I am thoroughly delighted to have a second editorial letter in my hot little hands, chock-full of things for me to attack in the manuscript.
No, I really mean that. This letter is fantastic. The first one was great, but much more open-ended. Sarah and I were still getting to know each other, and she didn’t yet know what my style of taking notes is. This time, a lot of the notes are a lot more specific – but without being directorial. I have a lot of suggestions, a lot of either-ors, a lot of open possibilities. As soon as I read the letter through, I was excited to dive back into the manuscript.
See, the last time, I had to spend about a month just re-familiarizing myself with the story. I’d not looked at it while we were on sub, and things got fuzzy. Yes, even with something I’d spent so much time with — in some ways, that was the problem. This thing’s been through a lot of drafts and revisions, so some of the trouble was remembering, “Huh. Did that scene stay or did it go?” Or even just, “When does that happen? Before or after that other thing?”
This time, though, it’s only been a couple of weeks since I finished the edits. And I didn’t put it fully away in that time — I’ve been brainstorming titles, starting to adjust my outline for Book 2, continuing to mull over characters and plotlines, all of which means that I’ve still had my head in the story. So when I have specific notes — bring X out in this character, address Y in the worldbuilding — I have a much stronger and immediate sense of where to go to attack them.
How do I keep track of all of that? Well, here’s a screenshot — with pertinent narrative blurred out — of what Scrivener looks like for me right now.
This is another big hurrah for Scrivener — it makes keeping all of this straight so easy. So what you’ve got on the right hand side are the editorial notes. The bits I’ve highlighted in green are the specific points of attack — more the nitty-gritty than the big picture of Sarah’s thoughts. The orange highlighted bits, also in all caps, are my notes to myself. A lot of them say things like, “Yes, I should definitely find a place for that.” Others are more specific ideas triggered by Sarah’s suggestions — how to implement the spark she’s set.
So then I can move over to the left, to the binder and the corkboard, and I can start tagging different chapters and scenes with the different kinds of attention they need. I tend to attack one chunk of notes at a time — so, in this case, based on my notes, I’ll resolve as much related to my main protagonist, the lovely Vitellia Latona, as I can first, then I’ll move on to the secondary characters — her sisters, her father, the antagonists, and so forth. A lot of the world-building stuff can get folded in to that (because it should all be character- and story-based, not info-dumping), so I’ll be able to check some things off the list as I go, but then at the end, I’ll make more passes to see what I haven’t worked in yet.
I’ll also be taking some time to revisit my research and to consult my thaumaturgical adviser. Sarah’s brought up some considerations regarding law and society, and I need to re-immerse myself in some of the Roman reality before I can decide exactly how I’m twisting it for the Aventan AU. Then, my dearest friend has a nigh-unparalleled brain for magical matters, so when I hit a sticky point in defining the rules of my own system, I tend to bounce ideas back and forth with him until I can get it sorted out. Nothing in writing happens in isolation, and whether I get the assist from a book, a website, or a treasured friend’s voice, it all helps me to think about my world more critically and creatively.
I’ve set myself the goal of getting this set of revisions done by the start of March — not least because March and April get stupid-busy for me at the day job, and also because February, as a month, tends to depress me, so I’m looking forward to having this to energize me through grey and dreary days. It’s so exciting to have the opportunity to make this story stronger under thoughtful guidance!