Tag: editing

How Writing Isn’t Like Yardwork

I was raking and hoeing yesterday, preparing the back yard to seed it for the winter. My wife had already put one garden to bed. As freezes are striking, she’ll probably put the other to bed this week. Meanwhile, we have before us the question, should she plant garlic and, or, onions for winter? Probably so, but we veered away from the subject into collateral discussions before a decision was found.

Back in the yard, thinking about trimming back trees and bushes, I wrote in my head, as I often do when doing something that doesn’t require focus and will let me think about other things. Often, I think, writing is a lot like yard work. You’re always pruning and weeding, considering what’s been done and what else must be done.

But in yesterday’s internal dialogue, I realized how flawed that was. Yard work is continuous; it changes with the season, but you’re always out there, forever doing things. Plants grow, not only in the yard, but in the yards around you. Volunteers arrive, and trees grow taller and fuller, changing the exposure to the sun. Weather changes, like the super-hot summer of twenty thirteen, and the super-frigid winter of the same year, damages and kills plants. These need addressed, as much for fire safety as aesthetics.

Which is why novel writing’s comparisons with yard work should end. Eventually, I finish a novel. It becomes published and goes out into others’ hands and minds. The yard is always being attended; it’s only completed for a brief cycle. Although a novel may feel like it’s taking forever – this one of mine is now in its fifteen month of writing – I know it’ll be done someday. Then I’ll begin another, and it’ll feel like yard work again.

But it’s not.

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The Air, the Fitbit, the Writing, the Dreams

Our outdoor air sucks. Need more?

Smoke from wildfires is filling our air. The Air Quality Index leaped to one hundred fifteen last night. DANGEROUS. It hasn’t been hot, only into the nineties. We open the house at night to cool it off, and then close the blinds and windows during the day. Opening the windows last night sent us into coughing fits as wet smoke smells wafted in. Eventually, we donned masks.

Today isn’t as bad. The A.Q.I. is in the fifties, and officially, moderate. Visibility remains down. It’s like a white-out beyond a a few hundred feet.

All this wildfire smoke has reduced my Fitbit activities. Walking is way down, to five miles a day average. It’s not as critical as many other issues resulting from wildfires. None of the fires are directly affecting our community. We feel for all those being evacuated in those areas, and appreciate the firefighters’ efforts. If this stuff is terrible for me, a guy in his early sixties who considers himself in good health, those with emphysema and other respiratory issues must be deeply suffering.

I took to the Orson Scott Card method for visualizing and organizing the novel in progress. O.S.C. talked about just drawing places, like a city, and then adding details. With each detail and area added or defined, entertain questions about why those areas and details exist. I’ve done this exercise before, with excellent results. I wasn’t disappointed this time.

I had been editing the novel’s first draft. Halfway through that process, I perceived a problem. A new ‘greater arc’ was required as the solution. I could be wrong, but this is how I decided to address the issue. It’s essentially an epic. I like epics. Bigger is better.

This was decided over a four day period. Then, after deciding it was necessary, I went on a reading sprint. I finished reading two novels, and read two others, in five days. I also read fiction stories and news articles online. This reading stimulated my writing juices and invigorated my writing dreams. I found myself re-committed to who I was, and what I was doing. It’s a matter of taking a deep breath, turning on the computer, and putting the ass in chair, and the fingers on a keyboard.

This new arc takes place on a planet where technology fails. An outpost is established using outdated technology. Suddenly, it’s like living in a frontier castle. I loved that difference in direction from my usual challenges of visualizing the far future and other intelligent races.

I drew the outpost on my computer, and brainstormed about how the lack of technology affects them, and solutions and work-arounds. The team living in the outpost are hunting for people, but can’t use their suits or vehicles. They fall back to horses. Having horses adds more problems and dimensions.

So do the powerful windstorms endured on the planet. That’s why the outpost becomes a castle; something stout enough to survive the windstorms are necessary. That’s the iceberg view of all the scenes, problems, and challenges realized. I don’t want to give away more. Drawing and brainstorming in this manner was a catalyst to my imagination. I scrambled to capture ideas an create an event timeline. It resulted in *shudder* an outline. 

As an organic writer, the outline overwhelmed me. Suddenly, there it all was, this part of the novel mapped out in all its complications and key events. I could imagine, see, and hear them. Writing them was required. It’s daunting for an organic pantser. I decided I would scramble to write key scenes and moments, and patch them together with bridge and pivot scenes, and build the story in layers, much like I used to do when oil painting, or writing a business case, or analyzing data.

I think that whatever opened my creative floodgates also turned the dream valves to full open. I had six remembered dreams last night. Friends from my past were featured. My wife also made an appearance. Of course, maybe it was the eclipse opening the dream and creativity gates. Who can say?

Trying to capture details this morning diverted personal resources already earmarked for other activities. I resorted to dream summaries. The dreams were wild. Once again, my muses were prominently featured. They were attempting to guide and assist me in different manners. Sorting the chaos was a fascinating exercise.

Having your muses show up in my dreams injects high confidence levels. I felt empowered and emboldened when I awaken. Yet, being me, the confidence evaporates to more normal levels by midday. Having your muses and some higher beings populate your dreams and offer encouragement has a good thing. I’m certainly not going to kick them out.

Time to write like crazy, at least one more time. How about you, writers? Have you seen increased creativity? Maybe it is the eclipse.

Or maybe it’s the coffee.

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The Block

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.

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The Last Name

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.

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Odd and Intense

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?

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The Plan du Jour

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?

 

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Sudoku Puzzles & Writing

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.

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As I Edit

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.

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Raw

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.

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The Light At the End of the Tunnel

“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.

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