a month. I think the secret was that being busy actually helped me stay productive. Now that I’ve intentionally slowed down my schedule, I’m writing far less. It's like a paradox: when I'm at my busiest, I write more; when I have more free time, the writing slows down. It reminds me of that saying, “action breeds more action.” When you have less time, you’re more likely to get things done because there’s no room for delay or procrastination.
The main inspiration behind this project? Mike Flanagan. If you know his work, you'll know why he’s such a big influence for me. He’s the mastermind behind The Haunting of Hill House, The Haunting of Bly Manor, Midnight Mass, The Midnight Club, and Gerald’s Game—just to name a few. His stories blend horror with deep themes of meaning, family, and emotion. Those are elements I resonate with, and they make up a big part of the book I was writing. If you’re into light horror that explores the complexities of human relationships, you might enjoy my story, too.
Another book that left a lasting impression on me was Rebecca by Daphne du Maurier. It was recommended by my university mentors, and I couldn’t put it down. The novel’s portrayal of the deceased Rebecca, whose presence is felt but never seen, inspired a character in my own book. Livy, the protagonist’s mother, is a figure who died before the story starts. Though she’s not physically present, her impact on the living is central to the plot. Like Rebecca, Livy is perceived differently by each character, adding layers of mystery and ambiguity.
Surprisingly, another book that influenced me was I'm Glad My Mom Died by Jennette McCurdy. I picked it up as a break from all the gothic horror I was consuming and, ironically, it turned out to be invaluable. I had watched iCarly as a kid and was curious about McCurdy’s story. While it may seem an odd source of inspiration, the book offered profound insight into the complex emotions that come with having an abusive mother and losing her. This helped me portray similar themes in my book, even if my story’s circumstances differ.
Here’s a tip for any writers out there: read as widely as you can while you write. Of course, it’s great to read in your genre to immerse yourself in its vibes and understand its tropes. But don’t limit yourself. The inspiration for your writing can come from unexpected places. I hate when I see writers say they don’t read because they don’t want anything to influence their vision. We’re influenced by everything—TV, movies, social media, even TikTok. So, make it a conscious choice. Choose what you read and what you allow to inspire you.
Where It Started vs. Now
I also wanted to talk a bit about where this project began and where it stands now, because that evolution has been one of the most interesting parts of this journey for me. It all started with a song—Taylor Swift’s Right Where You Left Me. The song’s imagery and atmosphere were so vivid and haunting that it sparked the initial concept for this project. I was captivated by the idea of a woman frozen in time, stuck in a moment and unable to move forward. That’s not at all what the story turned into, though, which is honestly fascinating to reflect on.
When I first started working on this, I had the intention of writing about the feeling of depression, how it feels to be stuck while life moves on around you. But as I kept working, it shifted in ways I never anticipated. It wasn’t until I worked with a mentor from my Master’s program at Edinburgh Napier that the story really started to come together and take shape. I can’t speak highly enough about that program—it was an incredible experience. The mentorship helped me refine my vague initial concept, which felt very surface-level and unformed, into something much deeper and more nuanced.
The idea shifted from simply exploring depression to addressing something that felt more specific and meaningful to me: the grudges we hold and how they affect our lives, the people around us, and the paths we choose. It was a process of realizing that while the initial spark had been about personal emotional stagnation, the story I was really writing was about the impact of unresolved conflict and the way holding onto the past can shape the future. The book transformed from an exploration of melancholy into a layered story about family, perception, and how the things we can't let go of can haunt us just as much as any ghost.
That journey from the seed of an idea to the story it became has been one of the most fulfilling parts of writing this book. It's amazing to see how something that started as a simple, somewhat abstract concept evolved into something so much richer. It’s those unexpected turns and revelations that make the process worth it, and now I’m left with a story I’m proud of, and one that I love even more than I did when I started.
The Lessons I've Learned
If there’s one thing I hope you take away from this journey, it’s that it’s perfectly okay not to know exactly where your idea is going until you’re deep into the writing process. For me, this was an important lesson as a writer: you don’t need a fully mapped-out plan to start writing. You can dive in and discover the story as you go. While it did take time, the more I wrote and put words down on the page, the clearer my vision for the book became. It’s a gradual process, but it’s one that can lead to surprising revelations and meaningful growth.
One major realization I had while writing this book is that writing is only as difficult as you make it out to be. There were many times I convinced myself that picking up my project would be impossible, that starting a new chapter would be the most challenging thing I’d ever do. But once I actually began writing, it always became easier than I anticipated. This taught me that sometimes the hardest part is just getting started. Writing is often more manageable when you’re in the act of doing it.
Completing this project was a huge milestone for me, as it was the first book I was able to finish from start to finish and say, “Yes, draft one is done.” That sense of accomplishment made future writing feel more attainable and less intimidating. I think once you reach that point, the process becomes a bit less daunting, and you gain confidence in your ability to finish what you start.
Of course, one thing I learned is that you can’t fully understand these lessons just by hearing or reading about them. You need to experience them firsthand. The best way to learn about writing, or to absorb any writing advice, is simply to write. Apply the techniques, explore the methods, and see what works for you. Writing is an experiential practice, and you can’t really grasp its nuances until you sit down and do it.
Now, if you’re curious about reading this book, I know I haven’t revealed too much about it so far, but I’d like to share a bit more. There are no murder mysteries in it, but there is a sweet, wholesome queer romance that I’m especially proud of. It’s not overly gory, making it suitable for a younger audience. My beta readers, including younger ones, gave me positive feedback on that aspect. The story follows a 13-year-old protagonist and a secondary main character who is around 35 years old. This mix brings a multi-generational, family-oriented vibe that I think adds depth to the narrative.
Overall, while the project leans towards darker themes, it is still safe for younger readers, and I’m excited for those who might find themselves drawn into this story.
How I Wrote My Last Chapter
One last thing I want to share is the story of how I wrote the very last chapter of my book. It was around 3:00 in the morning, and yes, it was one of those dark and stormy nights—I’m not exaggerating. This was in November 2023, and I knew that tonight was the night I’d finish this project. I sat down with the intent of starting the last chapter and convinced myself it was going to end in a certain way—a bittersweet, maybe even happy ending. But as I wrote, I began to feel a shift. The longer I wrote, the more anxious I became. My body knew before my mind did that this wasn't the ending I had planned. I was shivering and sweating, and the decision loomed in front of me: would I dare to write it the way it was emerging?
Almost instinctively, I considered changing it to something safer, something that felt more comfortable. Luckily, my best friend Kai was online at an ungodly hour and I confided in him, asking if I should go through with it. He assured me, “Yes, it has to end that way. Don’t take the easy, happy ending option.” His encouragement pushed me to listen to that gut feeling, that deeper, instinctive part of me that knew how the story should finish. I even convinced myself I’d write two alternate endings just to test it out, but once I started writing the true ending, there was no turning back. I knew it was right, and that realization came as naturally as breathing.
For any discovery writers out there or anyone who’s ever felt a tug toward an unexpected, risky narrative turn, I challenge you to follow it. Don’t be afraid to go there, even if it feels daunting or strange. Trusting your instincts, your subconscious, can lead to powerful storytelling. From my experience—and from working with books I’ve edited—I know that stories often become more impactful when we let ourselves be swept away by the unexpected.
One of the most important lessons I learned through this project was how much your brain is working for you, even when you don’t realize it. I believe that ending was always there, buried within my mind, and it was my brain’s way of protecting me by disguising it as a safer option. But when I pushed past that, the true ending revealed itself. It was a moment that taught me just how crucial it is to listen to your inner voice and be open to the path your story wants to take. Writing this chapter reinforced the importance of flexibility in storytelling and showed me that sometimes the best ideas are the ones that take you by surprise.
Char Anna
Char is the author of the writing guide ‘Finish Your First Novel’ and the founder of The Plottery. She’s been in the biz since 2021, and holds a BA in Film & Screenwriting as well as an MA in Creative Writing from Edinburgh Napier University.
Char resides in rainy Scotland with her pup Lavender (who is anything but calm, contrary to what her name suggests), and she writes darker fiction that focuses on unusual family dynamics and lots of queerness.
