He and the muses were kicking around what to do at this juncture in the novel. Four hundred pages in, it’s a critical point. Lot of reveals to be brought to the story. He needs to get it done but doesn’t want to rush or force it. He’s mindful, too, yeah, this is the first draft. He’s still learning the story. Don’t overthink things.
He ended up spending time over the last four days editing and revising, working his way through the first two hundred pages while his mind dances with approaches to what comes next. Trust yourself, he urges himself. Don’t get cocky, he reminds himself, but also don’t get depressed, and don’t fail into a trap of overanalyzing what you’re doing. Write what you want to read.
He really enjoyed most of the story but then, he felt severe disappointment with one stretch. Why, that’s absolute crap, he told himself. It was not what he wanted to read. He wouldn’t read it. It needed to be treated like a deep infection.
That understanding came but also fertilized recognition that a new approach was needed for this aspect. Weirdly, he felt optimistic that he had a grip on it.
Or maybe not weirdly. He’s a writer, and that’s what they do, always believing, I got this.
Even if you have an MFA degree, you could spend a lifetime learning the craft and never learn all there is to know about the subject. We join writing groups, buy books, and most importantly, read. We analyze what we have read and figure out what we liked or disliked about it. Then, we try to apply what we learned to our work.
Michael Seidel, writer 