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Revision Slog – Novel as Algorithm

Sep22

As I slog toward the end of my third major draft of my new novel, Untimed, I felt the need for brief procrastination in the form of detailing the process. Most people seem to discount how much grind and sheer time investment is required in writing (and revising) a novel, even a vey steady workaholic like me. Let’s do a little breakdown.

Untimed is actually fairly short, currently at 83,000 words and 38 chapters. This is MUCH shorter than my first book started out. Length is a factor because you have to iterate (i.e. read through the book a LOT of times).

Think of each major draft as a loop (I am a programmer) with various sub loops.

. Generate Idea (for the most part this kind of happens or doesn’t)

. Character Design and High Level Plotting (you could spend who knows how long on this, I don’t find it that useful upfront, most of it just comes to me while doing other things)

. The First Draft:

. Initial drafting: For each chapter (1..38) loop:

. Plot the beats in the chapter. This takes an absolute minimum of 1-3 hours even if you know exactly what’s supposed to be in there. Sometimes it takes several days of banging your head and talking to others.

. Pound out a first draft. I can do 2000-2500 words of new draft in one 8 hour day. I generally make this a chapter. Occasionally I’ll be on a roll and do two.

. Reread it to catch really stupid typos, phrasing, and make sure it makes sense (1 hour)

. Subtotal. For above book that represents 50-60 workdays (NOTE: if you take days off, it’s chronologically much longer). Notes on finishing the first draft, here.

. High level pass:

. It’s impossible when writing a chapter or two a day to see the big picture in the book, so you have to do at least one faster pass through afterward.

. I can do about 10-15,000 words a day like this, which is actually fairly brutal

. Subtotal. About 7 workdays. 1-2 full reads.

. Quick read:

. If you want to judge pacing you have to read it all in a day or two like a normal book, not on the computer

. Subtotal. 1-2 days. 1 full read.

. Draft total. About 60-70 workdays. 4-5 full reads.

. Wait for feedback:

. Since you have to finish something and send it to someone, even a paid editor will take some time to read it and return feedback. This usually takes several weeks. I try and overlap it with the cleanup passes, but it’s tricky.

. Revision Drafts (I’m currently finishing the third major redraft) so I’ve done two of these so far on Untimed:

. Plan, outline, and organize changes.

. Can take from a couple days to a couple weeks. Some thoughts on this with Untimed HERE.

. I can do about 2-3 chapters a full day of revision. So for each block of 2-3 chapters loop:

. Do the actual revision. This can be fairly grueling, involving initial big surgery, a smoothing pass, then a cleanup pass

. Reread it to catch really stupid typos, phrasing, and make sure it makes sense (2 hours)

. Subtotal. Plotting 7 days, revising 15 workdays. Generates 2-3 extra reads per chapter.

. Medium Quick read:

. Checking for consistency

. Subtotal. 3-4 days. 1 full read.

. Total for each revision draft. Approximately 25 workdays. 3-4 full reads. Notes on the second draft HERE.

. Wait for feekback. You have to find out from others, often people who have never read the book before, how a draft comes across. This takes awhile. A reader who gets back to you in a week is amazing. It often takes several and some gentle (or not so gentle) prodding. Or tossing them some money. Sometimes that doesn’t even work. I had one (paid) unemployed beta reader tell me that they couldn’t start it because it interfered with their watching TV! NOTE: Said individual did not get paid.

. Line Editing:

. When the big picture is all settled out one sends it out to an editor for Line Editing. This involves more editor time than author time, but still chunks of the book come back and one must go over the edits and install them.

. My editor will request a “compression” pass before sending it to her. This is an extra pass to try and self edit it first.

. I can do about 8000 words a day like this. Approximately 10 days. 1 read. This is brutal but can be overlapped chronologically with the editor’s line editing. I.e. I can self edit a chunk and then send it out, meanwhile self editing the next chunk while the editor is working on the previous one, then also fit in the next part (processing) of returning chunks in a pipelined fashion.

. I can “process” returned line editing at about 6,000-8,000 words a day. For each chunk loop:

. Read over the track changes version of the line edit in word, approving and rejecting various edits and making cleanups

. Copy over each scene in into the real draft. Cleanup formatting.

. Do a quick read of the chunk or chapters to make sure nothing got screwed up

. Subtotal. Approximately 12 workdays, but spread across more chronological time as the edits can’t churn out this much per day. 2-3 full reads.

. Quick read:

. If you want to judge pacing you have to read it all in a day or two like a normal book, not on the computer

. Subtotal. 1-2 days. 1 full read.

. Total for line editing. approximately 24 days. 4-5 full reads.

As you can see. This adds up to a LOT of days and a lot of passes. Finishing up the third draft here, I’m already on eight months and at least 12 read throughs, and I can look forward to several more of each.

For more posts on writing, click here.

By: agavin
Comments (5)

Posted in: Untimed

Tagged as: Andy Gavin, Beta reader, Creative Writing, drafts, edit, Fiction writing, Novel Writing, novels, Proofreading, Revision (writing), Untimed, Writing, Writing & Editing

Middle Madness

Sep08

I think I’m over the hump with the third major draft of my new novel, Untimed (for a quick blurb see here).

Story structure is hard. And while this book is much better structured than early drafts of my previous novel, it had two major problems: the ending and the first part of Act II. Late (very late) in the second draft I cracked the ending. So that just left the middle.

Therefore, I wasn’t surprised when the biggest comment from my awesome freelance editors’ (I use three: Renni Browne, Shannon Roberts, and R.J. Cavender) involved problems in this middle section. It’s not that the scenes wen’t good or exciting, but mostly that I fell prey to a personal need to sneak Napoleon into the story (time travel seems to call out for the most pivotal personality of the modern era) and this resulted in a bad case of “Double Mumbo Jumbo” (or a variant thereof).

So what is the dreaded Double Mumbo Jumbo? Most specifically it’s the phase coined in Blake Snyder‘s Save the Cat book (which I discuss here). DMJ is invoked by throwing two unrelated implausible things into the same story. However, my specific problem is really a cousin, what my editor Renni calls “1+1=1/2”. This is, the idea that doing the same improbable thing twice in the same book isn’t twice as good as doing it once, but actually half as good. Even if the thing is cool. So a kind of DMJ.

And I was doing it in my middle.

Still, this section of my story accomplished a lot of other things too. And I had to figure out how to rework it to keep as much of the good as I could, avoid a DMJ — and not make TOO much work for myself in terms of repercussions later in the book. Thinking about various ways to restructure, particularly given the constraints of my story, my elaborate time travel scheme, and history itself, was quite the brain buster. I thought on it all day for at least a week. So hard one Friday that I literally gave myself a migraine headache! I found myself pondering time travel so aggressively that I became confused as to what year it was — and then my vision began to shimmer (migraine).

I probably outlined 15 different scenarios and talked about countless more. This part of the writing process is very peculiar. I often end up with a half-baked scenario that satisfies some goals, but just doesn’t really work. One quickly reaches a point where no new ideas surface internally and you need to shake it up. I then find it extremely useful to talk with a limited pool of friends who have read the book in it’s latest incarnation. This allows me to efficiently go over the possible elements. Then we talk out the problems. By vetting numerous failed scenarios it’s often possible to collect enough different disconnected ideas that a single coherent new plot can be jig-sawed together. Or at least coherent enough to polish out in the writing.

This last week, I even twice resorted to writing out (as prose) incomplete outlines to see if they worked. The first revealed itself as a miserable failure. The second made it to the finish.

Now it’s off to friends and editors to see how it passes muster.

For more posts on writing, click here.

By: agavin
Comments (1)

Posted in: Untimed

Tagged as: Andy Gavin, Blake Snyder, books, Creative Writing, Fiction, Headache, Migraine, Napoleon, Napoleon I, Novel in Progress, Novel Writing, novels, Structure, Time travel, Untimed

Beginnings and Endings

Mar03

The first thing I did after getting my line editing back over the weekend was work on the ending of my novel. Beginnings and endings are so important, and as is probably typical, I’ve changed them a lot.

The ending is important because it’s what has to wrap everything up, and what leaves the aftertaste in the mouth of the reader. But it isn’t going to do you any good unless they get there.

Which brings us to the beginning. So important in so many ways. First of all, agents and editors glance at the beginning,and if it isn’t awesome, they’ll just put it down right there. Second, so do many readers. They browse the first couple pages in the bookstore (or on Amazon), or even if they buy it, if it doesn’t grab them right away they might just move onto to another book. I know I do.

During revision, The Darkening Dream has already had three different beginnings. But I’ve never been totally satisfied with them. I took a new high level crack at rearranging the flow of my story’s first crucial day, and ended up whipping out two new takes on the first ~7,000 words. That puts three beginnings on the table if you include the current draft. Each have their plus and minuses.

Do I start with the violent supernatural event that kicks everything off? Do I start with character development on the protagonist? How do I introduce my large cast of characters?

Now that I have a couple takes I’m trying to decide which one to pursue. IF YOU’RE ONE OF MY BETA READERS, HAVE READ THE BOOK ALREADY, and are interested and throwing your opinion into the ring, drop me a note and I’ll send you some options 🙂

The good news about my new novel, is that before I even started writing I found a totally awesome place to start the story. I LOVE the start of that book, and so does everyone I’ve showed it to so far. Lessons learned.