Author of Paranormal Romance
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Oh editing. I love you and I hate you. It feels like I’ve been doing nothing but editing since April (ETA – that’s pretty much the truth, actually). I had a few lingering scenes that were breaking my head on VANISHING ACT, so I logged off the internet and went and worked in the other room. No distractions, just me and my characters as I tried to force them to do things that did not feel natural (since I’d already written the climax of the story once, rewriting it in a different direction – no matter how good the direction is – still feels unnatural).

But I wrote a huge chunk and I’m happy to say that I’m done, more or less, with the edits. Except I’ve got to go back through and re-read one more time to make sure there’s no bizarre jumps in logic. At one point I ripped out almost 40k from this book and rewrote back in about 25k (some of it coming from very early drafts).

For those of you that are word count junkies like myself? Starting tally of this book – 92k.

Tally after completing the last draft? 74.5k – my goal. I’m really happy with that number. The 92k felt bloated, but I wasn’t sure where to cut. The 75k feels much more streamlined for a YA.

I expect the wordcount to bounce up a little as I go through a paper copy of the novel and re-read one last time. There’s always tweaks here and there. But I can’t imagine it getting much higher than the 75k it stands at now.

And maybe now I will go back to my crackhead project. Or work on some short stories. Have not decided, but the world is my oyster. For a few weeks, anyhow.

WHEW.

I'm still working on VANISHING ACT (which was once called UNNATURAL). Started with a draft of 89k. The file I'm now staring at is 66,866 words. Sure, I may have had to sacrifice most of the last 5 chapters (sob) and there's one I yanked out entirely because I'm going to have to rework it from scratch, but this editing pass is done. This draft was by far the worst one.

For those playing along at home, this is draft #eleventybillion and one. Kidding. I honestly don't know how many drafts this is. I think I edited this book 6 or 7 times before I said to my agent "Hey, can I make it a YA?" She said yes, so I edited it again, and sent it back.

This round was to fix the (tons) of suggestions she had, to shorten the draft, and to type in the mark-up changes I'd written out on paper.

I have a list of notes for stuff to fix in successive drafts (like we talked about in the prior post) and the list is here:

1) Make R a conspiracy theorist - check his dialogue and actions
2) D threatens L via J - make sure to add this in and to correct their interactions -- this changes J's motivation
3) L's personality = too old. Fix!
4) Connect gym scene (okay, so I have no idea what I meant when I wrote that one down, but I'm sure I'll understand what the hell I'm talking about when I actually get to the gym scene again)
5) J should be able to hear W's thoughts starting at page 206. Note to self--Either this scene needs to change or I need a workaround.
6) School lunch room (correct prior scenes showing private kitchen)
7) p213 - helmet?
8) Add in chapter of doom.

Some of these are a snap to fix. Like, say, #3. I just basically do a word-search for his name, tweak his dialogue and body language so he actually sounds his age. Some of it (I'm looking at you, #8) is going to break my brain.

But whew. Feeling a major sense of relief here as I move forward! The hardest stuff is done.

So, last we heard from our intrepid heroine, she was working on two projects. One, she was hating (we'll call those 'the edits') and one she was loving (we'll call that one the 'forbidden crackhead project').  Torn between the one she really wanted to work on (FCP) and the one her agent thinks she's working on (edits), our heroine was naturally torn.

(Boy, it's really weird to talk about yourself in third person)

Anyhow. For a while there, I was working on both books. And you know when you split your time equally between two projects? That's right, both end up moving really, really slowly. And I mean REALLY slowly.  So on Friday, I decided to work on the edits alone. If I got a large chunk of those, I'd switch to FCP. But instead, I started to get back into the story at the core of my manuscript, and spent all weekend working on the dreaded edits.

For those of you playing along at home, this is a different book. A spec project that I'm working on. My agent read the polished novel that I turned in (and had been edited a bajillion times before) and said "Whoa there" and gave me a ton of good things to fix.

I'm still fixing. I'm still fixing a lot, in fact. I got to the point where working off of page edits wasn't doing it for me any longer, because I was making so many changes that the pages themselves were useless. So I've been going through the entire draft, word by word, changing characters' descriptions, names, personalities, and giving others new roles.

In case you've never done this before, it's really, really slow.

But! I can see the light at the end of the (very long) tunnel.  I'm at page 204/249 and still working. I think when I started this weekend, I was on page 50 or so. After a month. That's how slow. Still a ton of heavy lifting to do, but I'm really enjoying what I'm getting. I'm hoping to be done in another week or so (which might be wishful thinking).

It's been a while since I blogged - sorry! And I have a half-written post about editing-and-pantsers (since I am one), but I haven't finished it yet. I will some time this week. And blog about my photography session, because it was a lot of fun. And um, some other stuff.

And since I'm a slacker, here's a snippet from the edits I'm working on. The book is now called VANISHING ACT (thanks, Karen Duvall!).

This should tide everyone over for a few days, right?

##

I awoke to find another girl staring at me.

She was a cute, if you didn’t mind cute mixed with scary. Her face was round, her cheekbones arched and eyes tilted in the manner of someone with asian descent. But her hair was dyed a mix of punk pink and black streaks, and she had more hardware pierced to her face than I had on my entire body. She also wore a lot (a whole lot) of dark red lipstick, so much that her mouth seemed huge in her delicate face. She was dressed in a hooded black sweatshirt and a red plaid skirt, and gigantic buckled boots ran clear up to her knees.

She grinned at the sight of my straitjacket and leaned back in her chair across from me. “I take it you were a runner?”

I tried to sit up – near impossible with my legs bound together and my arms tied down. I ignored her question. “You’ve got to help me,” I said, lifting my arms in a lame gesture at my jacket. “I need to get away.”

“BZZZT. Wrong answer,” she said with a delighted grin, and parked one enormous boot on my leg. “This is your new home.”

I exhaled in frustration. “Whatever. Can you just help me get out of the damn jacket already? My arms are cramping up.”

Her head cocked to the side as she regarded me.

“What?” I frowned at her, shifting in the straight-jacket. “Do I have something on my nose?”

She smiled. “Just checking your aura to see if you were gonna run if I let you go.”

Great, she was crazy too. Just what I needed. I shifted in the jacket, trying to get comfortable. It was pinching the hell out of my side. “And am I?” I asked. “Going to run?”

The girl moved to my side and began undoing the laces of my jacket. “Yeah,” she said, that bright red mouth grinning. “But you won’t get far. And this thing looks dorky as shit.” Her fingers worked at the buckles, freeing me. “I’m Winter.”

I immediately darted for the door, shoving past her.

Only to stop once I opened the door, looking at the two heavily-muscled guards armed with guns just on the other side. Scratch that. I shut the door again and forced a smile to my lips, regarding Winter. “I’m Jolie.”

“I figured. Beauty queen, right?”

I stilled, uneasy. “How did you know about that?”

“I read the newspaper article.”

“Newspaper article?”

As if reading my mind, Winter moved to a nearby table, then handed me a newspaper. “Newspaper. It’s this cool thing where they print the news.” She leaned in and put her hand to her mouth like she was telling me a secret. “ON PAPER. Isn’t that wild?”

What. A. Jerk. I took the paper from her and shook it out, staring at the cover page.

PAGEANT HORROR, the headline proclaimed. SEVERAL INJURED, ONE DEAD. PRESIDENTIAL HOPEFUL’S SON INJURED. There was a gigantic picture of Lee with his clothes torn, his head bloody as he picked through the rubble of the stage. My pageant headshot was a tiny black and white photo in the corner, and it mentioned me as the victim.

I burst into tears. They’d proclaimed me dead.

##

Hey everyone!

After a month (well, almost) of slogging, I'm done with my edits. Hooray! I wasn't sure how I'd handle my first 'real' big change letter, but it was a learning experience and a fun process, and I'm 110% happier with my book now than I was when I started. So yay for that! I've got a few last minute tweaks to make and it'll be winging back to my editor. And that means a mini vacation for yours truly.

But I should be back to blogging again, which is nice. Things are moving along in the book publishing world -- I should be receiving finalized back cover copy soon (which I will share) and a few more blurbs (which I will also share).

In the meantime, I am thrilled to be done. It's a great feeling of accomplishment. :)

On Tuesday, I hit a milestone in the publishing sprint/marathon/turtle-crawl. I got my first edit letter. This is book 2 for my series, but book 1 never had an official letter – it was mostly verbal “Can you change this” or “Let’s go back to this version” etc etc. Book 2 was going to be my first, honest to goodness edit letter.

I was terrified to think of what it might contain. There’s always the horror story lurking in the back of your mind:

Dear Jill,

Start Over. Really. This blows.

Love,
Your Awesome Editor

Luckily, this wasn’t the case! My edits were actually pretty light, and the letter clocks in at 7 pages. For those of you wondering what the edit letter contains, here’s a quick and dirty breakdown of what mine has:

Page 1: Editor tells me how much she liked my book and a broad overview of what I did right. Yay!

Page 2: A broad overview of what I need to fix in the story. For me, I short-changed two subplots and have questionable motivation for two characters. Still easy fixes.

Page 3-7: Page notes. For example: “Page 231, you say “200 years but it’s really 400” or “Page 76: Man, she’s kind of being a jerk right here, isn’t she?”

All really great stuff. I printed my manuscript and have started working on it already. I wasn’t sure what my reaction would be – I’ve heard stories of authors weeping, calling their agents ranting about cruel editors, and all over the spectrum. Here’s basically how I reacted:

Page 1: This doesn’t sound bad…

Page 2: Ohmigod – that’s EXACTLY WHAT MY BETAS said. Wow. She caught that!

Page 3 – 7: Er…wow…there are a lot of notes here. ;)

In all seriousness, I love my notes. My editor knows exactly what I’m trying to do with the book, and there wasn’t really one single thing I disagreed with. She pinpointed my weak-spots with laser accuracy. And sprinkled into the letter are comments about parts that she found funny (which I loved) and parts which were…not (which made me realize I am not as funny as I think I am, hee).

I have difficulty with constructive criticism at the day job, so I was worried I’d be really upset at her notes. As in, must lay in bed and stew for 24 hours before I can possibly read these notes ever again (cue back of hand against forehead). But after reading her notes, I am totally pumped. 100% excited and ready to fix this bad boy.

Here’s the thing, though. You think critiques are hard? Those tough beta-readers? Those agents that gave you feedback that made you curl up into a fetal position? Those editors that passed on your submission because they didn’t like it?

Suck it up, because it doesn’t change now that you have a contract. Your editor is going to ask you to change a lot and she’s only going to sugar-coat it on page one. ;) Your book is now a Product (Yes, I said the “P” word), and she’s going to expect you to act like a professional.

My letter is absolutely great, but my editor doesn’t pull punches. She gives it to me like an adult. If my character acts like an asshole in chapter 20, she tells me. If I write an idiotic phrase, she points it out. And not with “Oh dear, special snowflake! You might have made a mistake! But it’s okay!! I love you!” Nope. Your editor is not there to lovingly stroke your hair and tell you that you are the bestest writer evaaaaaaaarrrr. She is there to make your book successful. And she already thinks you’re awesome because she bought your book. And if she thinks you wrote a moronic subplot in on page 157, she’s going to tell you to take it out, no matter how much you might love it.

If you want petting and love and sympathy, talk to your agent (well, maybe) or your parents (definitely).

But you’d still better fix that shit in your book, or the copyeditor is going to tear you a new one. ;)

(And I got agent notes on a different project yesterday. She didn’t stroke my hair either, come to think of it! But she pegged everything I thought was questionable. Love that. Best Agent Ever.)