Weekly Update: 12-16 April

Weekly word count: 2296

Lower than last week, but pretty good considering I got my line edits for Division back and that's going to have to be the writing priority for the next few weeks.

Still no word from Entangled about the submission of Best Face Forward.  They usually say 60 days for a response, but under the circumstances, I guess it could be more.  I've entered it in the Stiletto contest for the Contemporary Romance Writers, so fingers crossed for that.

Last week's Tarot reading was the ten of cups (joy and nostalgia) for the past, the eight of cups (breaking loose) and the Emperor reversed (immaturity).  Last week was a difficult week emotionally, I found myself looking back on my life a lot and feeling sad about the challenges I've faced.  It was discouraging to remember how I'm effectively starting over in so many ways and worrying about whether or not I'll still have a job when this quarantine eventually ends.  I'm not sure if that counts as immaturity, but an alternate reading for the reversed Emperor is instability, which would fit.

This week's Tarot draw was the five of cups for the past.  The five of cups symbolizes emotional loss and difficulty.  I drew the seven of swords for the present, which signifies craftiness and intellectual sneakiness.  And finally, the Queen of cups, reversed, which warns that emotions may be clouding my judgment.  Doesn't sound like a fun week, except for the sneakiness.  I always enjoy a good convoluted plot.

Weekly Update: March 8 to 14 (COVID)

Weekly word count: 1735
Editing countdown: 38 chapters done, 10 to go, 2 weeks left to deadline.

I'm hoping to get Division done for line editing at the end of this week.  However, I'm going to have two kids home instead of at their March Break camps, so we'll see how that actually works out.

I keep telling myself that I'm not worried about the COVID pandemic.  Canada's got a pretty strong pandemic response and we're acting quickly to contain it.  I agree with statements like: if this ends up being no big deal and looking like we've overreacted, then we've done our job.  So I'm in favour of the measures taken.

That said, I'm finding it hard to keep my primal brain from getting into OMG territory.  I went to pick up groceries and found myself having a visceral reaction to the empty shelves.  I know there are more groceries arriving soon and there's no risk of a shortage (aside from perhaps the start of this week), but there's something about seeing those gaps that makes the back part of my brain start shouting.  And it's not fun to have to keep reminding myself that this is not a panic-necessary situation.  (In case you're curious, this is why so many of my characters have internal brain vs brain struggles.)

Fear is good.  Fear alerts you to a risk and give you the awareness and impetus to protect yourself.  Panic is not good.  (Though there is a theory that panic evolved as a last-ditch brainstorming method.  If you're in an about-to-die situation, then you might as well try anything because there's nothing to lose.  But we're not in an about-to-die situation.)

Last week's Tarot reading was the Chariot (balance), the seven of wands (hold firm), and the six of cups reversed (living in the past).  I'd pointed out that I have any number of ongoing situations which require me to find the balancing point between priorities and responsibilities.  And I'm stubborn, so holding firm is my jam.  But I didn't quite figure out what the living in the past card meant.  If it had been the Tower, then that would indicate a dramatic shift in the environment, but the six of cups is more about nostalgia and looking backwards instead of paying attention to what's in front of you.

This week's reading was the Devil reversed for the past.  That usually indicates a need for freedom, to break loose from the self-imposed restrictions holding you back.  For the present, I drew the Queen of Wands, reversed.  She could indicate a person working against my career ambitions, or be a warning against inflexibility.  The last card was the ace of coins for the future, a new venture/business or a material windfall.

Since I also have the Devil, I'm going to guess that the Queen is warning against inflexibility instead of indicating a person.  That would make sense in terms of consistency.  Coins deal with the physical world: housing and finances mostly.  So the ace is predicting a start of something unexpected financially.  Maybe my lotto ticket is about to pay off.

Hey, a girl can dream.

Weekly Update: March 1 to 7

Weekly Word Count: 4725

Editing Countdown: 26 chapters done, 3 weeks to go

It’s been a pretty productive week writing wise, though I need to keep reminding myself that this is not a sustainable model.  I’ve been using my regular weekday writing time to move forward on Until Proven Guilty.  I’ve set myself a fairly gentle word count goal of 2500 words per week, and thus far, I’ve been able to do that.

I’m editing in the evening after the kids have gone to bed, though I’ve needed to use one or two weekday writing spots when I’ve needed to substantially rework a scene.  This means I’m going to bed later than I usually would and I’m having a harder time falling asleep because I’m not having my usual “coax my brain to zone out” time in the evenings.  However, this will be something I can recover from once Division goes to the editor for line edits.

In the past, I’ve told myself that I should have a word count goal of 5000 words from my weekday spots and that I should also be trying to write 500 words on a secondary project at least 3 times in the week.  (With the somewhat arrogant assumption from my inner perfectionist, that I could do 500 words in the evening 7 days a week, if I wasn’t being so lazy.  I have words for that part of my brain, but they’re mostly profanities so I won’t repeat them here.)

I can’t do that.  I can manage to push myself for a short period but then I need a gap of no writing to recover and I end up further behind than if I’d just stuck to more moderate goals to begin with.  So I’ll use it when I’m coming up on a deadline, but otherwise, I’m trying to be better about saying “it’s okay if this is what you can do” to myself.

Last week’s Tarot reading was the nine of Swords, reversed (nightmares/depression), the Hanging Man reversed (end of limbo), and the four of coins reversed (money problems).  I speculated it might have something to do with my statement from Soul Mate Publishing coming in.  And it certainly does fit the first two.  I’ve had a lot of anxiety, wondering what my first three months of sales were like (and I’m always expecting the worst).  Receiving the report that details the number of sales and borrows from KU put an end to that.  For better or for worse, I know how it went now.  And for the record, it actually did fairly decently, compared to my other most recent releases.  However, it doesn’t quite fit the “money problems” prediction.  Granted, it would be an issue if I was planning to live on those royalties, but that’s never been the plan.

The other part of my life that had an end to limbo was me being accepted for a graduate program at college.  My work has asked me to get my Human Resources Management certification, and as part of that, I need to go back to school.  However, I don’t think that one fits very well since I haven’t been anxious about it and work is covering the expenses.

This week’s Tarot reading began with the Chariot for the past.  The card shows a cart being drawn by two horses, each pulling in a slightly different direction.  The Chariot is all about finding a middle road and a balance between powerful opposing forces or important personal goals. For the present, I drew the seven of Wands.  It indicates that there are forces attacking my position but that I have the high ground and should hold firm in the face of challenge.  I call it the “nevertheless, she persisted” card, for my own amusement.  For the future, I drew the six of Cups, reversed, which suggests an unhealthy nostalgia or someone who is focused on the past to the detriment of the future.

There are plenty of aspects of my life which would qualify as a balancing act between opposing forces and desires, so that doesn’t narrow anything down.  There are also plenty of situations where I am fighting against what feels like entrenched forces.  The living in the past card is the most interesting one in this spread, in my opinion.  Like most people, I can find myself stuck in a loop of past mistakes, or be frustrated in how things haven’t worked out the way I’d hoped.  Does that count as living in the past?  I’m not sure.  I guess I’ll see what happens this week and see if it gives any insight.

Weekly Update: February 23 to 29

Weekly word count: 1103
Editing countdown: first pass complete, 15 of 48 chapters done with second pass

If I can keep up this pace for editing, I'll have Division ready before my deadline.

It's been a tiring week.  Perhaps last week's Tarot draw was more of a warning about needing to take a break than a caution about the dangers of escapism.  I didn't push myself but I'm still proud of what I accomplished.

The RWA candidates have declared and I'm pleased to see lots of strong voices in support of diversity running.  There are a few candidates that I'm worried about, since they've been dismissive or have a habit of tone-policing.  But the vast majority seem eager to make RWA into the supportive organization it always should have been.  Fingers crossed that this puts us firmly on the right track.  Voting begins in two weeks and then we'll see what we have.

This week's Tarot draw was a new message.  I drew the Nine of Swords, reversed, for the past which traditionally signifies depression (not a big surprise for me since I've struggled with it all my life).  For the present, I drew The Hanged Man, reversed, which suggests a major change to a long-standing situation.  For the future, it was the Four of Coins, reversed, which usually indicates money trouble.

I should be getting my first royalty statement from Soul Mate Publishing soon.  It'll be the first time I'll be dependent on a publisher to receive payment, so that's a change to a long-standing situation.  Hopefully it won't spark money troubles.  Of course, I'm often wrong when I try to guess what the readings mean in advance.  Still, I think it's part of the fun of doing readings.  It's an opportunity to stretch my speculative and imaginative talents.

Weekly Update: January 27 to February 2

Edits are done!  Edits are done!

It's been three weeks of very intense editing but the manuscript for Eyes On Me is now ready to go back to Soul Mate Publishing for the next round of edits.  I ended up simplifying two subplots and eliminating one entirely but the story is now more intense and streamlined.  I still love it (which I always consider the ultimate sign of whether or not one of my stories is good enough to publish) and I had several moments of laughing and crying while going through, which I hope readers will share.

Next week it's back to work on Division and hopefully I can get that manuscript done in the next few months.

Full steam ahead.

Weekly Update: January 20-26

The edits and trimming proceed apace.  I'm down to 96k for Eyes On Me with fifteen chapters left to go.

My darlings have been appropriately murdered, if they don't serve the plot, which is now considerably tighter than the draft I submitted.  I still love the story and had a weepy-eyed moment while editing a few chapters where my hero and heroine finally recognize they're falling in love.  And I adore my secondary characters.  I always need one sarcastic and witty spokesman to say all of the irreverent and funny things I want to say.  I'm particularly proud of my Princess of Pop, my heroine's sister.  She's a well-rounded character who avoids the usual stereotypes and it's been such fun writing a close, supportive sister relationship.

I am looking forward to finishing these edits and getting back to Division.  And then I'm looking forward to writing the sequel to Eyes On Me.  And possibly another project, but that one will have to be a secret for awhile.

I know a lot of writers are intimidated by the blank page but I love it.  All the possibilities, all the plot bunnies, everything is new and brilliant and just waiting to be discovered.  Writing the first draft is my favourite part of the process.

Editing Away

For the last 11 days, I have been in intense edit mode as I work on the manuscript for Eyes On Me.  I’ve been so focused that I haven’t come up with my usual three or four ideas for the weekly blog topic.  So I’ve decided to take advantage of my monomania and lay out my editing process.

Process... Torture... either applies

First of all, a big head’s up: I don’t believe it is possible to entirely self-edit a book.  Even though an author knows their own story better than anyone else, that very knowledge makes it hard to see what has actually been said versus what the author intended to say.  My process relies on outside people reading my work (beta readers and developmental editors), usually at least five different perspectives.  And I ask those initial readers to rip the story apart because that is the only way I can make it better.

Once I have my beta readers and developmental edit feedback, then it’s time to plunge into the manuscript.

For me, the most important part of the process is to break the manuscript down into small parts so that I don’t get caught up in reading rather than editing.  So I edit chapter by chapter, and within each chapter, one paragraph at a time.  It’s a slow process but it’s the only way I don’t miss things.

I start with making sure I’ve covered my basics within the chapter.  Are my characters and settings introduced with clear descriptions?  Is the action within the chapter clear, moving from point A to B to C without being confusing?  Do characters or props suddenly appear without warning? 

I read through the paragraph and try to condense it as much as possible.  Have I used redundant words (raised his head up, or looked down at her shoes)?  Is the information I’ve given necessary (backstory, description, etc.)?  Can I tighten the action and raise tension by trimming beats out of the manuscript (if two people each make part of a reveal, does it work better if one person makes the entire reveal)?

Then I copy the paragraph to a new document, my “scratch manuscript”.  I do this because most editors need Track Changes activated in order to see what has been changed.  It’s a valuable tool but I find that I have trouble reading text with Track Changes activated.  Transferring it lets me catch any left out or left over words as well as small formatting errors such as extra/missing spaces, periods or commas.  However, it is critical that I ensure that I’m making any corrections to the manuscript and not the scratch document.  I’ve used a number of tricks to visually cue myself, such as using a different color of text or background.

Once I’ve gone through the entire chapter paragraph by paragraph, it’s time for the “search and destroy” phase.  That’s where I search for overused words and phrases, as well as words that tend to indicate passive voice (such as was or had), superficial sensory description (look or hear), or temporal notes (day, point, moment).  To avoid getting overwhelmed by “Find” results, I do the search in my scratch document and then make the changes in my manuscript.

My last step is to make detailed notes about each chapter.  That way if I have to go back and make further edits (adding something in for foreshadowing or removing a subplot), I have a clear guide.

My process is time-intensive but I think it produces a high quality result.  I’m always looking to improve my process and make it more efficient without reducing the overall quality.  But I also have to respect what works best for me.  We all have different mental blindspots and highways.  The key to a good writing process is one that lets you take advantage of the parts that work well and protects you from the parts that don’t.

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Weekly Update: January 13-19

I've been working hard on my edits for my Soul Mate Publishing book and I have 25 000 words to trim from the manuscript.  So instead of logging words written, I'm going to track the number of words I've removed.

This week, I went through 6 chapters and removed 2 250 words.

I need to pick up the pace.  Ideally I should be going through at least 2 chapters a day.  Thus far, it's taking me 3-4 hours to go through each chapter, removing overused words, searching for places where I can state things more efficiently, and recrafting a few of the subplots to tighten them up.  I'd like to get the manuscript back to my editor before Valentine's Day so that there's plenty of time for further tweaks as needed.

I wish I had the time to work on Division as well as Eyes On Me but if I want to meet my targets, I need to focus.

Weekly Update: Jan 6 to 12

Weekly word count: 5983, 6 chapters edited/rewritten for Division

It's been a pretty significant week for me.  I decided it was time to begin draft 2 of Division, the story wasn't stable enough to keep going.  I'll be able to keep most of what I've written but there are a few plot elements that weren't working out and I've got some ideas that will work better.

I made some good progress on the rewrite but it's going to have to go on hold for the next little while because I got my first round of edits back from Soul Mate Publishing.  

This is my first time working with a publishing house editor and I'll admit that I'm nervous.  I want to do a good job and be a good author to work with.  They'd like the manuscript trimmed down, so it'll be a challenge but I've got some ideas on how to tighten it up and which subplots can be removed.

It's pretty exciting to get moving on this.  I'm looking forward to it.

Ink Tip: But That's Not What I Meant! (Working With An Editor)

There are days when I wonder how anyone is able to communicate with one another... most of those days happen when I'm doing edits. 

Maybe I meant to say he grabbed a bear and took a drink!  It could happen!

Words are supposed to be straightforward.  Say the right ones and other people will grasp the information you are conveying.  This is the myth that we cling to and it's probably the basis for all civilization and culture.  But it's not quite entirely true, as is obvious to anyone who takes half a minute scrolling through the arguments on social media.

There's a lot of variation in interpretation of the words we use to communicate.  And often what we think we've said is not what we've actually said.  Editors and beta readers can help an author to narrow that gap, but it is an ego-shredding process.  

My rule of thumb is that I will not argue with my editor about a problem that she has identified, though I may not agree with her about the way to fix it.  This has saved a lot of headaches and arguments on both sides.  If she is asking why a character isn't jumping through the window to save the day, then I can't argue that I've laid out a dozen reasons already.  Either potential readers aren't making the connection with the previous reasons or those reasons don't seem like a sufficient excuse to avoid window-jumping.

That brings me to a choice: I can take out the window-jumping scene, I can tweak previous scenes to emphasize the reasons, or I can add a direct thought about why they're not window-jumping.  There are lots of options, I just need to figure out which one works best for my story and my style.

Sometimes there are other issues which can start to infringe on an author's voice.  Personally, I love using unusual words and descriptions but I know it can become off-putting for a reader to constantly have to guess what I mean.  So when my editor starts indicating that I need to take them out, it can feel like a personal sting.  But it forces me to consider each one: do I really need this? does it match the pacing of the story or am I slowing the reader when I shouldn't be?  I fight for the ones I really want and that I think are critical, but the vast majority get simplified.  By making me face how many times I've used the word "eeled" in a manuscript, I'm forced to hone my writing and avoid repetition.

One of the biggest reasons I use an editor is to ensure consistent writing style, i.e. use of commas, tenses, and italics.  There's a fair amount of variation in what is actually "right" in the English language (I have friends who will live and die in their defense of the Oxford comma) but it's inconsistency that makes most readers cringe.  My editor keeps my style consistent and I am eternally grateful, even if I sometimes go wide-eyed at the number of commas that I apparently missed.

None of these things are easily handled by an author on their own.  I know some authors who pay for three or four editors in the developmental stage, just to make sure they get a variety of viewpoints looking at it.   I know authors who do multiple line edits to make sure all of the typos, grammar and punctuation errors get caught.  (Though if you are going to do this, make sure that each line editor is familiar with the style that you have chosen: Chicago, Strunk and White, etc.)  An editor isn't your friend, but he or she is absolutely necessary if an author wants to move past the amateur stage.  It is a partnership and both sides have the same goal: to make sure a book is the best possible book it can be.  

My next best possible book, Judgment, will be coming out on May 14th and you can pre-order it now.  Sometimes the most ordinary people are capable of extraordinary things and you should never underestimate a mom with a mission.

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Weekly Update: March 11 to 17

Another 0 word week but I'm nearly done the editing for Judgment.  42 of 45 chapters done.

After careful consideration, I"m basically rewriting the last five chapters to make a much more streamlined and fast-paced ending.  Some stuff has been moved from the epilogue to the final chapters and other stuff has been reworked.

This is probably the most exhausting and demoralizing part of my writing process.  It's the part where I doubt myself the most and question everything.  I am absolutely savage in ripping apart my drafts and I demand the same from my editors.  But it's hard on my ego and self-faith.

However, I think what I'm going to end up with is a pretty awesome book that I can feel proud about.  

Edits are due on Thursday next week and then I can get on with writing Deadly Potential as well as deal with some of the other things I need to take care of: like getting the pre-orders up for Judgment and organizing my cover reveal.

There is lots of stuff to keep me busy over the next few months but it's going to be exciting to finally get to share all of it with you.

Weekly Update: March 4 to 10

35 of 46 chapters edited, 11 days until the deadline.

No words written this week, at least not on my WIP.  I've done a fair amount of rewriting on Judgment to tighten up the ending.  It's coming together nicely and if I can keep up the pace, then I should not have a problem making my deadline.

It's been a very stressful week personally, with some challenges with my son's school.  I find it's really hard to keep my focus when I'm stressed.  Most of the time, I can compartmentalize but this week I found myself realizing that I'd spent the last twenty minutes brooding instead of editing.  I've had to up my musical accompaniment playlist to keep myself on track.  (More upbeat instead of smooth melodies.)

I've also been a little disappointed in the reach of my latest Facebook boost.  Usually I get a distribution of a couple hundred people and at least triple the usual numbers viewing the post.  This time, the numbers are a lot lower and I'm not getting the post views.  I'm not sure if Facebook has changed something or if its because I'm running the giveaway.  I'll have to do some experimenting to be sure.

It's March Break this week and I'm going to take advantage of the fact that camp runs longer than school to get extra writing time.  I've cleared my schedule and it's full speed ahead.

Weekly Update: Feb 25 to March 3

Weekly word count: 1795 words

26 of 46 chapters edited

This week I came to a sad decision.  I looked at the calendar and with 20 chapters left to edit in 17 days, I need to focus on that instead of my WIP.

So for the next few weeks, the word count is going to be 0 and I'm going to have to be okay with that.

I got my cover for Judgment and I can't wait to share it with all of you.  I just want to get my pre-orders up and ready to go.

I also got the rights back to go non-exclusive for Metamorphosis and Whisper in the Dark, so those will be appearing in wide-distribution ebook stores soon.  And I've been looking at swag options for RTC.  I'll be doing my Beyond the Furrowed Brow talk and a Basics of Burlesque workshop while I'm there.

This month's ORWA meeting was a blast.  We had a local martial arts expert come in and give some practical demonstrations as to fighting and self-defense techniques.  Lots of good tips and the eternally practical advice of "The trouble with knowledge is that even idiots can have it."  Meaning, don't rely on fancy moves or a routine because life rarely goes the way you expect.  A variety of simple moves will be more effective, if you ever need to use it.

All right, back to the grindstone.

Ink Tip: Punctuation And Grammar

So which category do you fall into?  Are you a flexible whatever gets the job done?  Or do you have strong opinions about the proper usage of an Oxford comma?

It's loves bedsheets, sales, and fireflies!  Not bedsheet sales and fireflies!

I've seen several articles over the last few days talking about how being rigid about spelling and grammar can actually form barriers to diversity and multiculturalism in publishing.  I've also seen some thoughtful commentaries about how English is a rapidly evolving language that accepts variants (exhibit one: Shakespeare's entertaining spelling choices).  And finally, there have been the articles decrying the dumbing down of North American culture.

I'll admit to having mixed feelings on the subject.  On the one hand, poor spelling and grammar drives me nuts.  I don't even like the LOL Catz.  But I also recognize that the rules are inconsistent and vary quite a bit.  That's why there are different rules for grammar styles. (my editing house uses the Chicago Manual).  And for the most part, the minor variations between them don't affect comprehensibility.

I think that there is room to be inclusive and different voices make stories interesting.  So I don't believe that anyone needs to be particularly difficult about sticking to any particular style.  And frankly, in a world of autocorrect and touch-screen typing, none of us are living in glass-free houses when it comes to throwing error-rocks.

But I also don't think it's ridiculous or overly fussy to expect a certain level of professional language from a writer for a published work.  Nothing will throw me out of a book faster than a mis-used homonym like "the reign came down in soft fat waterdrops."  I don't attack people for mispellings or odd grammar choices in their social media posts or even day to day writings, but if they have asked me to pay for something they've written, I expect not to be jolted out of the story.

So how can we find a balance between making sure that there is room for everyone to tell their stories and no one group is dominating publishing, and making sure that readers have enjoyable reading experiences?  I don't know the answer to that particular riddle but I've heard some good suggestions, like offering free spelling and grammar editing for aspiring authors who might otherwise be barred from submitting to publishing houses.  

Because the thing is: people do care about grammar and spelling.  It's not just about being understood and everything else is a bonus.  Properly written, the words become invisible to the story, flowing directly to the reader's mind to create a fictional world that can become more real with every chapter.  And that's how it should be.

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Weekly Update: January 28 to Feb 3

Weekly word count: 6730

Start of the editing countdown: Prologue + 3 Chapters, out of 45 (or so I thought)

Let's start with the unpleasantness.  I'm in the middle of some computer upgrades and migrations.  And as a result, I've had to switch around all the folders.

I got my content edit back this week and have now begun going through chapter by chapter to prepare for my line edit.  I started 3 days ago with a very intensive process that takes 2-3 hours to edit each chapter, assuming there are no major changes.  Anything involving a more substantial rewrite will take longer.  I'd done the first three chapters plus the prologue in 3 days and was feeling pretty good.

Until I realized I was editing the wrong version of the manuscript.  I label my manuscripts by drafts, starting with A.  This was the C draft and I should have been editing the D one.

Oh, that's discouraging.  

But there is good news.  I'd looked at what needed to be done and I'd asked for an extra 3 weeks to prepare, which the editor was kindly able to accommodate.  So rather than being under an incredibly tight schedule, I have the wiggle room to recover from this.

I'm still furious at myself, but it's a lesson in paying attention to the details.

Even more good news, ORWA's social media workshop this weekend was fascinating and incredibly useful.  And, as always, it was great hanging out with my friends.

I'm taking Sunday night to dust myself off, get a good night's sleep and accept that I screwed up.  Monday, we start again to do it right.

Weekly update: December 17 to 23

Weekly word count: 4450

Editing countdown: 18 of 45

Not a great writing week, but progress nonetheless.  I've tentatively titled book one of my new series Deadly Potential.  Since I'll be pitching it to the traditional publishers, they'll be the ones to decide on the final name, so I'm trying to not get too attached.

I'm also trying to remind myself that next week will not be productive and that's okay.  Because it's okay to concentrate on the holidays instead of working.

It's funny, no matter which project I'm working on, I want to just keep going with it, so it's jarring to switch back and forth between the editing and the writing.  However, I've learned not to push myself too much on either of them.  No more than 4 chapters a day for editing, or else I miss things.  And about 4000 words a day seems to be my limit for writing well.  Not that I get close to that on most days.

Happy Holidays everyone. 

Ink Tip: How To Say Goodbye

Every writer has that sentence, scene or character that they absolutely love.  They know in their hearts that it's brilliant, entertaining and wonderful.

And sometimes, it doesn't work.

So what's a writer to do with their wonderful square peg and nothing but round holes to stick it in?  When the brilliant line of dialogue sounds forced?  When the heart-felt scene doesn't make sense?  Or the engaging character ends up feeling like a distracting extra?

First, (and this can be the hardest step) accept that it's not going to work.  It doesn't matter how great it is, if it doesn't fit into this story, then forcing it to stay will only diminish both sides.  When I went to see Logan, I was surprised when they put the Deadpool 2 teaser scene at the front of the movie instead of in the credits like they normally do.  But after I watched both, I understood.  Without giving any spoilers away, the Deadpool teaser is funny and irreverent while the movie Logan was powerful and intense.  If the Deadpool scene had happened after, it would have struck the audience as disrespectful and it would have taken away some of the impact from the finale of the movie.

In this case, some timeline editing allowed the audience to see both but that's not always going to be a possibility.  Sometimes, a writer just has to surgically remove the awesome, yet troublesome piece.  But then what?

The second step is to save it.  I always find it easier to edit out my favourites when I know that I'm not getting rid of them, I'm merely putting them aside to feature at a later date.  Sometimes that brilliant character can become the hero or heroine of his or her own story.  Or the scene can become the dark moment or highlight in the next book (or the one after that).  You can always remind yourself that this is not the last story you will ever write, so there will be other opportunities down the road.

But there will be times where no matter the intention, it's just not going to come together.  If that is the case, then sometimes it's necessary to just bite the bullet and consign something to the "wish it could have been" drawer.  It can be a hurtful event, so give yourself time to emotionally process it.  Call a friend, have a glass of wine or emergency chocolate bar, whatever it will take to let you emerge on the other side, ready to battle the blank page once again.

Ink Tip: The Process of Accepting Criticism and Edits

What do you mean?  How can my wondrous, amazing and brilliant work of art possibly contain anything even resembling a flaw?

Or...

Oh my god!  They finally figured out I'm a complete fraud who doesn't know what I'm doing.  It's only a matter of time before my story is revealed as the garbage I was always afraid it was.

When receiving criticism, chances are that a writer feels one of the two above statements.  Sometimes both in rapid succession.  It doesn't seem to matter whether the criticism is from a random stranger online, a friend or a paid editor.  It doesn't seem to matter how often the author tells him or herself that criticism is an important learning tool and shouldn't be taken personally.  There's always an initial emotional sting.

But receiving criticism is a necessary part of becoming a published author.  Even self-published authors who eschew editing leave themselves open to reviews by the public.  Those who wish to improve their writing skills have to accept criticism, which means leaving emotional reactions behind and learning to apply that criticism to improvement.

So the first step for the author is always to ask his or herself: Is this true?

Is there a grain of truth behind the criticism?  When dealing with a professional editor, whether one assigned by a publishing house or one hired by the author, this is an easy question.  The problem identified is real and needs to be dealt with.  When dealing with other sources of criticism, it can be harder to figure out.  A critique partner, an ARC reader or a independent review may not like your book and it's important to take the time to figure out the reason behind that dislike.

For example, I had one reviewer complain that they didn't like all the strange powers in my stories.  Since I write paranormal romance and urban fantasy, there was little I could do about that particular criticism.  But when my critique partner told me that an early version of my manuscript was unrealistic, I took the time to realize that I hadn't been consistent with how I applied my character's supernatural abilities.  The first critique was a complaint about the type of book I write, while the second was something I needed to improve.

The next step is: What do I do about the problem?

Just because you've accepted there's a problem doesn't mean that you agree with the proposed fix for that problem.  There's not much of a solution to be gleaned from "Your book sucks" but most helpfully-intended criticism includes suggestions for how to improve.  An editor or critique partner may suggest different wording, or a different approach to a scene or character.  It's up the author to decided whether or not that solution works.

This is where the delicate balance between accepting other people's input and protecting your own voice as an author comes in.  I've always loved creative wordplay and often make up my own words or use unusual terms for description.  In my first book, I used the word "eeling" to describe a character moving quickly through a narrow space.  My editor flagged it as being used too often in the manuscript.  I checked and discovered I'd used it twice, once for my heroine and once for a character who only appeared in a single scene.  But I realized the editor was right.  The word was distinctive enough to stand out, even if only used twice.  So I kept it for my heroine and changed it in the other scene.

Last but not least is the trickiest step.  Is it a standard or an opinion?

Editors often use a particular style manual to ensure consistent punctuation, grammar and formatting.  Mine uses the Chicago Manual of Style.  But the problem is that English is a constantly evolving language and the rules are always in flux.

For example, when including a texting conversation in my book, I initially put the texts in italics.  My editor said that they should be in quotations, like any conversation.  Per the style manual, my editor is right.  But it didn't look right to me.  But I didn't automatically assume that I was correct.  I checked with other authors and did research to see which formats are commonly used.

In deciding to go against the style manual, I'm going out on a limb.  There will be people who look at the book and will think that I've done something wrong.  But I'm willing to take that risk because I think the standards are evolving and italics will become the acceptable standard in the future.

Accepting edits is a delicate balance between correcting one's blind spots and keeping one's voice intact.  An author should put a great deal of personality into a book, but sometimes that personality affects clarity and understanding.  Effective criticism, no matter the source, helps an author to find that balance.

Weekly Update: Nov 20 to 26

Weekly word count: 2000

Editing countdown: All chapters done, 7 days until deadline

First round of edits are done and I think Inquisition is now solid.  Next is the line edit, which will go through the manuscript with a fine-toothed comb and catch any errors.

It will take 3-4 weeks for the line edit to get back to me, which means I should get it back after the holidays.  Which gives me a month to concentrate on the new manuscript, as well as begin serious plotting on Book Four of the Lalassu.

Now comes my least favourite part of the whole book creation process: doing all the incidental writing: back blurb, legal disclaimer, front matter, back matter, etc.  But at least it's offset by also getting to set up ARC reviews and other promotional stuff.  It's nice getting to hear back what people think of the story and I know there are a number of people who have been eagerly awaiting it.  It's almost there.  Promise.

Weekly Update: Nov 13 to Nov 19

Weekly word count: 2900 words

Editing Countdown: 6 more chapters done, 42 out of 46 total, two weeks to deadline.

I'm really pleased with how the editing is going.  I'm nearly done and I'll have a few days to put it aside before going through and doing the final read-through and polish, which is what I was hoping for.  Now it's time to start thinking about when to set up the pre-order, organizing a cover reveal and talking to bloggers about doing ARCs.

I did get some disappointing news that my short stories weren't accepted for the Behind the Mask, although the submissions people said they'd really enjoyed them and would be interested in any full-length submissions I'd like to send in the future.  That's an encouraging note to concentrate on.

It's going to be nice to get back to writing only for a few weeks, instead of trying to both edit and write.  It's been really interesting doing the research into the music industry and how pop songs are created and what happens on tour.  There's a lot of new terminology to learn and understand, but I like getting into new worlds.

My kids will also appreciate my having some weekends free and I'll be able to do some Christmas preparations.  Maybe I'll even find some time to install the shelf I bought at IKEA over a month ago, which will let me unpack the copies of Revelations and Metamorphosis that I ordered two months ago.  There's a wild thought.