At the start the thought of reaching 100,000+ words seemed like the equivalent of scaling one of the higher Himalayan mountains; a mind-boggling feat that was best not contemplated. Just one step at a time. A slow journey for me with so many distractions if not setbacks. But no excuses, because no one asked me to do this. So if I failed it was only me to be disappointed.
To extend the mountain analogy (perhaps to excess): I mostly seemed to be wading through low clouds and finding myself lost. But occasionally they would clear to reveal a landscape that while unfamiliar had features I could pick out, which combined to be something meaningful. Then finally reaching what seemed like the top but under a misty haze, though still seeing way below and feeling I could go no farther. Still, the happy relief of a load removed and a kind of jadedness from struggling my way through the difficult bits (of which there were many) impaired any perception of reality. So it’s better leaving time to recover before coming back down. Before attempting that second draft.
It’s not uncommon to write a third or fourth draft. Somehow details are missed, inconsistencies. (Funny how glaringly obvious errors have escaped my attention even after 3-4 read-throughs!) I’ve been accused of writing disjointed chapters, so am careful now to keep everything tied into as tight a narrative as the story allows. But there’s always the chance of some fundamental flaw which makes that impossible. Too early to tell. This is still the time to have – faith. Meanwhile: take a break of at least a month, maybe another project, and then face the sobering reality of how this latest novel fails.
Links to my fiction: The Captured (US) The Captured (UK)
Time Over (UK) Time Over (US)
The one big advantage of self publishing is having total control of your final output. No editor to ‘kill your darlings’ – drawing metaphorical red pen lines through your precious finely crafted text. Yes surely the reader has the time and patience to read that digression so integral to your protagonist, their back-story.
While the self publishing route can seem like a recipe for an unrestrained and undisciplined (and unchecked) writing sprawl, it represents creative freedom. I’m surprised what is allowed to remain in the books from big-name publishers of big-name authors – those with past acclaim. One rule for them? The difference is that they have garnered the trust of readers who know the book is worth sticking with through all the flabby parts. Not that I’d claim to be a great editor. Certainly self-editing has been a problem. It’s never easy to see the wood for the trees when it concerns your own novel.
It always seems as if traditional publishers/agents are looking for the next big thing that is similar to the last, but fresh. They state what they prefer, mentioning particular authors. So somehow you should be like them and yet original, as if there this finely tuned skill known only to writers of a certain talent. That can feel dispiriting. Even if you admire said author, hold them up as an ideal, what you produce can only ever be a sub-version of theirs. Yet to claim “I am an original, and I aspire to no one,” can just seem like arrogance.
If, from those gate-keepers, examples of their ideal fiction is only meant as a guide then perhaps they should state that. Or maybe they should be more open-minded to the possibility that the next big talent may come out of left-field, and surprise everyone.
Thanks for reading.
….is knowing what to leave in, or cut out.
On that (possibly) final draft, when I’m feeling confident, I rewrite with ease, often thinking: that so obviously needs changing, how could I not have seen it before? So another paragraph further honed until I’m happy with it – again. But the thought of having to cut said paragraph seems, well, unconscionable. This is common; it must have given rise to that troubling phrase “kill your darlings.”
What precious sections were in need of cutting only becomes apparent when it’s too late. I recently noticed a new review for my novel Time Over, having assiduously avoided reading them lately (I find it’s generally best not to read my own reviews, and certainly while the next book is in progress). I just happened to see the word edit (or editing); it was enough to make me turn away and click off before I could see any more words of that damning indictment.
The problem is, one reader’s self-indulgent dross is another’s profound insight. At least that’s what you tell yourself … to keep the darkness at bay. But really you can’t strike the same cord with everyone. Yet there is a standard, and maybe this is why a professional editor can be valuable.
But if my latest book does go to an editor, it would be tempting to tell them: “I accept all the amendments you advise/the corrections you’ve made. Just don’t let me see them.” Then I am spared the potential pain of seeing my creation ripped apart.