Category: editing

             Wow. This is post #325.  Go figure.

            If the title of this week’s rant sounds familiar, you’ve probably read or watched a lot of how-to pieces.  Y’know, the ones that say something like “Here’s how to turn this stuff we scavenged from a dumpster into a full wedding reception –with food—in just six simple steps.”  Or maybe it’s “Learn how to play concert piano in four easy lessons.”

            We’ve probably all tried one of these at least once.  Okay, maybe tried the belly fat ones twice.  And a few things become clear pretty quick.  If I’ve tried a few of these, I’ve probably also noticed a few recurring issues with these steps…

            1) They still require lots of practice.  Yeah, this is easy to do—on the nineteenth try.  The first eighteen are going to be messy and somebody might die, but by my nineteenth attempt I should be getting completely adequate results.

           2) They often require lots of other skills or equipment.   Learning the ceremony is easy once you’ve got a working knowledge of the Basque language. Yes, making these carrot roses is no problem at all as long as I have a 1 3/4” mellonballer (not a 2”—that’ll ruin the whole thing).

            3) They’re rarely simple.  A lot of times each of these “easy steps” ends up sounding like that guy at Comic-Con who walks up the microphone and says “I have a five part question, but first I just want to say how wonderful it is that all of you have come out to meet all of us, and the positivity in this room reminds me of a poem by Emily Dickinson, which I’d like to read a few lines from…”

            4) They’re rarely effective. In the long run, most of these “four-or-five easy steps to accomplish something” methods just aren’t worth it. Oh, I might learn a small trick or polish a skill, but in the end, all the money and time and frustration wasted on trying to do it the easy way could’ve been spent on learning… well, how to do it.  If I really want to learn how to make carrot roses that look fantastic, maybe I should actually… well, learn how and not try to figure out some trick that’ll let me skip the learning curve.

            Oddly enough, this kind of ties back to something I mentioned a while back. It’s a hypothesis I came up with during my time in the film industry and, well, it’s stood up to all my testing and research so far.  Maybe next time I write about it I’ll be able to refer to it as a theory.

            I call it the four step rule.  Pretty much everyone’s professional career goes through four stages.

            *Not knowing what I’m doing. 

            *Thinking I know what I’m doing. 

            *Realizing I don’t know what I’m doing. 

            *Knowing what I’m doing.

            I don’t remember exactly how I stumbled onto this, but it was one of those instantly-makes-sense things.  I know my film career followed it.  And just looking around set, I could see it in all the people I worked with and where they fit into this pattern.  In fact, the more I looked, the more I came to realize this pattern applied to almost everything.  I could see it with people on movie sets, yeah, but also with the staff members for an online game I worked on for a while.  I have a friend who was a police officer, and he agreed a lot of cops followed the same pattern. 

            Now, there’s an unfortunate side-effect of this.  I also noticed a few people who were pretty mediocre workers, but were convinced they were amazing. These folks were stuck at step two because they never had (or never acknowledged) that slap down moment.  They never bothered to improve because they never acknowledged a need to improve.  They just stayed at those early, flawed levels.

            I’m sure most of you can see that all of this applies to writing, too.  When I first sat down to write a story in third grade, every aspect of it was a mystery to me.  I didn’t even know what I didn’t know.  Character elements, linear and narrative structure, dialogue —these terms meant nothing to me.  Of course, once the words were typed out in front of me, it was clear I was a genius. I mean, look at them—they’re typed!

            Alas, many editors did not agree with my assessment of those pages, and I had a good sized stack of rejections before I had body hair.  And that file folder got thicker and thicker for many years.

            I think I was in college when I started to consider that every single editor I submitted to might not be the problem.  Maybe my stories weren’t genius just because they were typed.  Yeah, the ones I was writing at that point had a much more elaborate vocabulary than my old ones (and I used it as often as I could), but were they really any better than the ones I’d been writing at age eleven…?

            I had dozens and dozens of rejections under my belt, but it turned out I really didn’t know much about writing or storytelling. All my “experience” was essentially eight or nine years of doing all the wrong things.  I’d missed opportunities and ignored good advice because I was convinced I knew it all. 

            And being able to admit that was what let me finally improve. And improving was what let me get where I am today.  Working with other professionals who treat me like a professional.  Able to offer actual advice with experience backing it up (even if a chunk of that experience is, “wow, I screwed up a lot back then…”).

            Now, last time I talked about these four steps, a few folks asked me if it was possible to skip some of them—specifically, step two.  If I realize I’m at step one, can I jump right to step three?  I’ve thought about this on and off, and also heard a few things in other interviews and articles that fit into this little outline.  So I’m going to say this…

            No.  You cannot skip any of the steps.  If I tell you that I did skip step two, it really means I’m stuck there and in denial.

            It comes down to, as my lovely lady has called it, paying your dues.  We all have to do it.  We can pay our dues sooner and get it over with or pay them later with interest.  I can get down in the gritty, sweaty, unrewarding trenches and take the long route—doing all the work and learning how to do it.  Or I can rely on nothing but luck, tricks, and gimmicks to get me there in a tenth the time—and then fall from a much greater height when it comes out I don’t know how things are done.  I’m sure we can all think of tons of Hollywood stories of someone who shot to the top in record time, only to come crashing all the way back down to where they started out (or even lower…).

            Y’see, Timmy, we need that screw-up stage.  It’s important.  Not to sound all new-agey or melodramatic, but it’s the crucible that burns away the screw-ups and forges us into better writers.  We go in like iron, but we come out like steel.  If we don’t go through it, we’ll never be as good as we could be.

            All that being said…  It is possible to manage how much time you spend on step two. How do we do it?

            I need to be open to criticism.  And to listen to it.  Try not to be defensive.  Learn how to tell valid feedback from personal preferences.  Be able to admit something isn’t good or doesn’t work like it’s supposed to.  Yeah, it’ll be frustrating and disheartening and there’s a good chance I’ll find out I spent a lot of time on something that’s just going to go in the circular file.  But if I’m open to learning from all that—to admitting I need to improve—that’ll speed up the learning process.

            One last thought.  Joe Quesada—an artist/writer/editor-in-chief at Marvel Comics—made a wonderful observation in his foreword to Brian Michael Bendis’ storytelling book Words For Pictures.  “If you’re not falling, you’re not trying hard enough.”  If I don’t screw up now and then, it’s probably a good sign I’m not trying too hard.  If I never challenge myself, I’m never going to get better. 

            We all need to fail.  And it’s okay to fail.  The only problem is if I’m determined not to learn from it.

            Next time, I’d like to talk to you about something you may have seen before. And before.  And before.

            Until then, go write.

            Spectacular spectacular!

            What I’m going to do this week is run through a few questions and requests that have shown up here this summer.  A few of them I can do a full post on, but some of them are things I’ve touched on before (or, at least, I think I have) so I think I can answer them with a few paragraphs and links.

            So… let’s get to it.

            Tricky question that’s going to be a little different for every writer and for every project.  For me, once I get a pretty solid draft, it’s really rare for things to change that much.  It happens sometimes, but not often.  I think once the plot and story are solid, for most writers, there won’t be any real changes to them.

            Please note, though, that I didn’t say no changes.  Every draft is going to be a little different as I tweak and cut and make other adjustments.  But all of these adjustments serve the plot and the characters.  Things are just getting tighter and clearer.  Maybe it means omitting a few story beats or changing someone’s second language from French to Spanish.  But these changes aren’t changing the bigger picture, they’re enhancing it.

           It’s probably worth mentioning that if I’m making changes that do radically alter my plot or characters, what it really means is that I don’t have a solid draft yet.  Yeah, even if I’ve done six drafts before this.  If I suddenly realize Yakko should be my main character while Dot’s the supporting character who dies in the second act… that’s a big change.  That’s a lot of changes.  It means different interactions between different characters, new motivations, possibly a whole new linear structure.  And it also means I’m kind of going back to square one.  Now I need to tweak and cut and make adjustments to this plot and story.

            Do you have any thoughts on working on multiple projects at once? Like editing one, drafting another, plotting a third? Is that something you do?

            Yeah, I do this, but in a bit more limited sense.  When I’m working on a first draft of something, I focus pretty much exclusively on that.  Once I’m out of that, though, and into the editing, I’m always jotting down character ideas, lines, beats—all sorts of elements—for whatever I’m going to be working on next.  So while I’m doing drafts on one I’m setting all the groundwork for another.  I’ve also  found this helps me as far as any kind of block goes—being able to dip my toes into something else helps keep my brain from getting stuck on a project.

            Overall, though, this is one of those things that’s definitely more advice than rules, because it’s all going to come down to the individual.  Am I someone who can split their attention or not?  And to what extent?  Some folks can do it (to different degrees), some folks can’t.  Unfortunately, the only way to find out is to try it once or thrice.  I’m comfortable at the level I just described.  You might be able to do two or three  things side by side.  Someone else might need to focus on one thing at a time.   

            I do think it’s worth noting that “another project” can easily be a distraction, too.  Sort of like eating when you’re bored.  I’ve also seen some folks use multiple projects (consciously or not) as an excuse to never finish anything. Sooooo… something to keep in mind.

I’m still struggling with how writers develop an interesting narrative voice – character voice I think I’m getting the hang of, but the narrative bits still sound like me reading a grocery list. 

            Narrative voice can be tough.  Part of it depends on how much I want to insert myself as the author. Some folks do this extremely well, others… not so much.

            As far developing a narrative voice goes, think of it like a narrator. Who’s actually telling this story to the reader?  I’m not saying my book or short story has to be in first person, or that a narrator even has to exist, but in my perfect world, who’s reading this aloud?  Christopher Lee?  Felicia Day?  Doug, the guy down at the garage?  Ms. Phoebe, my college English professor?  Knowing the narrator tells me how they talk and what kind of words my narrative voice will use. 

            So, from a certain point of view, the narrative voice is another character. Even if it’s me, it’s the version of me I’m choosing to project through my writing (a friendly me who wants you to enjoy the story and is going to tell it in fun, simple terms, and who also has much better abs…).  So narrative voice is a lot like character voice, which is something I mentioned here just a few months back.  Well, okay, a year and a half ago…

            It’s probably worth mentioning that if there isn’t some kind of narrative voice in my head to start with, that might be a sign of a bigger problem.  If I have no sense of how my story should be told—how my audience should be hearing the words in their heads—I may need to stop and think about things some more.   Maybe the plot or the story aren’t as solid as I thought, and if they’re not clicking with me, there’s a good chance they won’t click with anyone else.

            Do you feel  an author should stick to one genre for the most part?  I want to go write something as far from my current genre as possible. Will that throw my fans for a loop?  I notice that you and most other authors pretty much stick to one thing.

            Well, I’d argue not much of my work falls in the same genre, unless we’re talking in broad, sweeping terms.  I’ve got a superheroes vs. zombies series (sci-fi fantasy with some soft horror), a suspense-mystery-horror novel, a sci-fi thriller, a classic mash-up where I share credit with Daniel Defoe, and I just started work on a historical time-travel road trip story.  I’ve also got some short stories out there that are straight horror, some that are straight sci-fi, and even a pulp action war story.

            And I’m not alone.  The majority of writers work in a bunch of genres.  They may be known for one thing, but they’ve usually got a lot of other stuff past that.  Jonathan Maberry, Seanan McGuire, Scott Sigler, Craig DiLouie, Eloise Knapp, Timothy Long—and these are just the ones I know personally. All of them have written in at least two or three genres.

            Heck, look at Stephen King.  He’s known as a horror writer, but Firestarter and The Dead Zone, two of his earliest works, are pretty much straight sci-fi when you really look at them (there’s a post in that alone).  Under the Domeand 11/22/63 are both pretty solidly sci-fi, too.  The Dark Tower series is an epic fantasy.  Eyes of the Dragon is a young adult novel.  And then there’s “Rita Hayworth and Shawshank Redemption,” a  prison drama/character study that was adapted into a wildly popular film by Frank Darabont.

            So, no.  I don’t think an author needs to stick to one genre.  Yeah, there are some fans who might get upset I’ve moved away from their particular interest, but there’ll be just as many who’ll be intrigued to see how I deal with something else, and new ones who’ll come to me because of that something else.  And it’s my opinion that flexing those other muscles, so to speak, usually makes someone a better writer overall.

            I will say, though (there’s a “however…” on almost all of these, isn’t there?), that I don’t recommend chasing the popular trend.  It’s tempting to jump on the nymphomaniac-android-biker-school-romance bandwagon, I know.  But it rarely works out well in the long run.
           

            And I think that’s everything for now, yes?  Okay, I went over three or four paragraphs for some of them, but if you’re going to complain about that… Also, if I misread your question somehow, or if my answer just wasn’t complete enough, please say so down in the comments and I’ll try to answer there.  Or maybe bump it up to a full post.

            Next time, I’m going to answer one of those larger questions I mentioned up at the top. 

            Until then… go write.

            Both of you who are still here, many thanks for your patience during my long absence.

            The title’s a pop culture reference to some band my mom listened to a lot.  Garfunkel and Oates, I think…

            Okay, I’ll warn you right up front, this post is going to annoy some of you.

            I wanted to talk with you for a few minutes about cooking.  As I’ve mentioned in the past, cooking and writing are great parallels.  There are certain rules that must be followed, but there’s also a degree of personal style and taste involved for both the creator and the consumer.  We also understand that while almost all of us can do it on a simple, day-to-day level, there’s a big difference between that and cooking on a professional level as a chef.

            In cooking, we understand there are certain time elements that can’t be changed.  A three minute egg needs to boil for (big surprise) three minutes.  I can’t bake a cake in half the time by turning the temperature up twice as high.  Trying to speed these things up doesn’t improve them.  We all get that.  We all understand it.

            This is true in a lot of things.  If I’m building a house, I need to let the concrete in the foundation set before I start working on the frame.  Doctors often need to do procedures in multiple steps to give the patient time to heal.   It’s boring as hell, but sometimes you actually just need to watch paint dry. 

            Likewise, I think there’s a time element in writing.  The more it gets rushed, the more I end up with… well, a burned cake.  Or a crappy foundation.  Or severe hemorrhaging.  Or a lot of smeared paint.  Pick your favorite metaphor.

            That being said, there’s a lot of pressure to rush through writing these days.  I’ve seen more than a few would-be gurus pushing a business model of quantity over quality.  The ease of publishing through Amazon has made the idea of moving slow seem… well, clunky and antiquated.  It draws comparisons to, dare I say it, dinosaurs.  And with the raw amount of stuff being e-published, I think all of us have a lurking fear that if we don’t get our idea out there now, someone else is going to have it out there first thing tomorrow.

            But the most important thing, above all others, is for me to write well and write something good.  Churning out 6000 words a day or 300 pages for NaNoWriMo is an achievement, yes.  But it’s better to have 2000 good words and 200 polished pages if I want to do something with them.

            Odds are, that’s just not going to happen in my first draft.  Or my second draft, especially if that’s just a quick pass with the spellchecker.  Or my third.  Maybe not even my fourth.  Oh there’s always a chance that my first book is just pure gold on the first pass, but the majority of us just don’t have the ability or the experience to put out material that doesn’t need work.

            Yes, us. The book I just turned in took six months, start to finish.  It went through four drafts, and there’s no question in my mind it’s going to get another.  In the end, I even asked my editor for more time.  Because it needed more.  A lot of my word choices, my phrasing, my structure… it was all first-pass stuff.  It wasn’t really bad, but it also wasn’t good. Definitely not great (although I like to think there were still a few moments of greatness in there somewhere).

            Writing takes time.  Like the cake or the surgery or the paint, I can’t rush through an edit draft in a day and expect to get the same results as someone who spends three weeks going over their manuscript line by line.  My first draft is never going to be as good as someone’s fifth or sixth draft.

            Because of this time factor (ready for more angry comments?), I often find myself questioning people who say they wrote a book in a month.  Or even six weeks.  I completely believe a draft can be written in that amount of time.  I wrote the first draft of 14 in about six weeks.  But a finished book manuscript?  Something ready to hand off to an editor?

            You’ve probably heard of Stephen King.  You probably also know how often he’s been mocked and criticized numerous times for the speed he puts out books.  I mean, he’s got to be putting out how many novels a year?

            Two.  That’s it.  Less than that on average, really (although he did have a bit of a dead zone (zing!) after getting hit by that van).  In forty years of professional writing, he’s barely had fifty books published.  And so many people still call him a hack because he churns stuff out at such a fast rate…

            Now, going slow isn’t an ironclad rule.  Just a few weeks back I pointed out that some folks go so slow they pretty much come to a dead stop.  And sometimes everything just lines up and a draft takes a few days.  No two projects are the same and no two writers are the same. 

            But if every draft of every project goes fast… maybe I should take an effort to slow down for a while and see how it affects my writing.

            Because the goal for all of us is to be great.  Not to rush toward good and stop when we get there.

            Next time I’d like to have a quick chat about zombies.  And vampires. And mysteries.

            Until then, go write.