Writing versus editing

The other day I remarked on Facebook on the progress I'd made with edits on my first manuscript. I wrote this manuscript in high school and rewrote it seven or eight times in my twenties. I had to, I had no life experience and every time I learned something I saw a new nuance of how life worked that I had to share with my characters. Some people often lament not having caught their writing bug early in life, that they wasted too much time on other things. I remind them that it's hard to be a writer when your so naive regarding the human condition.

Plenty of friends have remarked that I have spent too much time on this project, but I enjoy it, and thus far it has yielded a series of three manuscripts. Now if it makes me happy to work on that series, even when I could do something else... Well, it's my compulsion, my hobby and I do have other ideas and projects kicking around.

They just never have the same pull. These folks are my first born, and as with real-life parenting, I have a learning curve. I have made mistakes, and I can either ignore them and move forward or try to rectify them. Plenty of people move on. Me, I want to fix them. It would hurt too much to know I had it in my power to change something and I didn't.

That said... Another author friend mentioned to me that she loves editing. That got me thinking. I love editing too or I wouldn't do it year in and year out. Do I love it more than writing?

Ooooooo....

Writing is emotional, messy, surprising and frustrating. Even if you plot, you learn things as you go. You cry. You laugh. You shake. You hit walls and climb them. You know what's going to happen and you don't. You know these people and then you find out that you don't.

Editing allows you to take all that mixed up stuff from the writing process and sort it, refine it and polish it. You get this high that says, "Yeah! This will work." And it's different from that writing high, because the writing high is very similar to a mother with a newborn baby-- all mothers think their babies are beautiful, whether they have conehead, cradle cap or look like a froggy old man. You need to step back and let that baby grow into its skin.

I love them both. I feel more control in the editing process, but I love the emotional roller coaster of dumping words on the page for the first time.

Editing, editing, editing

Perhaps this is a message of hope. Perhaps it's a warning that if you're considering the writing life, then have your heart and mind prepared for the frustrations and thrills of trying to tame the written word.

I revealed my first two chapters to a friend, fellow writer and former critique group member (she's moved out of the area, we did not throw her out). I needed someone to read them, not for a line by line critique but just a general "does it work" idea and to reassure myself that I hadn't edited the manuscript into a mess that no longer made sense.

These are legitimate questions/fears.

She liked them. She had read a recent version of the manuscript a couple years ago and thought the antagonist's motives more clear and his character more believable.

These are the same changes-- to the mythical structure of my supernatural universe-- that I labored over a month ago trying to decide whether these changes would be for THIS series or a book in the future.

A writer has to listen to his/her heart, because those lingering doubts of "what if" would haunt him/her every time a rejection comes in. Maybe I waste too much time writing and editing, but if I as a person am always changing, my manuscripts must change too.

One of the first things you learn in journalism is to save everything you write and to go through it once a year and throw it all in the trash except for maybe your five favorite pieces. You grow so quickly under the routine of professional writing that those early pieces look like garbage. In hindsight, they are embarrassing.

Fiction has similar growth. Whether it be the bad poems an author wrote in high school or a first manuscript, eventually we look back and see the faults. But since I'm not published yet, I can improve these early words and make them something I'm still proud of. I'm okay with that.

September around the corner

Note the generic headline. That means I have nothing on my mind and no idea what the heck I'm doing or writing about. Scary, eh? Blogging for blogging's sake.

School started for me and my daughter yesterday, which means I can expect my free time to either disappear thanks to economics homework or reappear since child heads to school each day. It's too soon to tell.

I have been tweeting more than usual these days, as some old friends have made some new use of the tool and somehow sucked me into it also. That's okay. I guess.

Between my iron deficiency, my child, my work schedule and my volunteer schedule, my writing time has been slim. But I've steadily been reworking the mythology of the novel I've been shopping to agents, Manipulations, book one of my Fashion and Fiends series. The more I work on it, the more I wonder if the friend who suggested to me marketing them out of order might be right.

Books two (Courting Apparitions) and three (Absolution) are definitely more exciting than book one, and since book three transitions one of the protagonists into the antagonist, I can't help but wonder if I should market book three first and leave books one and two for the story of how this all came to be...

Kind of like Star Wars.

That's lots of run-ons and fragments but... got my thoughts down.

Still editing

I have finished the editing for the first six chapters of the new mythic concept for Manipulations. The chapters are still going at a pace of about an hour a piece and I enjoy them. I've removed a lot of text, having deleted about 20 pages so far. That wasn't my intent, but it will be interesting to see what happens at the end. I will have room to add scenes if I need to. That could work well.

It's got me thinking about the difference between easy edits and laborious ones. I really believe that the easier the edits, the closer to "right" the story is.

Simplicity

I have a few free minutes and an internet signal so I thought I'd make a quick post.

I have edited the first two chapters of my first book, the one I usually shop around. A few weeks ago I thought I had a brilliant concept (and I still think it's clever and sharp) that would improve my villain. Galen has always had weak motivations. What I had in mind altered the entire universe, gave the universe a new mythology and the supernatural rules for my villain would change.

This meant massive rewrites of ever chapter in his POV.

I was willing to do that, but every time I tried I couldn't get the right zing. It required a new first chapter and nothing worked. Nothing had enough suspense and tension. And then I reversed the idea. I had the same idea, making one character a totally different creature, but not Galen.

Galen remains a witch.

His mate becomes something different. Something he is very jealous of.

And that jealous is a pivotal part of his motivation.

Minor edits to the first couple chapters have taken an hour each. This thrills me. It feels like I'm on the right track. I like this because every time I read the original text, I couldn't help but think, "I like this. I don't want to delete this."

My new revisions preserve the original story and its settings.

More on first lines

In my mind, I've been reworking some chapters in my first volume of my Fashion and Fiends series. Except the more I contemplate, the more I think I'm treading into rewrite territory instead of edit... Is this Galen's story (the villain from Manipulations and Courting Apparitions, the first two volumes in the series) or is it someone else's story?

The ideas I've found make Galen a better character, and I think he needs them unless I'm willing to relegate him to a less-than-my-best status and I don't think I am ready for that.

I opened my file and planned to read the text noting what edits would be necessary if I implemented my ideas. It became overwhelming quickly. So I started drafting potential new first chapters. And today, after six weeks of summer class and no real word gain on any of my personal projects, I wrote this line as my proposed new opening:

The sanctuary trembled on shockwaves of heat, rattling the century-old stained glass, as Galen flung his wooden staff toward his lover. 

Of course, I already want to change "lover" to "sister" and show them doing something naughty in the next sentence.

I suppose the moral of this blog remains to be seen, but I have to reiterate that you have to follow your instincts when you think something is wrong with the text.

Can I collapse now?

Yesterday I finished my current round of work on Courting Apparitions, the second volume in my Fashion and Fiends series that I am currently pitching to agents. Well, currently waiting to hear from one agent before I send the next batch of queries out.

I am exhausted, and I don't know whether it's the work-write-school-life balance is out-of-whack (potentially, school ends in TWO WEEKS. Next week is the last week of classes. Finals! Ack!)
 or that odd mental exhaustion that accompanies finishing a project.

Do you experience this? The sense of overwhelming relief and pride as you tie up loose ends and I the pleasure as you think about the good job you did... coupled with a smidge of grief that it's done, because it has been a focus. These feelings leave me tired and a tad lost feeling. It's the lost feeling that motivates most writers to undertake a new project.

I have to survive the school year first.

Tension

Donald Maass listed action scenes and sex scenes as scenes people skim. Part of this has to do with tension, and heightening the tension and pacing it. Part of it has to do with the expected nature of what unfolds.

I have a process for sex scenes. I write them, and about half way through I decide it stinks and I don't want to go on and I force myself to finish. Next, I read it and cut about 3/4 of the action out. Then I read it again and put other action and some thoughts back in. And usually a finally round of edits for ease of reading language.

But action. UGH.

Those are big battle scenes that we can't model quite so accurately off our real lives. I have sex, but I don't often slay villains or sacrifice young girls to pagan gods.

It's part imagination, part physics, and part creative editing so you don't provide every detail but enough to keep the reader informed and interested.

And lots of danger. I'm working on a big scene right now and there will be more on this when I finally get it right... because right now... it's not

Commitment

I'm making a renewed commitment to blogging. It's not easy with no internet access at home, but here is my pledge and my meager attempts.

At the Greater Lehigh Valley Writers Group The Write Stuff conference, several fellow writers and I had what could be termed as a brief conversation about process.

How do you write or edit when you haven't any time?

I've heard the stories of writing on napkins at traffic lights, and that it one legitimate (though unorganized) way. I propose three mindsets that can help take those random fifteen minute writing spots and turn them productive...

1. Have a hard copy of your manuscript. It's "old-fashioned" but it can help conquer some of the fractured mindset. This won't help with the writing process but it could jump-start your editing. If you're excited about edits but don't have a large block of time OR have large edits, I recommend the printed manuscript as a first step. Here's why: Before doing any big edits, you need to read the entire manuscript to make sure what you think is already there IS already there. And I don't care what anyone says. A manuscript reads differently in print than on screen. Not better, not worse, just differently.

If you make hand-edits, you can do them in bits and pieces because every time to open that manuscript your scribbles will make it obviously where you left off and what you were thinking. When we delete and add words on the computer, we don't have the benefit of always seeing the starting point. There's no delete on the page. Merely editing symbols.

When you have a big block of time, then you can go back and make all the changes you did by hand. And you will argue with yourself, just like you argue with critique partners, about which changes are warranted. In the end, this will have a strong impact on your edits.

2. Write in your head. Those of us who have worked (or are working) menial jobs have mastered the art of perfecting sentences or paragraphs in your head. Yes, a few words might be the only gain you make this way, but if you fill some of those down moments in the grocery line with playing with a sentence or two, you may find that the environment spurs unusual word choice or comparison. It's a good exercise in memory, especially if you can't write anything down. The best part is you have a starting point when you can sit down and write.

3. Have a plan. If you only have 15 minutes, don't waste too much time reading the last few paragraphs. Hopefully you have some "head-writing" to get you started and write a sentence or two. When you burn out the initial energy of what you had in your thoughts, pause, daydream and write your next immediate thought. This becomes the basis of your next bout of "head-writing" as you debate with yourself whether or not you like it...

Asking what could happen

I revised a chapter yesterday, and I'm really happy with the results. Twisted things around from the early drafts. I thought I knew exactly where the next chapter would go. Since I was on a hot streak, I went at it.

I hated the result within 1,000 words.

I need a better transition between the last chapter's action and POV character and the next chapter's shift in POV & theme. So, I keep asking myself: "What would this POV character do next? What would happen?"

Now, I'm a big believer in writing it out and seeing where it goes, but I've made no progress that I like.

I realized tonight that I need to list all the things that could happen, even if only a remote possibilty, and select an option from there.

The need for an editor

Writers must be readers. This is what teaches us voice and proficiency of language. It also helps with those grammar skills, especially if you chose something that challenges you. You have to read things that are a tad laborious, but nonetheless rewarding. These are the same skills we use in learning a foreign language. And, more often than not, it does not fix our problems but it does make us more aware of them. Sometimes, it's enough to trigger a little voice that says, "this is not right."

That's why we cannot rely on computer spell check and even worse, computer grammar check. I recently completed the first half of a client manuscript where my very talented client knows that she is a very abysmal speller. She also knows she cannot trust spell check.

Her fantasy manuscript is riddled with errors like being executed a "trader" for dealing in "fowl" magic. Yep, can't barter for chickens in this universe.

And today, "he is quiet cleaver, though none here knows how cleaver."

Ah, the work of an editor...

Off the cuff

I have fifteen minutes before I leave for class and I'm stuck here at the college library having finished some homework early and having no brain cells left for writing.

Last night, Étienne had his Spring 2011 ready-to-wear fashion show and I imagine he shocked the world by starting the show with the models in full burqas. A couple weeks ago, the French legislature passed a law banning burqas under the French policy of maintaining a "laïc" society. The separation of church and state has led to a severe type of absence of religion from everyday life in France, and there are very real reasons why these policies developed.

But, from a practical standpoint, and a cultural/societal one, the ideology in question is not going to work and the law will cause problems.

Although Étienne is not Muslim, he has friends that are. And he sent those models down the runway in burqas to make a statement. He did finally show the clothes, but even then, every model had a headpiece, i.e. a form of the veil, and he made a statement.

I started editing Chapter 21 of Courting Apparitions, and in that chapter, Étienne flies to France. In a few days, so am I, so this is exciting. Our lives overlap. In a good way.

Logistics

When certain moods strike, I love to write the naughty parts in manuscripts.

They always start WAY too long, going through every motion of the encounter and get hacked to pieces. These scenes often research (or merely thought), and not necessarily the "is this position physically possible?" kind (although that happens). Things like if she's 5' 2" and he's 5' 8" does she have to stand on tip toe to kiss him? Can your hand physically bend that way?

The other important part of a love scene is to make sure you edit ALL IN ONE SITTING. Because otherwise, you can miss important details.

For example, I have this:

"Confusion flashed in Zélie’s eyes and her lips parted. She released him, her hand falling to her side. Étienne brought his kiss to her clavicle and then closer to her breast. He spun her..."

Now in the original version that line about her hand falling away was not there, nor was the release. This doesn't seem like a big problem until you realize her hand was in his pants, holding something important for this scene, and he spins her around without letting go.

The reader can assume she let go, but since she's confused, maybe she didn't... and depending, that could be painful or merely lead to some getting twisted up and falling over... You get the idea.

And after you hack the scene down to its essence and have what you like, read it out loud. You may blush, but it's the only way to check how smooth it is.

Writing means deleting

I think most writers would agree that revising is an extensive and important part of the writing process.

So is deleting.

A writer must be willing to let go of words, sentences, scenes, even chapters upon recognizing that they do not work. Every word in a manuscript must forward the plot.

Now that I'm deep in the middle of my revisions, I have written, rewritten and started over on some chapters a frustrating amount of times. What motivates me is knowing eventually I will find treasure in one of those rewrites.

Work habits

Any young or new writer must develop work patterns that work for them. I think the same is true for any project. The methods of how we work are unique to individuals.

I found myself inspired to write different scenes for my different characters and as a young writer, I never knew if this would be effective or not.

I started a big binder and wrote every scene on looseleaf paper and organized them in chronological order according to when the scenes happened in the story. This lead to some wonderful scenes, but I never got around to writing the "between bits."

In my current work, I don't allow myself to skip around for this very reason. It feels like I get off track.

But sometimes, when conditions change and you need a fresh outlook or a pause, skipping around on a storyline can help you reconnect with a character.

I have rewritten chapter fifteen of Courting Apparitions three times in the last week or so. Now, to propel myself through the changes in that chapter that made it difficult to write right, I am ALSO writing chapter seventeen.

Chapter fifteen is her point of view.
Chapter seventeen is his.

So looking at both side's simultaneously, even if his chapter is a couple days in the future, is helping me understand her behavior and what she needs to do to make his reaction what it is in chapter 17.

Oops.

Earlier this week, I started work on my most recent chapter and discovered, as I moved forward, that I wasn't sure how this chapter would fit in my new outline/draft structure.

I thought I knew where they were going/ what they were doing and -- most importantly-- how it furthered the plot.

But then... Oh then... My female heroine (Basilie) did the unthinkable. In her pregnant hormonal state, she has thrown the male hero (Étienne) out! She threw him out five days before the wedding.

This has stunned me so much, that I have written merely a sentence a day.

Don't you hate it when characters have their own plan? Sometimes it works, sometimes you have to reign them in.

Interestingly, my life has gotten similarly complicated, although my husband did not throw me out.

Progress and Typographical Errors

I have written every day for the past several days, but only a couple hundred words a day.

Is this progress? Perhaps.

Allegheny Beast and the level of detail required for a thorough synopsis have taken all the fun out of my revisions. I decided last week to change the secret army operation in the story to some sort of environmental terrorist organization. In preparing a "character sketch" of that organization, I thought it might be cool to make it a group of college kids who originally went out to the woods to play Live Action Role Playing games. They picked the location in hopes of seeing the Allegheny Beast. But how do you make the leap from role playing geeks to dangerous environmental terrorists?

In my mind, you don't. Since I had planned to submit this manuscript, I have to hash out the details so that I can make the revisions to both the synopsis and the manuscript. But having too many details mapped out, even for revisions, has destroyed the fun of the writing process.

Have I learned a lesson?

I don't like writing with a detailed outline in front of me. In fact, it has ruined this project for me.

I have switched to the prequel to my Fashion and Fiends series, because it's a romance with some paranormal elements. But because it's loosely attached to the series, would I want to market it to romance publishers?

It's Étienne's and Basilie's love story, which happened more than 20 years before the trilogy I have done for the Fashion and Fiends series. But it's still Et and Bas. And yes, I could change the names and some of the details, but part of what makes the story special is that it belongs to Et and Bas.

Which brings into question my goals. See how this begins to fit?

Every published writer says to write the book, polish it, let it go, and market it to agents and editors with the same passion it took to write it. You must have that passion to make it. You have to have the passion to survive the "slings and arrows."

I'm looking for an agent, using the first book of the Fashion and Fiends series in my query. So far, no luck, but really, less than 20 rejections thus far. I'm not sure because I stopped counting. But with everything else on my plate, I've only been half-heartedly looking.

Meanwhile, I thought I'd finish and submit some romance manuscripts since many houses accept unagented manuscripts.

So, do I throw myself whole-heartedly into the agent search? Do I keep pushing in romance? Do I start that YA novel I have kicking in my head? Do I finish the project I was in the middle of what I got this brainstorm (inspired by LA Banks' workshop)? Do I write the short story I have plotted out for a call for stories for an anthology?

But I need a few days to write for fun. Even if I don't have plans for it.

Part of me is discouraged because of the books I read that disappoint me and the books I see coming from small, independent, and electronic-based presses. One author, at a press that markets very well on Facebook, caught my eye.

I went to her web site. The author web site. Her book comes out June 28. On the page on the web site for that book, one of her main characters' names is spelled inconsistently. Now I recognize that it was a simple inversion of letters while typing, but the author should have instantly noticed that and fixed it.

But (believe it or not) I decided to give her another chance. I clicked on the "read excerpt" link. In that passage, the author mixed up "pleas" and "please."

I fully believe that the eReader and the internet have given many authors a place that never had one before. I also believe that many less talented writers are seeing "print" and that's okay, because readers also have levels of proficiency. No one enjoys a book written above their comfort level.

But basic typing? And an editor who's paying attention?

I still want that.

Clues to building a synopsis

Somewhere around Tuesday, I finally found my voice for my latest synopsis.

Having complete these pesky detailed outlines for three other manuscripts, you'd think it'd be easy.

It's not.

Writing never is.

The trick to writing a decent synopsis is to remember you're proving your storytelling abilities, not merely outlining your novel. If you proceed in a "this happens" "and then" format, it sounds like a middle school book report.

But unless you have a gift for these things, finding the right voice for a synopsis can be tricky. It needs to evoke the mood of the genre, capture your craft skills and reveal what happens in the book, in a way that makes agents and editors want to read the book.

I don't have the answer for how to achieve this, but a synopsis is a detailed pitch followed through to the end of the book. So, I like to think about how the words sound when I'm typing them focus on flow, clarity and brevity.

Since this latest project is a paranormal romance, I have to focus on not only the murder mystery, not only the supernatural elements, but also the love story. And, being me, I need to find a way to write it so it doesn't seem sappy.

In my case, for the Allegheny Beast project, I've constructed a reverse outline to guide me with the synopsis. I've taken the manuscript and made an outline of what's actually in the story. Now from there (and yes this is time consuming and that part of it makes me crazy) I'm creating a detailed synopsis that has everything in it that I think might need to be there.

It's currently 924 words, and I expect another 500 before I finish. I'm not going to submit something that huge with my first three chapters. This will be my starting point to edit. Those of us who hail from the newspaper industry prefer to start with too much and whittle down than risk putting a story in the news hole and have blank inches staring back at us.

And we're not afraid to delete words. It's part of the process.

In Character

WARNING: This blog post may contain colloquial language, vulgarity and discussion of different sex acts.

2ND WARNING: Author has had three cups of coffee

Sometimes, as authors, we view our stories and our plots with the detachment of an outsider. I'm not saying we don't get lost/caught up in our stories, because we do. What happens is more like worrying about making sure we get the road to lead where we want it to that we don't pay attention to the actual path.

I was editing a chapter today. In that chapter, Galen the bad guy is coping poorly with the fact that the now-dead ingenue from the previous book (Adelaide) has possessed him. To add insult to injury-- to use a cliché-- Adelaide has noticed a young man her age and her lust has left Galen with an erection. Galen gets into his car where his mate and fellow witch, Flidais, laughs at him for his predicament.

Now the basic road map for this scene required that Galen and Flidais drive from Point A to Point B. I got the sense upon reading it, that Flidais would do more than laugh at him. I spent the next 24 hours contemplating whether Flidais would give him a hand job or a blow job.

Yes, seriously.

One of my friends suggested a little bit of both. But that didn't seem right. As a writer, I typically can write through big problems. Little problems like this, or even smaller ones like what the characters had for dinner, can halt my progress for hours.

Today, I labeled why these things often stump me. It's not because of the sex acts. It stems from not thinking inside the character's head. The chapter I'm writing comes from Galen's third person limited point of view. I pondered the problem as if Galen had a say in which sex act Flidais performed. Which, he could ask, but he doesn't.

As soon as I considered the conundrum from Flidais' point of view, I had to weigh the magical consequences. In that case, a hand-job seemed vulgar and like a waste of male essence. She might try that if she wanted to weaken him or merely distract him. I think she would perform a sex act for her own gain. In that case, what can she receive?

In my series, any sex act has a supernatural weight to it and it all means something. Feminine power must be given, not taken. Masculine power must be taken. Sex, in the male/female intercourse variety, adds something to the universe and provides energy that can fuel rituals.

The answer became obvious, Flidais had to give Galen a blow job because she needed a shot of masculine power and that was an easy way to take it.

The moral of the story:
If you're stuck at a point where characters have to make a choice, make sure the characters reason out the problem and chose according to their motivations, not yours. Don't confuse the POV character's preferences with the character who is actually the one in control of the choice.

Writing, writing everywhere

So, my daughter won the reading contest at school. Today, in addition to Read Across America and the reading-related events for Dr. Seuss's birthday, her school is hosting a children's nonfiction author. The top reader in each grade level got to attend a pizza party with the author. My daughter, who read about 1500 minutes in February, earned a spot at that party.

I am beyond proud. She told me she was going to win that contest. She set a goal and she did it.

Speaking of goals, I am slowing meeting mine. I'm writing today (since someone had to go to school early for the lunch). I've probably spent an hour writing, and I'm editing/smoothing over a difficult chapter. Since my writing time lately has meant a sentence here or there, even an hour seems like a wild success.

A writer I know mentioned that she keeps a monthly spreadsheet of her daily word counts. At first I dismissed this as crazy, but then my curiosity piqued. How productive am I? If I made such a spreadsheet it would need several categories: fiction (by story?), press releases for work, writing blog, food blog, homework, journal.

How productive am I? How much do I really write?