I often roam the internet, making my way from one website to another, reading hundreds of words written by other people.  Those words sometimes anger me, at other times they make me cry, but today I found words that inspire.

Some Mad Hope: When Nothing Is Good.

This is a post that reminds us about the small things in writing.  The things that can be tedious and time consuming, but are very important to all writers.  It reminds us that after hours and hours of sitting alone and writing, we then sit for hours and hours alone and edit, before we sit for hours and hours proofreading.

When I read, if I see a single mistake my reaction is, “haha, a mistake!”  When I write, I’m conscious of this but it doesn’t stop the errors getting through.

The author of the post “When Nothing is Good” is correct when she says that nobody notices when everything goes well, but those same people are quick to jump up and down when something turns pear shaped.

I’d like to be remembered for a good story, not for a story full of errors, so I edit and edit and edit some more.  When a story flows nicely, the reader is taken on a lovely journey.  As writers, we have to ensure the reader is so absorbed in the story that nothing can distract them, especially typos, poor formatting and bad grammar.

Benjamin Solah added a post by the same name – How Do I Edit? – to his blog earlier in the week. I found it interesting to read about how someone else tackles the editing process and then I started thinking about how I would answer the same question. I admit it isn’t easy to answer but I’m going to have an attempt at doing so. This might end up being a long post.

My answer relates to novel length manuscripts. To make my answer less complicated I will talk primarily about my current project – Mirror Image – but the steps below are generally what I do for all my projects.

When I start a new project I usually create a document, setting the page specifications to conform to publisher requirements, and save the document in a folder with the same title as the manuscript – in this case Mirror Image. This folder will be found within My Writing folder. So the location would be… My Writing>Mirror Image and the saved document would look like this… Mirror Image V1 10.1.09. I like including the date as it is a reminder of when I started writing the story.

When I move onto the second draft (or first edit of the completed manuscript) I will save the document as Mirror Image V2 29.5.09 and version 1 will be moved into a new folder within the Mirror Image folder called Old Versions. I don’t like clutter or the risk that I might open the wrong version by mistake and not realise what I’ve done. However, I do like to keep old versions in case I go mental and ruin a story by over editing it…or heaven forbid, I delete it by mistake (this hasn’t happened yet, but the possibility is always there). All future edits will be handled in the same way until I end up with a lone document entitled Mirror Image Final 15.7.09. This is the version that will be submitted to publishers.

But how do I get to that version?

The first edit is always done on screen. I read through the document making minute changes such as typos and easy to fix plot errors. I make notes about the not so easy to fix plot errors or character inconsistencies. My only thought in this first edit is to get a handle on how the story reads and you can’t do that if you spend months fixing mistakes, so I want to read the story through in no longer than a week or two.

The story firmly planted in my mind – major mistakes and all – I then let the story sit for a while. Not too long as I find I lose momentum. A couple of weeks to a month is generally long enough. During this time, I’m still working on the story mentally. I’m thinking about how those major inconsistencies and errors can be fixed. Do I need to do a bit of replanning? Or do I need to rethink my characters? Is more research required? If the answer is “yes” to any of these questions then I’ll get started on that, otherwise, I’ll just think about how to make everything more realistic, smoother and truer to what has been planned.

The second edit is where the major changes take place. Depending on what the problem is I might follow a single thread and change it before turning my attention to something else or I might attempt to make all changes as I work my way through the manuscript. In the past I have removed characters, inserted new ones, deleted plot threads as well as created them and I have deleted entire scenes, rewritten others completely from scratch and adding new ones. Editing can be a complex, time consuming procedure, but a writer must be prepared to do whatever it takes to improve the storylines and plots within a manuscript. It is hard work and often monotonous.

At the completion of the second edit, I’ll move quickly into the third edit, which is a repeat of the first edit – mainly fixing up typos and minor errors. Again, I’m concentrating on how the story reads and how everything fits together.

Once this is done, I will consider asking readers opinions. With Mirror Image, someone I trust to be honest and constructive has asked to read it when I’m ready to share it. However, with other projects, I normally turn to writers I know and places like Critique Circle (which was more than helpful when I got to this stage with Cat’s Eyes). I find the feedback from readers invaluable and the manuscript always improves because of it.

Depending on the feedback given, I may have to repeat edits two and three above.

When I’m satisfied that the manuscript has been polished to printing stage, then that’s what I do. I print it out and read it (with red pen in hand). I’m always surprised by the number of typos I still find, but that’s the way of a writer.

Unless I discover something terribly wrong with the manuscript, in which case I could possibly have to do edits two and three all over again, which would be unfortunately at this stage, I would now move onto what I would hope is the final edit stage.

This is when I read through the manuscript, yet again (usually on screen), and make adjustments to anything that I feel isn’t quite up to standard. I will make the changes noted on the printed copy and I might even try to improve word usage (if I think it’s required). With luck, I will be happy and that will be the end of the editing, however, sometimes more read throughs are necessary. How many? As many as it takes!

So, for me, it wouldn’t be unusual to do at least six edits on a novel length manuscript. This is, of course, if I get the storylines and plots just about right on the first draft. Major problems will mean additional edits have to be done. I think I average eight edits for most of my projects.

I was recently at Jim Butcher’s blog – author of the Dresden Files. There is a lot to read there, but I was especially interested in the article about using an arc to plan a story. His suggestion is to simply draw an arc on a piece of paper. Naturally, the beginning of the arc is the beginning of the story and the end of the arc is the end of the story. Then you place “markers” across the arc which coincides with crucial events in your story. Finally you add in more markers for other important scenes and anything else that moves your story forward. This is a good idea.

Anyway, I don’t need an arc for my current manuscript – Mirror Image. It’s well and truly passed the arc stage. Not being one to pass up a good idea, I figured that the most important scene in my manuscript – the climax, which is long and complicated – needs a lot of work and I could adapt the arc for improving that scene.

Over the last couple of days, I’ve been drawing arcs everywhere. But something good came from all that physical labour. I realised that the scene has to be cut down into four crucial sections and each section needs an arc of its own. This will enable me to focus on the emotions of the MC and therefore build the tension accordingly, which is something that didn’t quite happen in the first draft.

What I did was, in blue, put in essential “events” from the character’s viewpoint including what the character was feeling at the time. These were added to the top of the arc. Then, in red, I added events that other characters contributed to the scene, which affected the MC and in turn affected the overall scene. I added these to the underside of the arc. I’ve done this for Section 1 of the scene and will do the same for the other three sections over the next few days. Then I’ll have a comprehensive plan for the climax. However, I will not be tackling the edit of this scene for some time yet. I am currently working through each character’s storyline and I need to finish doing that because I might find other things that must be added to the arcs. However, it was because of this that I discovered missing elements for the characters I have done. The storylines feel unfinished yet once the climax has been reached I cannot go back to these other characters and give them their required resolution. In other words, this information must be added to the climax. I have no choice. I did say the scene was complicated, but hopefully using the arcs will help me get it right eventually.

If you visit a lot of writers’ websites, you’ll soon find a large majority of them openly admit to starting more stories than they finish. There are several reasons for this, but I’m going to talk about only one of those reasons today – the lure of a new project.

Yesterday, after a strong fight against it, I allowed the lure of a new project to take hold of me. I must say that the feeling is quite overwhelming and I can attest that the excitement of working on something new and fresh is what forces writers to stray from their current project. The writer has not stopped loving the old project; they just need a complete change of scenery. We do this all the time in everyday life. We change jobs when we start feeling bored and depressed with the old one. We seem to change partners at the drop of a hat these days. So why can’t a writer change projects too?

We spend many long months, even years, planning and writing a project (this is especially true when writing a series). Is it any wonder that we grow a little tired of the … well, same old, same old? To me, it’s not surprising at all. New ideas are always surfacing. We might write the idea down, but we will usually return to the job at hand. However, as the months tick by, the lure is more tempting and then…before we realise what’s happening, we have strayed.

Be warned, if you allow the lure to take you too often, then you will be one of the writers who openly admit to starting more stories than they finish. Do you want to fall into that category? I believe none of us do.

A serious writer will discipline themselves against the lure. They will set up guards to force the enemy back. They will build traps to stop the evilness from approaching their sanctuary. They will do whatever it takes to see their current project completed and submitted. That’s how a writer becomes an author. They submit completed manuscripts for publication, which is something you cannot do if you never finish a manuscript.

So, take this as a warning. The lure of a new project feels great. It’s exciting. It’s even inspiring and motivational. But if you give in to this weakness too often, you’ll never finish a project…and you’ll never become a published author.

A muse is similar to a witch’s familiar, which is usually associated with a black cat. The cat is a companion to the witch, but it doesn’t do the work of the old hag (although it can be a pair of extra eyes, which I suppose she could find helpful). A muse on the other hand is meant to fill the writer with extraordinary ideas and help the words flow like the gushing waters over a waterfall. In other words, the muse is using the unsuspecting writer and is writing the novel through them.

I’m not sure I like that idea. When I finish my manuscripts I want to know that all that hard work is actually mine, and that I haven’t been something else’s vessel to get the work done.

To be honest, I’m not even sure I believe in muses but if you insist you do have a muse and you really want to be rid of it, how do you murder that pesky presence?

You could try to trap the little devil, but I haven’t heard of anyone being successful in this task. Muses are adept at hiding just when you need them most. In fact, they take great delight in playing hide and seek and will often disappear for days, if not weeks, at a time.

You could fool it into believing you’re not ready to sit down and write, because a muse loves to appear at those times. It knows the writer gets frustrated and annoyed when it’s an inconvenient moment and that gives the muse a thrill. The excitement is heightened when the writer has absolutely nothing to write on too. Oh, how the muse enjoys that.

I must hang my head in shame, because I’m not able to tell you how to actually “murder” your muse. I wouldn’t want the authorities knocking on my door and accusing me of being the mastermind behind such an act. I believe the best line of attack is to go the other way – ignore it completely. Every time it shows its ugly head, push it to one side and don’t listen (and you’ll feel a certain amount of enjoyment after doing this for a while). The muse, however, will find this treatment intolerable. A word of warning, muses have a temper and it’s quite amusing to watch them stamp their feet and shout profanities so you’ll have to keep your own amusement in check. If you are strong enough to do this for a prolonged period (a couple of weeks should do it) then the blighter will pack up and leave.

You see, a muse wants everything its own way. It’s not interested in your plans (especially fast approaching deadlines) and it certainly doesn’t care about the assorted ideas you have. The muse looks down at its vessel as being inferior and…well, to put it bluntly…stupid. The writer must do as the muse directs or all Hell breaks out. It’s that simple.

However, we writer types know we are not inferior and we certainly are not stupid. If we sit down and think about it carefully, we don’t need the muse. All the muse is doing is dictating when we can write and what we write about. We have our own ideas and once we rid ourselves of the fearsome muse, we’ll be able to write whenever we want…and what’s more, we’ll be able to write in peace.

I’ve been plotting novels and short stories for some years now, but that doesn’t mean I think I know everything that needs to be known on the subject. Because of this, I continually borrow books from the library, or purchase them if they are being sold at the right price, to ensure I’m not doing things the hard way, or I’m not forgetting to do something altogether.

I recently borrowed a book called How to Plot Your Novel by Jean Saunders. It’s a relatively old book, but in this case the content is still viable. I didn’t read the entire book (and rarely do with this type of book as I usually pick out the sections of interest to me), but I wanted to share – in point form – the main items I got from the book.

• Find a theme you are passionate about.
• Know the kind of book you want to write.
• Keep the proposed length within publishing bounds and plot your novel to appeal to the widest audience.
• Create good characters, who you know well, and who have real motivation and goals.
• Learn how to ask yourself questions such as “What if…?”
• Scenes and chapters should be linked together.
• Throw the reader a curve now and then, without relying on coincidences.
• Don’t allow your story to sag in the middle by sustaining pace and keeping control of your characters.
• Dramatic scenes need their calming counterparts.
• End your story without leaving loose ends, and leaving the reader feeling satisfied.

I believe the points outlined above are common sense, but should be reiterated often because it seems that many books being published these days are not paying attention to these important details. Hence, the quality of reading is lowered and the chance of the author becoming a best seller slim.

If you’re a writer and you can place a tick beside each of the above, then you’re off to a great start. Naturally, there are other items that could be put on the list too, but these are the essential ones, in my opinion.

Excerpt from The Business of Writing for Children: An Award-Winning Author’s Tips on Writing Children’s Books and Publishing Them, or How to Write, Publish, and Promote a Book for Kids by Aaron Shepard.

All at once, in the middle of the story, I “woke up” with a shock. For just a few seconds, I had completely forgotten I was sitting in a hot tent with a thousand other people – forgotten even that I was listening to Connie Regan-Blake. She had drawn me into the story so completely that I was aware of nothing but that story’s unfolding within my own mind.

That moment taught me that the height of storytelling – oral or written – is when the teller becomes invisible.

Part of becoming invisible is to engage the reader’s imagination with concrete images, as discussed earlier. If the imagination is busy enough, it will wrap the reader up in the story and draw attention away from the writer.

Have you read a book where this has happened to you? I have and I found that I felt that I was part of the story. In fact, I was part of the story. I tend to imagine myself as one of the characters and I ‘live’ the plot.

The difference it makes to the story is enormous. The pages turn automatically, the setting and characters move before your eyes. And before you know it the story has come to an end and you are left with a feeling of wonder…and disappointment because it’s over.

On the other hand, I’ve read plenty of stories where I find myself flicking forward to see when the chapter ends. Or I might continually look down at the page number to see how I’m progressing. Naturally, doing these things means I’m not right into the story. I’m distracted by the words, the author (maybe), everything around me, because something about the flow or plot doesn’t grab my total attention.

As a writer, being invisible must be a talent because I think it must be hard to do. I can’t say that I’ve tried to achieve this when I write, but I certainly would take it as a compliment if someone told me this happened to them whilst reading one of my stories.

Writing is like painting a picture. An artist uses colour to place an image before our eyes, whereas, a writer uses words. To become invisible, we have to pick the right words, a good balance with description and setting, rounded characters and realistic dialogue and action. It’s not easy, but can you make yourself invisible when you write?

As a reader, no matter what I’m reading – a children’s book or a book for adults – I always enjoy the books that start right in the middle of the action. It’s exciting! It makes me keep reading to find out who the characters are and what is happening to them. Yet as a writer, I sometimes feel the need to “set up” the character and setting first.

Excerpt from Writing a Children’s Book: How to Write for Children And Get Published by Pamela Cleaver.

Begin at the moment of change or crisis in the key character’s life. Don’t start with an explanation with his circumstances, or a description of where he lives. If you feel you need scene setting or character establishment to get you going, write it for yourself and go on until you reach an action point. This is where your story should start:

• Start where the trouble begins.
• Start on the day that is different.
• Start where the main character comes up against something he can’t stand.

Don’t discard the previous material but feed it into the narrative as snippets as the story unfolds.

This is simple advice. Yet I feel that it’s the perfect way to find the best starting point for your story. I now know that I have to rethink the beginning of Cat’s Eyes.

I found this advice by using Google Book Search.

Sometimes, especially when we first start writing, we reach a point where we no longer like or want to work on the story at hand. Usually as we grow as a writer, we can see the errors we’ve previously made and that “spoils” the story altogether.

It’s possible that we might rewrite the manuscript entirely, but even then we are not satisfied, we are not happy. What do we do?

Making a decision like this is difficult. We might regret the decision later, so we must be careful in what we do today.

Holly Lisle’s Burn It, Bury It, Let It Live might help you make that decision. Answer the questions and see how you fair. However, remember, once you burn it you can’t get it back. So be careful you don’t rush into anything.

Evil Editor was recommended by a member of my message board. This is what they said:

Basically, he edits someone’s real query everyday and writes about how to make it better. Also, people send him the first page of their story for suggestions. The whole thing is extremely humorous and helpful at the same time.