Posts Tagged ‘final draft’


After spending a year writing a book, another six months revising it, and having somewhere between seven and ten people re-read it, you’d think all the typos, redundant words, and other various errors would pretty much be nonexistent. I’ve learned that this is not at all the case.

After Beautiful Monster was accepted for publication, it underwent a three-round series of editorial revisions… on top of the four, maybe five rounds Mimi and I did ourselves before submitting it. Last night, we finished the final revisions, and the feeling that followed was bittersweet. On one hand, I was relieved. For over a year and a half, my whole life has been this book. Needless to say, I am very tired of reading it, looking at it, and thinking about it. On the other hand, however, there’s a certain sadness. The book is done. Final. There is nothing more to be said on the matter, and whatever becomes of the book from here on out is pretty much out of my hands. That is a surprisingly sad realization.

It’s been a hell of a ride. I’m not sure I’ve ever learned as much about writing, the publishing industry, and  myself, as I have these past several months. In one way, it feels like it took forever to get to this point. In another way, it feels like it has all happened so fast. In just over two weeks, the book will be available in e-book format and in paperback. This feels unreal to me.

Last night, when Mimi and I realized we had completed the final round of revisions, we both just kind of stared at each other for a minute… and then we got giddy. The sadness of it didn’t really hit me for a few hours afterwards, when I realized that this was the end of the line for this book. But there’s still a lot to look forward to.

We’ve already begun the sequel for Beautiful Monster, and we both have several solo projects going on, too. We still have some marketing things to do for this book as well, but still, the story is complete.

So while my life in writing isn’t over, this book has reached its final conclusion. It’s too late to change anything now even if we wanted to, and that’s okay. I think we wrote a good, strong story, and I think lovers of horror, suspense, kinky sex, and various kinds of creepiness will like this book. The only thing left to do now is to decide how I am going to celebrate! I am open to suggestions…

Check out Beautiful Monster on the upcoming releases page at Damnation Books at: http://www.damnationbooks.com/searches.php?category=upcoming

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     Me and my friends’ Kim (Williams-Justesen) and Joe (Ostler) talked about forming our own critique group for many months before we ever got together and actually did it. The trouble was that the project Kim and I were collaborating on was very high in gore and horror, and I, being the nice guy I am, didn’t feel comfortable corrupting poor Joe by subjecting him to the nastiness and raw morbidity of our story, (little did I realize at the time that Joe has his own unique brand of deviance ~ but hey, I was trying to be nice!) Just kidding, Joe. 😉

So, as Kim and I wrapped up An Evil Heart, we both began new (and far tamer)  projects which we used in our critique group of three. The interesting thing about our group is that I write Horror/Supernatural, Kim writes for Middle Grade and Young Adult, and Joe writes Sci-Fi/High Fantasy, so the contrast of our styles creates a fun dynamic. The three of us were only able to meet twice though. I am leaving the state in two days from now, but we plan to continue the group through Instant Messenger and e-mail, but already, in the short time I have been a participant of a critique group, I have learned a good deal.

A critique group is an assembly of writers who’ve come together for the purpose of gaining insight and feedback from other writers, and no matter how good a writer you may be, there can be no arguing the benefits of being part of one. Critique groups may be as large or small as the group desires. They may be done face to face, over the phone, or online.

The beauty of the critique group is that however polished a writer may be, he or she will undoubtedly overlook some necessary detail at some point in his or her story. The other member’s of the group will hopefully be able to see these snags and help the writer smooth them over. Editors, agents and publishers don’t want raw and sloppy rough drafts. They want polished, revised material that has been read and critiqued, preferably a few times over. A critique group can help a writer be sure that the material he or she sends to an agent or editor is clean, concise, and professional.

     There are however, those groups of writers who do not have their fellows’ best interests at heart. I’ve heard many horror stories about really nasty critique groups whose members were apparently more interested in stroking their own egos than becoming better writers. These kinds of folks undoubtedly run rampant in writing communities worldwide. These kinds of writers aren’t hard to spot and should be avoided at all times. When someone works up the courage to allow his or her work to be viewed by others, I think we need to respect the vulnerability of the writer. That’s not to say that honesty isn’t imperative, it absolutely is, but honesty in and of itself does not need to be cruel. Writer’s are up against enough rejection and damage without having his or her peers standing in line to take turns crushing him or her. Critique groups should be constructive and supportive, and if they aren’t, find a new one. End of story.

Critique groups are as good (or bad) as the members make them, and I am grateful to have a pretty good, albeit very small, group of trusted writers to share my work with. It’s a disconcerting and unfortunately very necessary thing to lay your heart out and ask to be critiqued. To find just a handful of people who I feel comfortable asking feedback from is a wonderful thing.

     The world in general loves to give its opinion and whether you ask for it or not, you are going to get it. The trouble is, you have to be very careful who you listen to. The way I see it, you can divide the world’s population into three groups. The first (and probably largest) group, are those who really just don’t much care whether or not you succeed or fail. The second group is what I call the “cockroaches”. These guys will go out of their way to try to sabotage your success and sense of self-confidence. And the third and final group is the group you need to stick with. These are the folks who want to be better people themselves, and who want to help you become a better person.

So if you are thinking of joining or creating  your own critique group, my advice is to be sure you are among good company because, as important as it is to get feedback from other people, it’s even more important that you don’t give up on writing at the hands of someone who took it upon him or herself to let you know how bad you suck. We all suck or have sucked at some time or another. Totally sucking is the first step of good writing, so if you have to suck, why not suck with the best of them? 🙂

Write on.


    

     In writing fiction, few things are as discombobulating as a surprise character.  You spend all this time and energy mapping out your story, putting the characters in their proper places, and then, at some point during the writing process, an unfamiliar personality appears and demands a role.  You are then faced with a dilemma.  Do you let the character take the stage, or do you simply bypass him or her and continue writing the story as you originally planned?  The answer:  it depends.

     The rule of thumb is that if a character (or a scene) helps to move the story forward, adds necessary depth to it, or contributes an unexpected twist (as long as the twist serves to further and/or add texture to the story) he or she can stay.  However, if the character doesn’t have any place except to show off his or her talents as a fictional being, you will probably need to cut them out.  The question then, is how do you know whether or not the character belongs in the story.  This is where writer’s intuition, a good sense of story, and a little sound judgment come into play.  

     I don’t believe any character should ever be dismissed entirely.  Sometimes, characters are speaking to you from the future (as in a book that has yet to be written) and will fit perfectly into a different story. These characters are jumping the gun, overly excited by their own existence, and don’t yet realize that their time hasn’t come yet.  Other times, a character is speaking to you from the past (as in a former character, probably in disguise, who doesn’t feel he or she got a fair shake the first time around.)  These guys often need to either be dismissed, or altered enough that they are unrecognizable from one book to the next.  Good characters, like good actors, should be dexterous enough that they can adapt to and blend into different storylines while still retaining their believability.  Resurrecting old characters under different names is a custom that, although common enough, can only go so far. After a while, your characters will become stale and predictable.

     When I was writing The White Room, my first surprise character was Aunt Mimi (this was before I started calling my mentor “Mimi”, by the way).  Aunt Mimi just appeared and in true diva style, demanded the floor.  I was terribly unseasoned then and never even questioned her existence.  As it turned out, Aunt Mimi went on to lend the story some much needed comic relief in those earlier scenes.  Later, in the same book, when Kendra Howell appeared, my mentor told me to stop and consider her place in my story before writing her out.  I was torn because while I didn’t feel Kendra had a very large part, my instinct told me that what little role she was going to play would be an important one.  I didn’t feel attached to Kendra like I did some of the other players but I couldn’t escape the sense that she had something of value to contribute.  After some deliberation, I decided to follow through with my instinct and let this surprise character play her part.  As it turned out, I was right.  Although Kendra’s role was a miniscule one in terms of presence and dialogue, she ended up being the answer to a serious hitch in my storyline.  As was Sir Purrcival (another unexpected presence in The White Room), my main characters irritating and ever-present pet cat.

    The same thing has happened in An Evil Heart, the book I am currently working on (and close to being finished with!) with my friend and mentor, Kim Williams-Justesen.  As Aunt Mimi did in The White Room, a character simply known as The Thinning Man appeared in the first scene of An Evil Heart.  I wrote him and then dismissed him as nothing more than a passing face that would populate and add a little color to the book. But all along, I was unable to ignore the haunting suspicion that he had a more important role than giving my main character someone to talk to in that first scene.  As the story has developed, The Thinning Man has become crucial to the story as my main characters greatest enemy and ultimate downfall.

     Also, in An Evil Heart, there have been characters that showed up, been written, and finally, been decided against and deleted.  Such was the case with Julia, a girl who felt important but ultimately contributed nothing to the story.  Maybe one day, Julia will reappear somewhere else, but as for An Evil Heart, she will not be found in the final draft at all. 

     Often times, surprise characters like to show up right before or shortly after the leave of another more important character.  In An Evil Heart, a guy named Damien showed up right before my main characters best friend Brytt exited the story.  Damien felt very important but in truth is no more than an extension of Brytt; Damien is the materialized result of my reluctance to say goodbye to Brytt.  Damien had to be stopped. Now he only occupies a negligible slice in the overall life of the story.  But Damien is significant to me, because his appearance was the first one I recognized for what it was before I wrote him out, and that is a step in the right direction.  One day, I will give Damien his just dues and allow him his own story, so long as, of course, he isn’t so much like his predecessor Brytt that he smudges my style :).

     Yet another irritating way in which characters can annoy the ever-loving bejeesus out of a writer is to deviate from the plan.  These characters already exist and are a part of the story, but they are rebels and will absolutely refuse to play the role you’ve cast them in.  As it is with surprise characters, handling rebellious characters requires intuition and storyline management.  When I was writing The White Room, a character I’d created named Winter went a completely different route than I’d intended.  He was supposed to be a bad guy.  He refused.  I threatened to delete him.  He said, “Go ahead.  See what happens…”  I tried forcing him to be deceptive and nasty.  He laughed at me.  (I realize how crazy this all sounds by the way, but personifying these characters here is the best way I can illustrate the strange nature of this process; bear with me.)  When I finally accepted that Winter would not be swayed, the story began to take a new shape.  A better shape.  “Look,” Winter said to me (after I’d agreed to have a cup of coffee with him), “if you’ll let me do this instead of that, I promise you won’t be sorry.”  I’m just kidding,of course.  That never really happened.  Winter hates coffee.  He prefers fresh blood. 🙂

     By letting Winter have his way though, a few different things happened.  First, the story got tighter and more compelling.  And second, Winter became one of my favorite characters of all time, despite his refusal to follow the rules.  So, personally, I am all for letting the characters have their own voices… for the most part. 

     The key then, is to recognize what can stay and what must go, and that key can only be found in the use of sound judgment and the observance of intuition.  Either way, it’s entirely up to the writer.  Some will tell you that must listen to your characters without question.  Others will say you must never, under any circumstances, let a character control the story. Myself, I’m somewhere in the middle. Personally, I look forward to meeting more surprise characters and seeing what they have to say… as long as it’s something I need to hear.