Title of recent pic below: "Texas Skies." Poster swears it is not photo-shopped.
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| by Colin Myers |
As I searched my files for the above photo, I discovered I had another pic from Texas (not nearly as pretty) Title: "Texas Snakes."
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EDITING METHODS ARE NOT SET IN STONE
Over the many years of this blog, I have come back to this topic over and over again. This week seems like a good time to bring it up for the umpteenth time. Rather than re-post previous articles, I'm starting from scratch, hoping that some new angle will crop up, drawing in a few more authors to reconsider the so-called "rules" of editing their manuscripts. Most of all, I want to assure newbie and wannabe authors that not every method fits all. It is important that you don't feel you have to "follow the rules" and that it is all right to work out an editing method that works for you.
Drawing from my own experience . . .
Back in my early days as an author—not long after I joined RWA (Romance Writers of America)—I began to hear the so-called "Rules of Writing," which included the STRONG admonition to plow through the draft as fast as possible, and then go back and edit. I recall sitting in a workshop where this was being pounded into attendees and going, "Huh?" My problem? I'd already written a 140,000-word Historical Romance, The Sometime Bride (clearly, I had no concept of the rule—"not more than 100,000 words"— either), and had lots of time to work out my own editing method, which was about as far from finishing the draft before editing as one could get.
Surely RWA had to be kidding! When I attempted to analyze my negative reaction to the concept of "plow through the draft before editing," I realized I believed that one scene builds upon another, and, frequently, in an author's haste to tell the basic concept of the chapter, both "meat" and "color" are left behind. Therefore, I felt it only logical to stop after every chapter and read it over to see what I had missed: descriptions of Setting, Main Characters, Secondary Characters of importance. Sometimes dialogue that was "pedestrian" instead of having the necessary "sparkle." And countless other tweaks, from a single, more colorful word to adding entire new paragraphs.
It is also possible you may discover you have written too many words, obscured your point in convoluted verbiage, wandered off on a tangent that detracts from the plot. In which case, you need to delete words, phrases, sentences, perhaps whole paragraphs to keep your story on message. Yes, it's okay to give brief backgrounds on Great-aunt Betty or Uncle Peter if they have a bearing on your story, but don't get carried away.
My personal editing method:
I edit after every chapter, again after every group of five chapters. When I find something that needs to be changed in earlier chapters, I scribble a note so I will be sure to add that point when I finally do the top-to-bottom edit. In recent years—I don't know whether I've grown fussier or merely older (sigh), but I have added a second top-to-bottom edit. Then, and only then, do I feel I have done my best.
Summary:
You do not have to follow the "Finish the Draft first" rule unless it works for you. (I understand there are some who fear if they stop to edit, they won't get started again.) Do not be afraid to work out your own editing rules. Whatever works for you. Just as I did for The Sometime Bride.
Whatever editing method you use, here are some of the things to look for:
1. DESCRIPTIONS.
Have you made the setting clear, adding interesting or colorful details? Have you given adequate descriptions of your hero and heroine? Secondary characters of importance to the story? Example: if your story is a classic, light-hearted Regency Romance set in London during the Season, did you provide good descriptions of household furnishings, gowns, shops, etc.? And on and on.
Grace note: I am one of those who tend to keep my eye on Plot, Character, and Dialogue, ignoring descriptions, so I know how easy it is to do. This is one of the reasons I edit after every chapter, adding hopefully more colorful descriptions and recording such details as hair and eye color so I don't mess up later in the book.
2. DIALOGUE.
Does your dialogue sparkle or just plod along (alas, the way most of us speak)? The written word (unheard) must convey what tone of voice does in reality. And, of course, our characters are expected to come up with those bon mots that in real life we only think of later. All too often the dialogue first off our fingers is mundane. Do not let it lie there, hampering your main characters while you move doggedly on in the same vein. Put more thought into your characters and their words. Get to know them better before you move on.
3. INTROSPECTION (what your characters are thinking).
See Dialogue. Introspection is just another way of revealing your characters to your readers. (Most romance novels reveal only the Point of View of the Hero and Heroine. In Historical Romance and other genres multiple Points of View are more common.
4. CONFLICT.
Have you introduced at least a hint of the book's main conflict fairly early in the story? (The hero or heroine must rescue the family by marrying money; the rake about to meet his fate; an inheritance issue, etc., etc.)
*****
There are, of course, many other things to look for as you edit, including the utter nonsense our fingers sometimes type! I can only repeat, I strongly believe it is much easier to discover and fix these problems as you go along, rather than rush through to the end and be faced with the daunting prospect of editing the whole thing at once. For example, what if you want to make an important change in Chapter 2, but it will force changes in nearly every chapter after that? Groan.
Final Note: Whatever you do, DO NOT SKIP EDITING! If you truly feel you cannot see the mistakes you have made, then it may be necessary to hire an editor. (Blair Bancroft Editing will be glad to help. Grin.)
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Featured Book of the Week:
I chose Orange Blossoms & Mayhem for the simple reason I have a personal connection to revealing the existence of the Inca Trail to the outside world, resulting in the great rush (in the late 20th c.) to hike the trail that once ran all the way from Cuzco to Machu Picchu. Sadly, the trail soon became far too crowded, and much too "civilized." I can only hope, now that the craze has died down, that serious hikers can once again enjoy this isolated mountain-top route in the beauty and solitude, as it was when it was used by Incan messengers. In any event, if you go to Machu Picchu, climb up all those steps to the trail that runs between the ancient city and the terraced planting fields above, hang a left, go through an arch, and you're on the famous Inca Trail. (Do NOT sit on the grass to enjoy the spectacular view. I picked up some nasty little parasites!)
Weddings and murder do not mix well. When things begin to go wrong
for her family's Fantasy Wedding & Vacation business,
trouble-shooter Laine Halliday gets more of a challenge than she
bargained for, even with the aid of a mystery man she finds on the Inca
Trail in Peru.
Author's Note: Only a few of my Golden Beach books have cross-over
characters, but all share the idyllic setting of an actual Gulf Coast
community, whose residents would prefer to keep its real name a secret.
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