Science fiction, fantasy, mystery and what-not
A mass of words have been mined from his veins of creativity. They’re mostly sifted, sorted, and arranged. He’s beginning to see the complete story within the block. With more chiseling, polishing, and thought, it can be something special that others will enjoy.
Sitting, he sips his coffee. A few seconds of reflection are accepted to allow his mind to shift from one sphere to another. Then, he opens his document, and resumes his editing and revising.
Well, this is an embarrassing confession.
Here I am, on page three hundred thirty-four of the first half of the novel, when I encounter a little reminder to insert Brett’s last name. So, being a semi-pro, I open up the novel’s bible to look it up.
Damn if it’s not there.
I know I used it at least once elsewhere in the novel. Of course, this is a sequel, so the last name was used in the first book. But searching for it has proven daunting.
I’m surprised this happened, and it’s irking me. I keep documents to help me remember and understand who’s doing what to who, and what’s happened to everyone, to sustain internal logic. I can’t believe I can’t find his last name.
In my defense, this is a science fiction novel. Although the majority of space-travelers and colonists have westernized their names for public use, names aren’t critical in the future. Digital personal identifiers are what identify you and socialize who you are. You P.I.D. is constantly being broadcast and scanned. The P.I.D. defines you. Based on your birth date, time, location (including planet), universal master number (U.M.N., which includes your cultural and ethnic heritage, and is assigned sequentially), and D.N.A., it’s generated when you’re born. While first names are used in conversations, the last names are generally superfluous. There are cults that hold to traditional norms, bandying their last names about as though they’re greatly important, but you don’t need them.
It’s the second day of the search. A rational internal section cheers me to ignore it for now, that this can be found later, but finding it has become an obsession. Tangentially, I believe my writing soul is enjoying the departure from the editing routine. Plus, fortified with a quad-shot mocha, my confidence about finding it is racing along on wings of caffeine, sugar and chocolate.
Let the search commence! Or, recommence.
Differences struck me as I finished editing sequences. Diverting my thinking, I considered the differences.
The difference was external to me. I puzzled over that. The world surrounding me seemed calmer, quieter, and more relaxed than it had a short time before.
I thought about it more, trying to understand if it was quieter, or a false impression. I thought, instead, it’s spillover. The first chapter that I’d finished editing had been intense and chaotic. Reading through it and staying focused challenged me. It seemed like the surrounding coffee shop echoed with noise and activity while I worked on it, and I restlessly, almost anxiously, fidgeted while working on it.
The next chapter being edited began with a calmer scene, and stayed calm and thoughtful. The coffee shop around me seemed more relaxed, and quieter. I, too, became stiller.
Disbelieving, I considered these differences for a while, and then walked myself back through memories. Yes, writing battle, fight, disaster, and emotional scenes consumed greater energy, demanding deeper concentration and tighter focus. I often felt more physically, mentally, and emotionally spent when writing them.
Editing them affected me in the same way. Writing and editing more reflective scenes push me to become more reflective. What I wrote and edited seemed to impact my impression of the surrounding environment. It leaves me feeling disconnected with the world. My thinking feels disjointed, like I don’t belong where I’m at.
It’s probably something all writers experience. I don’t know why it surprises me; I know I experience it when I’m reading books and stories. It shouldn’t be a surprise that I experience while editing my own. Perhaps, it’s because my experiences seem more intense, because it is personal, and comes from within me, thereby amplifying the impact.
Does this post makes sense? What of you, writers? Do you, too, experience this?
Plans must be made every day. They’re compartmented by activity. They’re all based on what’s been done, and the overall goals, objectives, mission, and visions.
This is a product of my military years. Make lists, prioritize, structure and plan, hup – two – threp – four. About the only thing in my life exempt from planning is this blog. The blog is just a lark, a creative outlet, a place to vent and rant, and a channel for improving my knowledge, sparking my thinking, and making connections. Everything else is serious.
Writing is especially serious, even as it’s fun. A plan is required or an organic writer like me. The most critical part to remember about having a plan is that it’s a tool to help organize and progress. Trying to make the perfect plan is counter-productive, unless you’re murdering someone or robbing someplace. In just about everything else, it’s sufficient to have a sketchy plan.
When I’m writing the story, the story writes the plan. My novels typically begin with a concept or a setting. Ideas volunteer and find roots.
But writing is like vehicular traffic for me; everything causes a reaction. Implications, issues, conflicts, and outcomes arise. Plans are needed. Some of that planning is researching aspects to provide more depth and realism. Other planning is simply developing concepts and character background. Characters often leap into action on a page. I accept that, but to carry the story forward and keep it honest, I need to know that character. So, off I go, into a character snapshot. Some of that ends up in the novel as exposition. It depends upon the material and story. Even if I include it at that point, it can be removed later. It depends upon the arc, relevance, and pacing.
Writing and walking work well together. My mind can pick up where I left off writing the story on the last session and resume that thread preparatory to beginning a new day of writing like crazy. Reading and writing works well for me, too. Reading fuels my creativity, invigorates my desires, and reinforces my will, all good things while on a novel-writing journey.
All of this is less so with editing and revising.
In editing and revising, I already have the raw material that writing provided. The characters are established; so is the plot. The research has been completed, for the most part, and the results are embedded in the story.
I can say that research is completed for the most part. Sometimes while writing, I’ll put in some shorthand about something require greater detail, clarification, or verification that I’m not completely wrong about what I think and have based my novel decision upon. I use the shorthand because I’m in the writing rhythm and don’t want to divert myself from that path. I mark these places with <TK> and some explanation about what I wanted for there, and why. These might need research at that point. Sometimes, though, I find the research has been completed and used elsewhere. Sometimes I find that what I thought was needed there is no longer required. I go with the flow as I see it.
An editing and revising plan then evolves more into finishing the novel as a coherent and entertaining story that others can read and enjoy. I sit down to edit and revise with a goal of completing thirty pages each day. It’s just like running miles for me, or walking; having a specific objective keeps me focused on the overall course. That objective, though, isn’t the goal, and I don’t confuse the two. Editing and revising the book remains the goal for this phase of the vision. The vision is a completed, published novel.
Thirty pages is a somewhat arbitrary distinction. I often exceed that. Once in a while, I’ll fall short.
Reaching thirty pages a day is neither easy, nor difficult. It depends upon the work presented. Some of it’s already been significantly revised, edited and polished, because part of my process as an organic writer is to edit and revise as I write the novel. These sort of passages are a pleasure to edit and revise because they’re so easy. The biggest problems I encounter are writing butt and becoming complacent. Writing butt is, of course, when you’ve been sitting for so long, your ass has gone numb. Since I often have my head up my ass, this can have serious health ramifications for breathing and thinking. Complacency is when I stop thinking critically about what I’m reading.
Beyond this basic plan and structure for editing, sometimes, in the course of reading what’s been written, I’ll draw up short. Something does not align with what was previously read, or what I recall writing later in the novel. At that point, I have options.
My options depend on how big I view this mis-alignment, i.e., how disturbing or surprising I find it, and it’s influence on the rest of the plot and novel. Sometimes, it appears to me to be so large that it becomes a plan to resolve this difference. Other times, it’s smaller and I simply make a note to review and resolve. A few times, the flawed connection has arrived because I just read that part. Then, I’ll flip back to it quickly, confirm my facts, and continue. A few times, it’ll be something like a planet, ship, or secondary character’s name. When that happens, I’ll verify, and then completed a global search and replace.
With all plans, as learned in the military, it’s about mission accomplishment. What is my vision, and how does completing my mission support it? In writing a novel, it’s pretty damn simple and clear.
Now, excuse me. I have a plan to go edit and revise, at least one more time.
What about you? Do you have a plan du jour?
I love doing sudoku puzzles, completing at least two a day. Naturally, I like more challenging ones, because solving them is more satisfying.
After years of doing them on specific websites and in the newspaper, I’ve recently discovered a new site for doing them. Their logic seems different than what I’ve previously encountered, which makes them more difficult, which translates to more challenging and fun.
It also reinforced the need to not take shortcuts or jump ahead. I’ve found the best way to solve these is to maintain discipline and process the different logical devises employed in a step-by-step process.
I’ve also learned that sometimes the complexity will overwhelm me, and I become frustrated. When that happens, I stop the clock, save the work, close the page, and walk away. Returning to it in a short while with fresh eyes and mind then lets me see obvious clues that were missed earlier.
This reinforces my writing processes and approach. I’m often a sucker for clickbait about how-to articles regarding writing and publishing. I’m not necessarily seeking easier, but that elusive realm known as better. I often find that they’re packaging the same writing advice I’ve seen everywhere else, but with new words and more interesting headlines. There’s very little that offers sage advice about writing better.
That makes sense.
Guidelines are well-established for proper structures or how to describe characters and settings, write action scenes and pacing. But each of our works, hopefully, are unique and fresh to us as writers. Nothing is as clearly delineated as it is in hindsight of published works. We’re making multiple decisions about pacing and info-dumps, trying to decide how much of what we know becomes too much for the reader, or spoils the story.
In the end, I learned again lessons found in solving sudoku puzzles. Stay true to the my course. Don’t take shortcuts, remain patient, and use anxiety to feed determination to finish.
And, if it’s necessary, take a damn break and return to it with fresh eyes and mind.
As I read, I edit.
As I edit, I check on the pauses and look at notes to confirm continuity.
As I read and edit, I’m surprised and delighted by how well the novel comes together.
As I’m delighted and surprised, I’m nervous and anxious. Will the enjoyment I find be sustained, and will others enjoy it as well?
Then, as I read, I forget.
Until there’s another pause and I edit again.
That first phase of writing fiction for me is collecting the raw materials. I have a concept and an idea of the story, characters and settings. All the elements enlarge, becoming illuminated, as I write the tale and finish the first draft. The first draft is always so raw. I’m not one of those who thinks the first draft is almost the final draft. It’s just raw material. Now it’s ready for shaping and carving. Sometimes I’ll add stuff, but mostly I add by removing material.
The work pace shifts into a smoother, more contemplative, and relaxing process. It’s like your dream house is being built. “It’s finally happening,” you keep telling yourself. “I almost stopped believing it would ever happen.” But tangible progress is visible. The foundation has been laid, the walls have been erected. Doors and a roof are in place. It’s less a collection of material and more like the place you dreamed. I feel the same with this novel in progress.
Time to write, edit and revise like crazy, at least one more time. Looking ahead, it appears there will be many more of these subjects to come. I embrace the pleasure of the work.
“How’s it going?” a friend asked. “Is there a light at the end of the tunnel?”
He was asking about my novel in progress. Like many people, he was speaking cliche-ese. I’m not in a tunnel, and I’m not looking for a light when I’m writing a novel. I once may have thought that way, but I’ve changed. The light would mean there’s hope ahead.
I’m enjoying the writing journey, so there’s no need for a light. The process can sometimes rival a clogged toilet’s mess, but it’s well damn lit.
“What will you do after you’re done?” Bill asked. “Will you write another?”
It’s a question from outside the circle of writers, and again, is common in cliche-land. Bizarre, to me. In sports, the assumption is that you’re going to keep going as long as body, will and team allows. Likewise, that’s how it seems to go in performing arts like acting and singing. Why, then, assume that a writer will be one and done?
After our pleasantries, I walked on but stayed with the topic in thought. I have a novel in progress and two in the wings. Five more, perhaps more than that, have a first draft completed, and require editing, revising and publishing. I don’t know when I’ll give them the attention they deserve. I’ve begun to think that I’ll work on them if I don’t have anything to write.
It’s peculiar to think that there can be a time when I don’t have anything to write. Reading others always stimulates my writing desires, as does watching television and movies, traveling, conversations with friends, and the news. On any given day, I think, “Oh, I can write a novel about that,” or, “That can be the start to a good novel.”
The only permanent elements of life are change and uncertainty, though. Maybe death, too; it depends on your philosophy. I can’t predict that I’ll write until my death or that I’ll always have story ideas. I don’t know what’ll happen to my brain and my body, or our society. But, basically, I’m not in a tunnel, looking for a light. I’m on a plain of light, following the words.
Time to write like crazy – or edit and revise (like crazy?) – at least one more time.
I’m editing and revising the novel in progress. Its working title was ‘Long Summer’. Its gained a new title, ‘Incomplete States’.
Long summer was part of the original concept, a summer for Brett and a summer for Humanity, ending as first contact and first battles were experienced. As concept understanding and development evolved and flowered, the underpinning concept and overarching story shifted. ‘Incomplete States’ is a fuller, better, title for the novel as written.
Into the editing and revising stage, I’m reading as a reader. I’ll mostly address my novel as I would if I were ignorant to its workings, as a reader would, reading it for entertainment. The differences come from noticing things and taking action on them.
With pauses, anything breaking the reading rhythm and makes me pause requires a special investigation initiated. Several reasons can exist for the pauses. As I can’t wholly divorce myself from knowing the novel as a writer, I’m a prophet about some things destined to happen. I might be noticing a continuity issue regarding that, or a continuity issue with previously established matters. This problem, or challenge, is why some writers set aside their first draft, something called the ‘cold method’. Others will indulge in reading it aloud. I sometimes read aloud to clarify what’s causing the pause.
Mechanics could be the source for the pause, such as sloppy sentence or paragraph structures, or poor precedents and antecedents, or clumsy descriptions. Dialogue, and who is saying what, sometimes becomes muddy and must be clarified. Once in a while, the style has shifted. Some style shifts are planned and expected. The novel is a multiplex telling through six character POVs. Those characters roam in a sometimes sharply chaotic manner as their experiences and expectations, age, sex, race, and history change. The writing needs to be clear about what’s going on without revealing too much. Style is sometimes a party to that effort, but shouldn’t be an intrusion.
Yesterday’s reading efforts went superbly. I knocked out four chapters. Some changes were done. Afterward, I was answering some interview questions. The questions forced me to think more deeply about my processes. One conclusion realized from this exercise was how my processes had shifted. I used to write to finish what I was writing. I often had unrealistic expectations about how the novel should read, and how I felt about finishing it.
I’m now more comfortable with the journey and experience of writing a novel, including editing and revising it. It’s a unique experience. While people all around the planet are writing novels, each one is writing a unique novel. The experience of writing and finishing each novel is different. They concepts and stories are bred from different states of existence, expectations, and experiences – hopefully.
Time to get on with the pleasure of reading, editing and revising.
Cheers
Charles French had a post on Arrowhead Publishing a few weeks ago. Its subject was creating business plans for books. I’d come to a similar conclusion to his ideas on my own a few years ago as part of my quest for greater organization, but his ideas had greater depth than mine. It’s always good to find something like that and learn more.
But after reading his post, I continued along thinking I’d begun weeks ago about the need for larger involvement in the business side of my self-publishing efforts. And after reading French’s post, I realized that I’d conceived many of the needs and ideas required but had failed to execute.
I had the dream. I had an action plan. I wasn’t acting.
After considering that realization with irritation and annoyance with myself that ended with a stern lecture, I answered myself, with some plaintiveness, as the business persona of my being, I’m not given much time or energy for taking care of business. The writer gets the most attention and indulgence. That’s followed by the husband, friend and son. Then the human gets attention (for things like time off, socializing, partying and exercising beyond the daily ritual of decompressing), and the editor, leaving crumbs to the business person.
I agree, I answered. Part of this is because I don’t to do the business side. But accept it: it must be done.
Okay. What can we do about it?
Well, like writing in the beginning and everything else, it’s about allocating time. I’d planned to give these matters attention – that’s why I was annoyed – but permitted my resources to be diverted into other things, important things like killing time by playing computer games, reading books, or playing with cats. Just as I do for everything else, I need to structure recurring time in my life for the business side of publishing.
And it is a recurring need. Publishing and selling books is as dynamic as any marketplace. As an unknown with no name recognition trying to learn the business, I need to work harder, as hard as an athlete trying to make a team, or a writer writing a book. As I wrote in a post when I began thinking about this, I Will Do Better, my efforts are meager and weak. It’s shocking to realize that I wrote that in the middle of January.
Once again, I remind myself, intentions aren’t sufficient. Just as writing in the first place, exercising, or acquiring and degrees, focus and application are needed. I can’t accept that, oh, I did this, and now I’m done. No, this is very much trail and error. It should all be considered as a first draft. Sometimes the blurb written and used isn’t working. New venues for publishing, distributing, advertising and selling are always springing up. If I want to expand my sales, I need to expand my efforts.
Okay, but I already knew all of this. I wasn’t acting on them. This was a case of out of sight, out of mind. Just as I need structure to pursue writing my fiction, I need structure for selling it. Moving the business guy up in the order of priorities isn’t necessarily needed, either. Rather, I realized that I needed to remind myself that the business side needs to be attended.
So I jumped into my Google calendar and set up reminders. Do this, do that. Check this, check that. And I set aside time via reminders to research and read about the business aspect of publishing and selling my own work.
Writing, publishing and selling isn’t a destination. Just like life and living, it’s a journey to be embraced and taken every day. Recognize what must be done but recognize it doesn’t need to all be done at once.
But recognize, it must be done and keep going.
Michael Seidel, writer 