Or did I really write that?
Yes, I’m afraid I did write it. When you’re writing a novel, there’s no one else to blame for the words you choose and the way you put them together. (Ghost writers excepted.)
It’s your name on the cover and there’s no hiding.
But before we get too carried away with responsibility, let’s go back to where it all started – the first draft.
Now, in writing circles, everyone tells you the first draft is the start. Michael Crichton said, books are not written they’re rewritten. And he’s right. Of course he is. The chances of turning out a perfect novel first time must be greater than winning the lottery. The opposite’s usually true – most authors could happily tinker away at their work for years to come. (We’re talking sentences and paragraphs here.)
We grow in confidence. We get better. We expect more of ourselves.
But we’re never satisfied!
Anyway, back to that pesky first draft. There’s a pretty good chance it will be too long, too meandering, repetitive, lacking suspense in the right places, or any number of other issues that mean it bears little resemblance to the perfectly formed creation in our imagination.
Or, if you’ll forgive the Anglo-Saxon, I’ll defer to Ernest Hemmingway, who apparently said, the first draft of anything is shit.
While I’ve no wish to argue with someone so respected, I would say the first draft of anything can usually be improved. So, why, on the third round of editing and revising, did I come across a chapter that made me wince?
Did I really write that?
It’s my own fault. I started writing the third Kent Fisher mystery, No Remorse, without an outline, a synopsis, or a plot. The story was a simple trail from the present into the past to discover a dark secret. Kent Fisher and I started with a challenge and set off on the trail. We discovered the clues, followed the leads, and dealt with the obstacles as they occurred, never quite sure where they would take us until everything began to fall into place towards the end of the story.
I was pretty pleased with the first draft, I can tell you.
Once written, I printed out the first draft and set the manuscript aside to distance myself before editing and revising. In this case, I allowed two months to pass before I read the story from cover to cover over three days, my trusty fountain pen in my hand.
Boy, did I make some notes and alterations.
The purpose of this read through is to discover whether the story hangs together, whether it works. But in addition to the structural elements, you soon spot errors, changes in character names, events referred to wrongly, repetitions, boring descriptive passages and so on.
More importantly, you get a feel for the overall balance of the story. Does it flow logically? Do the characters behave correctly, dealing with conflict after conflict in a realistic way?
I hesitated. There were a couple of chapters where things were a little too easy, a little too convenient for Mr Fisher. I spent a considerable amount of time trying to correct the problem, trying different ideas, until finally it felt right.
Come the second edit and revisions, I reached the revised chapter and winced. I’ve no idea what happened when I rewrote the chapter, but clearly my brain and fingers were working to different agendas.
Do you ever suffer that? You’re thinking one thing but saying or doing something else?
Fortunately, I saw a solution that not only worked better than the previous two versions, it added something more meaningful to the character and story. And now, a few days after emerging from 10 days of intense editing and revision, I realise this process was a necessary evolution to get the story where it needed to be.
No pain, no gain, as they say.
And that’s why editing and revising are so important. I only discovered how important a little over two years ago while working with a publisher’s editor for the first time. We batted ideas, solutions and revisions back and forth for a couple of months. She showed me a different slant to my words. She helped me improve whole sections of the story, like polishing a tarnished surface to a shine.
It was fun. It boosted my confidence. It showed me how to distance myself from my work so I could look at it with an objective eye.
If only I could do the same with my life … but that’s probably a story for another day.
No Remorse is scheduled for release in May 2018.
If you’d like to know more about No Remorse or the other Kent Fisher mysteries, you can visit my website by clicking here.
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