Tag Archives: editing a novel

Passage-in-Progress 3818


I don’t do this enough, but that’s a thing worth fixing: Here’s my favorite passage from the chapters I’m reviewing today:

“Yes, I would have killed him. Is that what you want to hear? If it’s him dead or me in prison, well, sorry, Jack.”
“His name is Eric.”
“I don’t care what his name is. I don’t want to know what his name is. I wish I didn’t know it.”
“Because he’s a person now, right?”
“The hell is that supposed to mean? Of course he’s a person.”
“No, I mean he’s a real person. With a name. Kids. A dog.”
“He could have a whole mansion full of adopted African babies for all I care,” Dina snaps.
Linc considers that, and considers her, resolutely staring out the windshield at the darkened streets. “You’ve killed before.” It’s not a question.
“Aaaand this is the part where you stop psychoanalyzing me. I know you think you’ve had it rough, but I’m a survivor.” The way she says it tells Linc she’s not talking about surviving a boating accident or a bear attack.

Is it wrong that I love my supporting characters more than I love my protagonist?

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The Spell is Broken


Funny how editing your novel really shows off your literary limps. The little phrases you lean on, the sensory language you favor, the way you have to end every chapter, for some reason, on a sentence that is its own paragraph. (Why do you do that?)

Today I’m laughing at myself because I’ve just read through and marked up three more chapters, and I’m now keeping a tally mark in the side of my notebook every time I read the phrase “the spell is broken”. The count is five, now, and we’re in chapter 9.

“He shakes his head, and the spell is broken.”

“The spell is broken now, and …”

“He looks at her, the spell fully broken, and sees …”

I mean, come on.

Good news, I guess, is that I’m still able to laugh at myself over it. Bad news is that I’m still in the first third of the novel, which statistically means I’ve got at least ten more “the spell is broken”s before I make it to the end. Ten might be a bit much, but I know I’ve got some more lurking out there in the chapters ahead.

Course, this is why we edit. You take the hard look to see the irritating little things like these. So that you can take the buzzsaw to them in the second draft.

Ah, well. Lunch is over. The spell is broken. Guess it’s back to work.

Seriously gotta come up with better ways to say it, though. Ideas?

 


Progress, Quantified


So here’s what’s going on with my current project:

It’s a Superhero story (I’m currently reading Save the Cat, which, if you haven’t read it as a writer, I can only encourage you to pick it up right away, even if you’re not writing screenplays) about a guy in a family of supers who has no powers himself. So he’s a little jaded. When he finally develops an ability of his own, he quickly finds himself at the top of the food chain and sets about a plan to wipe out supers forever.

It’s an idea I love that I kicked around in the ol’ brain for a good couple years before I wrote the first words, and once I did start writing it, it really took on a life of its own, as they say. Lots of twists and turns grew organically out of the thing, which is just one of the measures I use to tell me when an idea is worth pursuing.

And now, as I find myself neck-deep in rewrites and edits, the story is growing out of control like a Mogwai tossed in the deep end of the pool. Every day or two, I have an idea for something I want to add to the story, some twist to throw in the road. Every time I re-read something, the characters seem to be speaking to me: that doesn’t make sense, I should be doing THIS instead.

Gremmy

Playing whack-a-mole with ideas like this is frustrating: obviously not everything that springs to mind can make it to the page. Every widget you add over here throws things out of balance over there, and if you’re not careful, the story will go to pieces trying to accomodate everything. But it’s also encouraging, because it makes every writing session exciting. Every page is Forrest Gump’s box of chocolates; you never know what you’re going to get.

So every day is taxing work — pruning here, shaping here, splicing here, all without end — but it’s also fulfilling and of late, it’s actually been enjoyable. Like I wrote yesterday, the words are coming easier and faster of late. Given the loggerheads I was at with my other project, I’m taking all this as just another sign I’m on the right path, moving in the right direction.

Maybe I’ll even set a deadline, soon.

(I haven’t given myself a deadline in over a year.)

*flies into panic*

*jumps out the window*

This post is part of Stream-of-Consciousness Saturday. Today’s prompt was “the 6th, 7th, and 8th word of the page of the nearest publication. That happened to be “at the top”, from my current read, Otherworld, by Jason Segel and Kirsten Miller.


Scrub Up and Slice In


The revision process for a novel has a series of steps associated with it, much like the stages of grief.

First, you’re kind of enchanted with this thing you wrote, and you spend a lot of time patting yourself on the back: hey look at that neat character I wrote back then, boy that twist was kind of clever, and wow this might not actually be that bad to edit. (See also: my posts from about six weeks ago when I started the current edit.)

Then you begin to hate the thing you wrote, because the more flaws you come across, the more glaring they become and the more likely you are to see more flaws. A snowball rolling downhill, collecting more snow and branches and dead moose until it flattens a town.

Then, resignation: the thing is what it is, and no amount of unicorn-chasing denial or grizzly-bear-wrestling self-hate is going to change it, so with steely resolve, you go to work on it. Narrative Surgery. With no training, no qualifications, and no idea what you’re even supposed to be doing, you scrub up and dive in.

The problem is, like an insane spider’s web, every part of the thing is interconnected. There is no such thing as a “minor correction.” The hip-bone is connected to the leg-bone, but in this metaphor, it’s also connected to the patellar tendon, the lower intestines, one and a half lungs and the eye on the non-heart side (which — surprise! — is not the side you thought it was).

You go to make your incision, to correct that one little nagging issue in the third chapter, and blood starts leaking out of the character resolution in chapter eighteen. You try to tamp that down with a little narrative pressure, but that causes a backup in the side conflict while also necessitating the introduction of brand-new tissue in the opening chapters. You set to work rectifying all this, but because you also have a full-time job and for god’s sake you’re only human, your rectifications themselves are flawed and not as focused as they maybe should be because oh my god there’s inkblood everywhere.

surgery-676375_1280

Did I drop my keys in there? I think I dropped my keys in there.

Now you’ve got internal bleeding and contusions popping up under the skin all over the place, and you’re not actually any closer to fixing the problem you set out to fix in the first place, you’re just playing Whack-a-Mole with the fallout from your “fixes.” Worse still, you’re starting to see that the big problem you ignored in the first draft — the one you just stuck a post-it note to your future self on that read YOU DEAL WITH THIS ONE, GOOD LUCK (an actual comment I left for myself around the 1/3 mark of this particular draft) — has metastasized out of control. A broken bone repaired by interweaving itself with all the surrounding tissue. The hive in Aliens that has swollen and spilled over, and now threatens to consume the entire ship. Every blood vessel, every nerve ending, every plot line, every narrative thread seems to run through this one spot, this one tangle of viscera and scar tissue.

And you don’t want to do it. To go to work on this thing will throw the entire project into limbo. The bleeding will be massive, the repair work intensive, the recovery extensive. But that angry little knot, interspersing its evil tentacles through the heart and every extremity of your story, pulses defiantly. Taunting you. And that’s when you realize that you do want to do it, that despite the trauma and triage, despite the emotional and psychological fallout that will surely result, this thing can be saved. It can be made clean again.

So you slice into it.

And as the first gout of narrative blood stain your scrubs, you glance just a little bit further down the chest cavity… and you see another tumor.

Ahem.

So, you know. The edit’s going fine … just fine.

*screams internally*

*dies inside*

*animates self with a straight shot of caffeine to the pleasure center and sheer force of will*

*zombie self continues writing*

This weekly remotivational post is part of Stream of Consciousness Saturday. Every weekend, I use Linda G. Hill’s prompt to refocus my efforts and evaluate my process, sometimes with productive results.


The Authorial Short Leash


What happens when you bring your new canine companion home from the pound and take him on his first walk?

That furry little bastard gets the scent of nature in his nostrils and goes wild, that’s what. He feels the breeze of the great outdoors across his fur and he bolts. He tugs you this way and that. Darts into flower beds. Takes off after squirrels and rabbits (man, my neighborhood is lousy with rabbits right now — it’s like Watership Down in suburbia). Scrambles into the weeds to poop. Runs off into more weeds to sniff at some other dog’s poop.

You’re trying to have a nice, leisurely stroll with your own personal man’s best friend, but you’ve got a hellhound yanking your arm this way and that, tangling your legs in the leash, and, depending on the size of the animal, threatening to pull your shoulder right out of its socket. And suddenly, your nice, relaxing walk is nothing like nice and a rough shot away from relaxing.

The only way to reclaim your walk — to get the critter under control and take back the calm you set out for — is to break out the short leash. You take all the slack out of the rope and keep him locked in step right there at your heel. He tries to get ahead of you by a step? You tug him back. He veers off course? Yank. He so much as lifts his head to sniff after a squirrel? Doublebig yank.

The point is not to be cruel, the point is to demonstrate to the animal — which is only operating on the same basic evolutionary programming that’s served its species well for eons (chase, hunt, kill, survive) — that there’s a new game in town. That there is a new master. No longer does he answer the beckoning call of nature, now he answers to the man on the other end of the rope. It is only by the grace of “I” that he’s even outside to begin with.

And slowly, slowly, with the patience of the glacier, the dog begins to learn. The instincts, the darting this way and that, the bolting — they curb and decline. Then you can let the slack out a bit. Allow him to sniff at the root of that tree. Let him lock in on that bunny scampering across the neighbor’s yard. Only now, he’s not just doing it — he’s checking with you first. He knows where his food comes from. He knows that the walk through nature is conducted on your terms.

You break him on the short leash so you can break out the long leash again later.

That guy (or gal!) who wrote the first draft of your novel? He’s the rescue dog that’s never breathed the free air. Writing the draft was his fly-the-coop moment: he got into the neighbor’s rose bushes with his deviation into needless character development. He chased squirrels into trees with those bizarre plot turns. He went shoving his nose up another dog’s butt with that trope he borrowed from that wicked sci-fi novel he was reading at the time. He shat on the sidewalk when he just stopped writing that one character two-thirds of the way into the story.

dogmeme

Editing time is time to break out the short leash. Correct those errors your drafting self makes the moment he starts to make them. Can’t let these things fester, or they’ll keep pulling your arm out of the socket. Nip it in the bud now and he’ll get the message quicker.

Of course, we can’t cut out all of that bad behavior — after all, it’s when the story does unexpected things, when it goes off into the weeds and comes back with a dead rabbit in its jaws, that we enjoy story the most. But our story can’t be one long, unleashed romp through the neighborhood. Much as we love the unbridled id that our authorial selves bring to the table, we also need the structure that only the editorial self can provide.

So by all means, take your inner author out for a walk. But keep that thing leashed up. That way, when you finally do let him loose, he’ll know it matters.

dogmeme3

And here’s one more dog meme, just because they’re awesome.

dogmeme2

This weekly remotivational post is part of Stream of Consciousness Saturday. Every weekend, I use Linda G. Hill’s prompt to refocus my efforts and evaluate my process, sometimes with productive results. This week? Maybe not so productive.


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