Tag Archives: novel

Prequel Problems: Likable Characters

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So I’m writing a prequel to my INITIUM series, the first book tentatively due out in Fall of next year. I wasn’t sure I wanted to write a prequel, as the events in it are fun mystery details throughout the first book, and you learn about them and why my main character is the way she is as the novel progresses.

But, it’s a lot of information, and my editor thinks I need a prequel so readers aren’t lost and/or inundated with too much information right off the bat. So I’m writing a prequel. The first draft is almost done — I wrote the final chapter, but I also left a bunch of ‘holes’ in the manuscript, scenes I felt I was forcing too much at the time, to come back and complete later. I’m writing those scenes now.

My biggest frustration so far is that a lot of the events in the prequel are what make my main character interesting in the first place, so before the events happens, my characters are…

Not that likeable. Actually, they’re coming across like spoiled little brats. Which goes with the territory, are they’re the daughters of a rich upperclass businessman — but I’m really worried it makes for some difficult reading. Or apathy about reading them, anyway.

And if people don’t want to read the book for your characters, they’re not going to read the book.

Fortunately, characters being likeable isn’t so important as characters being interesting.

Unfortunately, I don’t think my main character is either at the beginning. Perhaps I’m being too critical, because I’m so used to her, 5 years later, being a snarky badass. Or maybe I just haven’t written from an insecure 14 year old’s perspective for so long it’s hard to believe that readers will really connect with her voice and struggles…

I believe my main character is interesting (and even likable) by the end, but if the beginning doesn’t hook someone, then it’s kind of a moot point.

I’ve also never really written ‘on contract,’ or written a character arc from the very beginning like this, so I might just be out of my depth and scaring myself (I’ll be writing about this whole process here soon).

I’ve also never really written a prequel (at least something this big), which I’m beginning to understand has it’s own difficulties. Not the least of which is writing a character that you know… but isn’t the fully formed character of the later book who is probably more interesting in first place.

Either way, I’m becoming more thankful that I have an amazing editor who’s excellent at developmental editing, because I’m going to need some perspective on making this work. I think I’m too close to this character, or the character arc in general, or too concerned about the ‘writing of a relatable 14 year old’ to just write the 14 year old. I was a 14 year old. I remember. Why I be making this so hard.

Anyway, it will be educational to see what my editor suggests going forward. And I feel a little lazy, looking to my editor for direction instead of figuring it out myself. But the truth is, I’m still pretty shaky on what revisions really need to look like, which is my real fear. I don’t know if I’ve fully ever revised a manuscript in it’s truest meaning, so my skill level there is… dismal.

So there’s some anxiety about my meh-characters not becoming interesting enough with this lack of skill.

Anyway, this is all a moot point if I don’t have the draft done in the first place! I’m off to finish those few more thousand words. I want this draft done by the end of this month (which gives me like two days). It’s going to be far from perfect — but all that’s left are a few holes to make this thing complete.

 

Stay tuned for the regurgitation of my thoughts about writing my first ‘on contract’ piece… in a week or two.

 

Questions? Comments? Similar anxiety-rants?

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Published: Behind the Scenes (April 2017)

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Well this is going to be a short one. Much the same as my last post, I’m working on the prequel project assigned by my editor. I will be writing a post about what it’s like to write for oneself vs. ‘contract writing’ as they say, but I’d like to finish writing the thing before I delve into that.

So, just in case you missed it! I’ve written about my initial foray into developmental editing, which was eye-opening to say the least. I also wrote a post about my Path to Publication, which highlights how I even got my publishing contract that I still can’t quite wrap my head around as actually having oh my god my book is going to come out next year —

*deep breath*

So while you wait for more crazy thoughts of behind the scenes, here’s a snippet of what’s taking up so much of my time lately. Don’t judge too harshly, it hasn’t gone through editing yet (ha!).

The windowpane was cold on the side of my head. I could just move and relieve the discomfort, but I didn’t. I sat there, useless. Or maybe I was punishing myself. Everybody was always worried about that lately. Survivor’s guilt, they called it.

But they didn’t know it actually was my fault. If I hadn’t told my biggest secret, none of it would have happened. He’d made sure to tell me how special I was, that the secret I hid from the world was the reason he’d had to take my sister and me. Not just to ransom, like most people kidnapped upper class girls for. But for something else, something that meant he hurt us, over and over, without even touching us…

The cold from the glass was seeping from my head, down my body. Annoying little shivers kept hitting me at intervals, pulling me out of my reverie. I pulled the blanket tighter and higher around me, but the cold still penetrated. It made me squirm on the window bench; between the cold and my butt falling asleep, I wanted to move.

Damn it, I couldn’t even be miserable properly. I couldn’t even punish myself for being alive when she wasn’t.

I flung myself up from bench and stalked across the room. My eyes burned, looking for something or throw or to hit. A pillow went first, but that didn’t feel like anything. The water glass on the bedside table went next. It made a loud sound against the wall before hitting to the ground, a large crack down its side. The damn glass couldn’t even shatter properly.

I slumped down on my bed, trying to cry, trying to feel anything but hollow, like I’d had all my insides sucked out by those things that had taken us and held us and burrowed into our heads like worms that ate through our brains –

I slapped myself sharply across the face. The gleeful bubbling panic under my breastbone was too close; I’d let it too close. My thoughts ran frantic through my head, like clawing hands searching for a way to rip open the memories and spill them forth like sewage.

Two deep breaths later, I knew I’d be able to conquer it. It wasn’t going to overwhelm me. I breathed deep and focused on one single point, keeping my mind still. It still took several more minutes of deep breathing before my hands stopped shaking.

The therapists my parents had been hiring weren’t completely duff. I’d mostly ignored all of what they’d said, because like everyone else, they wouldn’t listen to me when I’d told them the truth about what had taken us. But some of what they’d said about panic attacks helped.

The slapping bit was my own, though. Sometimes I needed something more drastic to get my stupid head’s attention.

I fell backwards across my four-poster, and nearly brained myself on the book I’d bought earlier today. Wincing, I yanked it out from under my head and stared at its dark cover.

It didn’t hold the answers I sought.

There was nothing in the book about what he was. Nothing had fit. Oh, plenty about the other things. Plenty about creatures that were more shadow than flesh, creatures that lived off of human blood, creatures that could change shape, ones that stole children and ate them, ones that looked to be a mix of several creatures, ones that controlled weather or elements – all of them categorized by their most common regions, favorite habitats, and common behaviors. Even dragons, and more creatures I’d never even dreamed of yet alone heard of from my grandmother.

Breathing deeply, I spent a few seconds calming, my train of thought courting the panic attack I’d just conquered.

Another thought hit me; my stomach gave a little lurch. The book held no answers about what he was, or why he’d taken us. But this couldn’t be the only book. And this couldn’t be the only way of finding new information. My grandmother was gone, everyone laughed off what I said – I was the only one willing to find out the truth.

The book was heavy and warm in my hands. It couldn’t be the only one with information like this. There had to be others of its kind, with more information, new information.

There was a way to find out who’d killed my sister.

There was a way to find the truth about the things that dwelled in the dark.

Comments? Questions? Laughter?

Have a fantastic writing day, friends.


Published: Behind the Scenes (March 2017 edition)

Published- Behind The Scenes.pngIn October of last year I signed a contract with Glass House Press for my alternate-history fantasy series to debut in 2018. For fun and for the benefit of anyone interested, I started up this blog series chronicling monthly updates of the behind-the-scenes in being published. Read the introductory post here! A list of all the other posts I’ve written so far can also be found at the end.

In my previous post, I got in-depth about developmental editing and progress with that. This post, I’m going to have a little less to talk about, because as mentioned before, I’m writing a prequel to my series. So what’s primarily happening behind the scenes? Lots of writing. Which, hey, we’re all doing, that isn’t anything new. This entry is going to end up a little diary-like.

The basic reason for the need of this prequel is that my world is very complex, and a lot to jam into a first chapter. Additionally, my first book arguably starts out too far into my character’s arc. My editor thinks there too much for the reader to catch up on and takes away from getting the reader into the story. It can easily be too confusing, with all the cultural terms along with hints about character and world history I’m throwing about.

I personally think it’s fun to have a bit of mystery about the character and world to drive the story… but I can’t be sure I’ve created enough of a reason for the reader to care about Fairian and hang around for getting answers.

(So we’ll see how that all works out when we get to the editing of the actual writing and how the story works out bit, but meanwhile — )

I’ve been assigned to writing the prequel. Which is unfortunately slow going, as I haven’t really written anything (fiction) on ‘contract’ before, so I’m discovering the jarring difference between writing for oneself and writing for someone else. There are many author-ly laments on all platforms of social media about this problem, so I don’t feel like I need to go into it here. Needless to say the experience will be good practice.

Despite the reasons for actually making the prequel happen, I am discovering my love for the story. The events in the prequel I’ve always treated as past history, as influencing ‘current’ events and seen through the lens of the present. Writing the prequel as present, in the eyes of my main character that’s 5 years younger… well, that’s pretty interesting. And hard. A lot of the characteristics that make up Fairian (my main character) have developed in part because of The Events in the prequel, so they’re not in place in her personality yet. But I can’t have her a completely different person. So I have to plant the seeds of her later personality, then have The Events, and then show the start of her personality change.

This is surprisingly hard. Mostly in the sense that Fairian is kind of a spoiled, naive brat at this point in time, and I’m kind of wondering how to make her even likable. I read an article the other day that mentioned something like this, but emphasized that (in the beginning of a story at least) you need to make your characters interesting before likable, worry about likability later. That, I’m pretty sure I can do.

One of my editors suggestions for clarifying my giant world for readers while still keeping mystery for my characters was to write from another point of view. I struggled with this for a little while because this is really Fairian’s story, and I have a weird complex with keeping things mysterious and throwing questions around like confetti. But, I found a happy medium. Inter-spliced between chapters from Fairian’s perspective are reports from … basically this world’s version of the magical CIA.

So in essence, I get to write Incident Reports and Correspondence of global magical clandestine operations in an alternate reality.

Just reading that I get excited.

(Now just to make sure they end up being exciting as they sound, ha!)

Camp NaNoWriMo hit just in time to help complete this thing. It’s going to be a novella (I think anyway…) so less words to write, but unfortunately I’m being so nitpicky about the craft and details it’s getting in the way of getting words down. I’m re-remembering to just get the words down and worry about editing later. Thus, Camp NaNoWriMo is helpful as the kick in the pants I need. I want to have this thing done by the end of April. I’ve written 50k in NaNoWriMo several times before; getting out 30k more should be just fine as long as I stay focused.

Speaking of focused. I need to turn my attention to writing all those words! This whole weekend ended up being “manual labor weekend” with barn cleaning and house building, and before that I was flat on my back as a migraine reminded me I’ve been messing with my sleep schedule a little too much (excuses, excuses). I need to get back at it. I still don’t feel fully recovered, but maybe the fuzzy-headedness will help just get the words out and not have a complex over all the details…

Thanks for reading, friends! Stay tuned for April’s update in a few weeks; this post ended up being a little late for a variety of reasons, next time’s should be on time. Let me know what you think, share experiences, feel free to commiserate …

Happy writing!


Published: Behind The Scenes (Feb 2017)

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Welcome to the February 2017 edition of Published: Behind the Scenes, where I talk about all the fun things that happen to get my book on the shelf.

If you missed the introduction post or the post from January, they can be found here and here.

Without further ado, see below!

February has been a rush (and I was all worried I’d have nothing much to share!). I got my first professional edit letter from my publisher. You know, ever. Which is a huge thing to begin with anyway, but then on top of that, it was developmental edits, which I have zilch experience with.

I don’t know if you’ve ever had developmental edits done with a professional editor, but I was surprised to realize that most of the work is done almost entirely from the outline. From the outline, the plot, stakes, and connections between scenes are all assessed to make sure that they all forwarded the plot and they’re not just a bunch of loosely connected points.

Which, in theory, seems straightforward.

(Why does it always so seem straightforward on paper or after the fact…)

The biggest complication to this whole process was that my outline was very unclear. Most of my themes and points were too vague or seemed unconnected, because I wasn’t writing out how they were connected or the details which made it relevant, which made it difficult to, you know, assess all of that. On top of that, since there’s a bit of a mystery element in the novel, I’d definitely not explained everything.

I know you’ve probably all heard this person, but seriously, don’t be mysterious when talking to your editor. Tell all the secrets. Get your point across. I didn’t even realize the things I hadn’t shared because I’m so used to them being secrets for books later on — but you need to tell your editor!

But overall, there was some definite face-palming on my end as I realized yet again… I hadn’t explained that… which was why everybody was so confused. I’ve always used outlines just as a general structure, and a way to jog my memory and keep me on path. I don’t know if I’ve ever actually written a detailed outline like what is actually called for in this situation.

But anyway.

The first run through of my outline mostly involved my editor and I getting on the same page of understanding. On top of everything else, I’ve been playing a little loose with the rules and structure of storytelling, so she gave me a crash course in understanding the basics.

To which I was like — but yeah I’m this AMAZING thing where I break the rules. Haaaa. Yeah right.

The biggest worry at the beginning is that there doesn’t seem to be enough at stake. I was relying on the intrigue of the world and all the questions I pose to drive the start… but that’s probably not going to be enough. There needs to be tension, a sort of deadline — not necessarily the world ending, you know, but something.

So, more stuff in the beginning, tension-related stuff. Which seems so simple and straightforward and I don’t know why I didn’t get that before. Probably because I was so focused on how cool I was using mystery and questions to drive parts of the plot.

So, the somewhat counterintuitive conclusion that came out of this: I need to write more. My 109k word novel needs more words.

To continue with the theme of my not explaining enough, my editor also thinks I started the book too far into my main character’s arc. The initial trigger, or catalyst, to make her this answers-driven rebellious intelligent fiend, is something that’s learned as the book progresses, but isn’t known from the beginning. My editor is concerned there’s too much explanation that needs to be written in the first chapter because of this. Mostly because I created a really complex world.

To which I’m like: but… but… I like my subtle hinting and clues for all the answers! (which isn’t a good enought answer, in case you were wondering)

But anyway. The result of all of this, is that I’m writing a prequel novella.

This prequel will show how my protagonist got to where she is in my first book: all the themes and important points that had to come together to form her after the catalyst of her sister’s death. It’s also going to introduce the world, taking the pressure off the first book to get everyone on the same page within the first chapter. We’re working through the outline of that as well (hey, I’m learning how to be a plotter and write from an outline!), and I should be starting actual writing on it in the next few weeks.

Some part of me feels the prequel is redundant, that everything is already said in the first book, at least mentioned if not explained. But I’m also discovering (well, building) a story that’s a lot bigger than what I’d initially had in my head, and it’s giving me time to build the world out with more clarity.

If this prequel definitely happens, it’s going to be weird releasing it first versus the actual book. I’m definitely having anxiety it won’t be interesting enough, that releasing a novella first instead of a full length novel as my first book ever is bizarre. But that’s probably just anxiety about releasing anything anyway.

For fun, I’d like to share the progress that my outline has gone through so far. Just to provide a little context to what I’m talking about.

This is the first chapter in the outline originally:

Chapter One:

The book begins with Fairian sneaking out of the house. It’s obvious she’s waiting for something, and she gets attacked, and then saved by Daimyn. Excited by the new lead, Fairian asks questions. He warily answers before warning her off coming out at night, and eventually knocking her out in an attempt to scare her.

As you can tell, there’s not much there. It made perfect sense to me, because I have all the themes and connections in my head. And here’s what it is now:

Chapter One

Fairian sneaks out of the house to find a creature – now that she’s in the new city of Farfalla, which is swamped in intrigue and mystery, she thinks she may have luck getting answers about her sister’s death. Mixed with descriptions of the city, there are brief mentions of backstory that give a glimpse into world structure, family life, and how long she’s been on this quest.

She gets attacked by a strigoi, and ‘saved’ by a mysterious man. While she’s peeved about the loss of the strigoi, she realizes that this man knows something, and asks questions. He warily answers a few questions before warning her off her search and eventually knocking her out in an attempt to scare her.

I imagine the first chapter will go through further edits, but for now, it’s clearer. I’m itching to get into the actual content of the first chapter instead of just talking about the content… but clarifying on what the chapter needs to be is helpful, I will admit.

After the first chapter, there’s some change to the plot itself. Because the second chapter needs to further tension and get the plot going with a goal (my original goal not quite ‘big’ enough), the original chapter two was too slow. This is besides the fact that the outline was, again, not nearly clear enough in what aspects, tensions, and themes are being developed out at that point.

So here’s the second chapter initially:

Chapter Two:

Fairian wakes up in her own bed, her maid announcing her new martial arts teacher was arriving. She meets Mr. Kearney and he agrees to teach her. Afterwards, her best friend Tiffany and her decide to go shopping: this reveals more about Farfallan history and make-up, and Fairian mentions more on the Environmental crisis.

How does that even explain anything? Seriously, it seems so obvious now that this outline is NOT clear enough.

Now, alongside clarification, there’s a new aspect to drive the plot forward:

Chapter Two

Fairian wakes up in her own bed, and decides the Mr. Mysterious from last night must know things, and she’s going to track him down and beat the answers out of him if she has to. She interviews with Mr. Kearney, a local martial artist, who agrees with teach her. It becomes obvious she’s been taking defense lessons for a while, in response to wanting to be able to protect herself. While it seems her father is reluctantly supportive of this, her mother makes it obvious that it was a BIG battle to even have an interview – and she’s upset about Fairian’s new instructor, thinking the move to Farfalla would end that ‘unladylike hobby.’

At lunch Fairian sees an article in the newspaper that reminds her of what happened when Fairian and her sister were taken. Her mother nitpicks at Fairian’s clothes, posture, attitude, etc (probably exacerbated because of losing the battle about the martial arts instructor) until in frustration Fairian agrees to go shopping for clothes appropriate to this part of the world — privately thinking she can sneak away and track down more information about the news article she saw. Their family ward and her best friend, Tiffany, comes along with. The drive to the market gives a glimpse into some environmental history and Farfallan culture.

Putting up with her mother’s ministrations for only a while, Tiff and Fairian manage to sneak away and head to the Central Library to search the news of the past few years. She finds out that many people have had strange psychological breaks where they supposedly saw their nightmares come to life, and they’re all sent to the same mental hospital. Starkly reminded of her past, Fairian sets getting into the hospital as her next objective.

As you can see, that was a heck of a lot clearer. Also, the issue with the people stalked by their nightmares and the mental hospital was originally a plot point much further in the book. Since a more pressing goal was needed to get the plot moving more quickly (beyond finding out who the mysterious character is in the first chapter), I moved it up and changed it around a bit. So far I feel pretty happy with it.

I’m having brief struggles with feeling possessive over my story and like it might be being changed too much. But, I will admit, finding my own ways to fix whatever problem is there has been a tad fun. And seeing improvements in my manuscript has been neat.

It’s a balance, between sticking true to the story you want to tell and letting more knowledgable people guide you on what needs to be changed. It’s definitely been tense and a little nerve-wracking as my baby is being pulled apart and put back together, but good overall.

Thoughts? Questions? Comments? Have any of you gone through developmental edits like this? What was your experience?


What Does YOUR story mean?

 

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I’ve always struggled — in most of my professional writing career, after the blissful stage where I only wrote for myself — with making my writing and stories mean something. Maybe it was the crap influences in my childhood who told me that ‘just writing fantasy’ was fine and all that, but eventually I needed to write things that actually meant something. It can’t just be that though, because I’ve always felt a drive to write more than just a story.

Maybe all of this is just all my insecurity and doubt coming home to roost.

It’s the plight of most writers to feel this way. I read somewhere that, at the very least, writer’s write to entertain. But most of us write to try to inform, educate, inspire, engage. So I’m hope to God pretty sure that I’m really not alone in all of my what-do-I-mean angst.

I can’t help but think of this in the light of current world events. Well, USA events, but it’s affecting the whole world, so yeah.

Meaning: I want my books to make people think when they’re out there. I want to inspire and engage and teach. Yes, I’ll always write stories, because I’m one of those ‘if I don’t write it out it just plagues me forever’ writers. But I want to go above and beyond that. I want it all to mean something.

I get a little hung up on how exactly to go about doing that. The first example that jumps to mind is the Orson Scott Card route, of exploring deeply philosophical questions about humanity and morality through science fiction. He does a lot of telling-not-showing, and it seems like he had these deeply moral issues in the back of his head as he wrote the story. Whereas I get characters yelling at me and write them so they’ll be quiet.

So I guess what I’m really struggling with is a way to take my innate character-yelling and transform it. The story comes out, sure, but it’s still just a story. What is the step between characters and plot coming together and then… making it more?

It’s probably the opposite of that. That the meaning to be explored should be taken first — and then add the characters and plot. But how do I do that? Seriously – I want someone to give me a flow chart on how to do this, because I feel like I missed something along the way.

I want to write about environmental issues and the reality of how this relates to economics — so I’ve built solarpunk into my world. But is it really teaching someone anything, or exploring how a world like this works? … I’m afraid it’s not enough.

I have strong belonging, friendship, and what it means to be human themes especially in my current series, but I’m not sure it’s so obvious. I get lost in the plot and the interactions of the characters, and sometimes I think that takes away from the fact that I wrote these two people with the idea that they’re lonely and different… and in each other they find not only a place to belong, but start affecting the world around them for the better.

I don’t feel that it’s enough.

(Maybe I’m just not smart enough — or smart in ‘that’ way? I want to interview Card and figure out his method… and when he feels like he’s really got it.)

I think all of this can be put in the category of learning to take a first draft and make it a second draft — something that, with growing horror, I’m realizing that maybe I haven’t ever done before. I’m going through developmental edits with a professional editor for the first time and getting a crash course in things I didn’t even know were a thing (upcoming blog post on that later! It’s a little nerve-wracking and kinda feels like the floor has been taken out from under my feet).

Of course, who really knows — because an artist’s plight is never feeling like something is ever ‘done.’ It can always be better. There can always be more. Despite knowing this, I still feel that I’m missing some sort of intrinsic lesson on how to get from my A to my B. For all I know I’ll get an epiphany tomorrow and suddenly realize how it works, or I’ll read an article that connects it all — or the most likely outcome, my editor will prod me into understanding what to do.

But for now, I’m definitely feeling a little worthless and like I have no idea what I’m doing, and I’d love to move this discussion out to you, dear readers.

Do you worry that your story doesn’t ‘mean’ enough, especially in light of current events? How do you give meaning to your story? Do you start with the world, the characters, the lesson you’re imparting? If you’re a character writer like me, how do you keep yourself from getting carried away in their interactions? How to you keep yourself from being off subject/too preachy?

 


Published: Behind the Scenes (Jan 2017)

 

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Yeesh, writing “2017” is still weird. But anyway. Welcome to the first segment of my new series, where I talk about the behind-the-scenes action of being published!

So in October 2016 I signed the contract to sell my Initium series to Glass House Press. Pretty much the very first thing that happened:

“Let’s look at your author platform!”

How did I know this was going to happen? Oh right, the entire writing world tells you about it. So, things started happening, like social media calendars, starting up a FaceBook author page (which I don’t hate as much as I thought — hey, if you want to like it and follow my updates more in detail, here it is), and discussing how many pictures of my freaking goats I post on Instagram (heheh).

The past couple months have been about setting goals and thinking about branding as a whole. The holidays took up a lot of time and headspace, so that was mostly easy, fun stuff. When 2017 hit, it was time to get serious (<– I almost wrote that ‘series’, ha!). Anyway. *cracks knuckles*

The part I’m struggling with the most is finding and actually utilizing my ‘keywords’ in a natural way. The whole point of social media as an author is to be able to connect with potential readers, to find them and make connections before the actual book comes out. So if you want the right people to connect with you, who are interested in the concepts/themes in your story… you have to effectively find/attract them through keywords.

So while I can tweet/post indefinitely like #fantasy #alternatehistory #strongwomen #solarpunk etc etc etc — I definitely feel that it’s the bare minimum of what to do, and there has to be a better way to do it. It needs to feel natural, not like I’m awkwardly waving off in the corner and nobody really knows what I’m doing there.

Do I know the answer to that yet? Not really.

(Though I am having a lot of fun finding really cool pictures to post on Instagram. Seriously, I feel like a image hoarder right now.)

Another aspect of it — as you probably know — is that you want people to make connections to you as a writer. They’ll hopefully want to buy your book when it arrives, but that’s not the point. You’re supposed to make connections and build relationships as your primary goal.

So there’s this balance between ‘keywords my book is about’ (AKA finding the right people) and ‘being naturally you’ (being genuine so people don’t think you’re a robot). I’d like to say I’m pretty good at that last part, and am working to incorporate the first part… but we’ll see.

 

As for what’s happening with the actual manuscript… the first thing to tackle is developmental editing. Basically, my editor wants to make sure that the whole series fits together and is pushed to it’s best possible potential. Big picture stuff. Does-what-happens-in-book-four-make-sense-with-what-happens-in-book-two. Etc.

I haven’t gotten the letter with developmental edits yet, because my editor has been slammed getting authors ready with books coming out here shortly. But we have been talking informally about basics.

Liiiiiiike — big reveals that happen in book four must be foreshadowed in the previous books if it’s a big freaking plot hole. If it’s a plot hole that’s supposed to be there, you’ve got to let the reader know YOU know it’s supposed to be there.

Which, apparently, I did well with Fairian’s whole obsession with finding secrets. I reveal to there readers that HEY LOOK THERE’S SOMETHING REALLY WRONG WITH GEOGRAPHY I KNOW IT’S WRONG JUST BEAR WITH ME without giving them answers. And then drag out allllll the secrets for several books…

Eh-hem. It’s good to know I did that part right, because the waiting in strangling anticipation for the edits letter is only killing me slowly. I am so ready to tackle to this thing and turn it into an even better beauteous creation of awesome.

So. Moral of the story: publishing really does take a long time, for various reasons. Use the time to beef up your author platform. And meanwhile, write more books!

I feel like there should be a lot more to tell, but that’s all I can think of for now. It ought to get more exciting as things progress; stayed tuned for the end of February update!

 

Happy writing,

R. K. Brainerd


Organizing Documents as a Writer

 

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My wonderful partner got me a new computer as a birthday/Christmas present. With my old computer giving me spouts of paranoia that I’d lose all my work (never mind I have three backups for all my writing), alongside moments of freezing, and the ten minutes it takes to start up — it’s a relief to write on something that works as fast as my brain does in the heat of a writing moment.

Yet being the insane sentimental person that I am, it’s been sad to move from writing on my old computer to the new one. My older laptop has been with me since 2011; it’s been my steady companion through college, after-college job hunting and internships, and hundreds of hours of writing. I haven’t moved all of my writing yet (though most of my pictures and programs were moved over immediately to give my old computer a break!), instead easing into my fancy new one.

The writing I have moved are my current projects: my NaNoWriMo project from 2016 and my current WIP, the third in my INITIUM series. And as I moved them over, I grew kind of excited, because it became an opportunity to completely rework the way I organize my files.

My old computer was organized by type of writing (novel, short story, essay, etc), and then series or theme, and then individual documents. I’ve got the terrible habit of creating a new document for every scene, thought, or spark of inspiration that hits me — which means that one book is actually dozens of documents, one series working out to be a hundred files. Most everything I write down is digital, anything not attached to a working series thrown into random documents that are then thrown into the ever-growing ‘Writing Ideas’ folder, which I proceed to forget about for the next year.

All of this, of course, is buried in the recesses of the ‘My Writing’ folder, which houses everything in tarnation.

With my new computer providing a fresh start, I reworked all of this, for ease and clarity. My new organization style is by current or back-burner projects, and then type, and then individual series or documents. This is working a hell of a lot better for my brain — I’m not clicking through dozens (okay, hundreds) of folders and documents to get to the project I’m actually working on.

I’m sure it’ll get messy as I move the rest of my writing over — but right now I’m basking in how pretty and organized everything is right now.

But it made me curious about you, my fellow writing friends.

How do you organize your files? Are you a digital or paper writer? Is everything in one folder, or do you attempt to create some organization out of the mess?

 

And for all of you waiting for the Published: Behind the Scenes blog series to begin, never fear! I’m writing the first one even as you read, and it will be up in a week or two.