In the past ten days, I have created a villain, orchestrated a sex scene, and killed half a dozen people who didn’t exist in the first place. I’ve been editing, and I think can count the number of chapters left un-tampered with on one hand. Something like seventeen chapters saw substantial alterations, two of those were re-written entirely, and most of the others got continuity tweaks.
As it seems, January and February are “Now What?” months over at NaNoWriMo. As I just finished my third round of revisions for Aven since signing with Connor back in October, I’ve been following the conversation pretty closely, since it’s relevant to my current headspace. There’s been a lot of great advice, both from the pros and from the community. There’s also been a fair bit of, well, whining — from people who think revision is too hard or too depressing. From people who find accepting criticism to be stressful. And from people who have realized that being melodramatic on the internet, particularly about artistic endeavors, is a good way to get attention. (An unkind assessment of the population of the web, I know, but not, I think, an inaccurate one).
And in some ways, I get that. It is hard work, and in a lot of ways it’s the exact antithesis of what gets people through November, especially those who are new to writing, or new to writing such long projects that they might actually want a future for. Now is not the time to throw everything at the wall. Now is the time to hone in, to admit that a lot of what you flung earlier isn’t working for you, to scrape that stuff away without mercy, and to figure out, with precise vision and control, what you need to add in its place. And misery does love company, so I thoroughly see how this becomes a self-perpetuating cycle when Nano openly asks people to talk about their experiences.
My opinion of editing? I find it fun. It’s like a puzzle game — you have to figure out what doesn’t fit, and what new piece might fill in the gap. Maybe something just needs to be twisted another way, or turned upside down. If you move something, it might create a gap elsewhere, and then you have to figure out what to do about that. It’s definitely intellectual exercise, and the workout can be exhausting. It can sometimes melt your brains and make you a little crazed, especially when you plunge in deep and don’t come up for air for hours on end. But then it feels so good to know when you’ve nailed it! So some days, it’s a little like this:
I just happened to run across the Pratchett quote in my subject line today, and I quite like it. The first draft is where you find the characters and get a sense of the shape of things, but it won’t have the sharp definition or the right energy. Aven began life during Nano 2011. I think there might be a couple of scenes that are sort of intact from that first draft. A lot of material got shuffled off and will hopefully appear in a later book. A lot of material got extracted completely. Maybe it will come back, maybe it won’t. But it doesn’t stop existing just because I had to take it out of the working draft. It doesn’t get unwritten just because I do that — because I don’t delete anything. I make copies and shove the old material into different files, so that, should I ever want to revisit it, I can. But even if those fragments never come back to life, either in this or a future project, that’s okay, too. I still had the joy of writing them. And they still helped shape the novel into what it is today. If I hadn’t written those words, I couldn’t have gotten to this point.
I can look back and know that I’ve always been this sort of writer. I find new things through continuing to play with the story. Back when it was all OC Star Wars fanfic all the time, I wrote and re-wrote some key scenes over and over again, across months and years of living in that story. My problem tends to be more that, if left to my own devices, I’m never satisfied. I’ll keep fussing and tweaking forever. I always feel like there’s something else I could say, something more, some new angle worth exploring. (Neil Gaiman, according to his blog, sometimes has a similar problem, which makes me feel better about it).
And that’s a lot of why I feel like the best part of having an agent so far — beyond just, y’know, having one — is having someone to help focus and direct my edits. I’m fortunate that Connor is an editorial agent — not all of them are, and not all writers want their agents to be editorial, but this was clearly the kind of relationship I had to be able to have with an agent. His eagerness to work with me and to develop the product from something good into something great has been magnificent. It’s wonderful to have friends and family members who are willing to read what you write, but even if they are willing to be constructively critical, they don’t have the insider knowledge of the publishing industry. They can’t tell me how certain popular series have changed the expectation for the genre. They don’t know how the trends are ebbing and flowing. And, frankly, they tend to not be great with the kind of revising help I need the most — they’ll either just think everything’s great because I wrote it, or their advice will be so super-specific as to not be helpful, more line edits than conceptual. Working through it with a professional in the industry gives me much better ways to focus that energy that drives me to pick and twiddle and micro-adjust. It gives me things I can really lock my jaw around and shake the life out of — which is great, because it’s so much more satisfying than those vague micro-adjustments I’m otherwise prone to. It’s like how you feel better after eating a really great meal than you do after snacking indiscriminately all day.
All of which is to say that, as I stated on Twitter last week, I’ve been enjoying a lot of deep and artful thoughts about sex and murder.
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