It Always Starts on a Rainy Night

Sure, there are exceptions, but in literature and movies, there's always that air of mystery wrapped into those rainy nights. Maybe it's a cheap and automatic draw into the shared experience that comes with the rain. Inconvenience, the love/loathing of the rain's smell, the warmth/chill of water on the skin, the concealment, the greater population staying out of it in favor of staying dry--whatever it is, there are layers for the writer to explore or to leave to the reader's imagination.

Whenever I start a story, one of the primary concerns I have is where I am setting the first character that will serve as a lead-in for the story. How much they are aware depends on how they feel about the weather. Would they love snow or rain or be complacent on a dry night? Does cold make their scars ache or does the heat make them sweat and itch? So often, a writer will talk about how deep and rich a character is, but it's also true that good writing is on the skin. You don't have to write the ode to itchy skin, but it's also important that the writer is aware of the skin they're in.

Speaking of skin, are we aware of the subjectivity of beauty? Are they perceived as beautiful or ugly and do they agree? Does being called one or the other always seem to stun them or do they ignore it unfazed? Are they an ugly crier or does their skin blotch red when they swallow their emotions? Does rain make their skin uncomfortable or do they avoid it to preserve their vanity and expensive fashion choices?

Wherever you begin the setting of your writing or just imaginations, the layers beneath it aren't always an active process of doing. As a gatherer of observations, there may be less notes and more scattered thoughts as we jump from one curiosity to the next. Sometimes it doesn't really start at a neat spot; sometimes it's an overwhelming web and when we whittle it down...

It's just odd how often that the place so often comes down to a rainy night.

UnNamed started there and the idea I was hashing out last night came around to the rainy night too. Despite my own meditative experience with rain, in my stories, I always see it in the reason for urgency, the playground for the determination of someone to brave it because life has more pressing matters than waiting for the rain to stop.

Time and again, I start there too because I'm looking for something across those oddly-sentient nights where water and air are testing human affairs for resiliency.

And the rebel in me started UnSung in a place quite opposite. Why let the curiosity always hover on obsession? What's on the polar opposite of an obsession has answers too.

Editor's Paradise

I know the two words together are causing some instinctive flinching but it doesn't have to be a nightmare. I've covered editing methods in parts in the past but realized I haven't really broken down either the types of editing you can do yourself or where you might need to bring in some interaction, professional or not. I'm going to cover the six main kinds, in a basic sort of order and explain their purpose. Some types can actually be done simultaneously but you can decide which ones are needed for yourself and know what to ask for if you're unsure.

Content Editing (aka structural/substantive)

Most first drafts start here and I'd say you want to definitely do at least one pass at this yourself. This is the method that involves basic character and scene building. Beginning, middle, end, how they connect, what builds a necessary element and which parts should be cut, added or developed.  If you're often a pantser, then this is where you start to flesh out things you've established along the way. 

How do you do this? Focusing on each specific character and scene and jotting notes works best to start. When I use a program like Scrivener, I use icons to mark where certain characters appear or where scenes start and end. You can track one character at a time or focus on specific scenes this way. It's much easier to detect and find what you need to strengthen when you can focus on this as seamlessly as possible. (I did discuss this method HERE, largely used for plotting.)

Why? Even if you're not the best editor, this is most important to making sure you have a compelling and interesting story. I list this first because it shouldn't be avoided and should be tackled as early as possible. In fact, I'd hesitate to ever query your MS if you haven't examined it carefully.

Manuscript Evaluation (also 'beta reading')

First off, if you've done nothing to your MS past the draft, you're offering an alpha-read, so this step assumes you've done a basic proofing and content check and are ready to subject someone to work you've shown consideration for. If you just want a general critique or opinion, this is what this step is-- one where you're getting an outside opinion. This one you can do at any time, any draft, any place where you're editing, but I'd recommend getting the best 'bang for your buck' and holding off on this one for professional editing until you're in a good place with your work. If you have a dedicated editor, one that will work with you throughout with assessments (especially with a flat fee and you're not demanding gobs of their time for that generosity), then even better!

How do you do this? The bare minimum for a professional evaluation usually entails a 2-5 page evaluation. Don't expect mark-ups or comments on the actual document unless agreed upon. This is basically just as assessment on what works and doesn't and if your intent is coming across. For beta readers, you can ask specific questions to guide the assessment, but don't expect the world. Free readers may not get back to you at all or just hit you with a 'nope' or 'good job'. Some editors even offer a free evaluation in lieu of other services, but check their services and don't expect this (or ask if they will when they specifically say they don't).

Why? Feedback. You might have big gaping blind spots in your perception of your own work and need to filter it through someone else. Remember, professional editors can use their free evaluations to decide whether they want to continue working with your manuscript or not. If they turn it down, you may need to give it a hard look all around or find someone who enjoys the subject matter more. Or your MS is gibberish and requires a hard-edged proofer to really clean it up. Most people have limits as to how much they're willing to make your work coherent though.

Development Editing

This is another that you can ask from beta readers, pros, or DIY it. This step also follows an evaluation in most cases. This is where you focus on developing the book as a whole or into its specific chapters. Development is where you address the content again, but also look at the structure in both a broad and narrow sense.

How do you do this? For beta style reading, you can offer them specific chapters through a platform like Google Docs or BetaBooks, one where they can mark-up and comment on specific aspects. You can also mark-ups and leave notes for yourself, either in a notepad feature in your program of choice or directly affecting the draft. Development is where you are making sure intent and storytelling align. Is your chapter meant to open or close a specific plot or develop the relationships of characters? Is there anything here that distracts from the story or isn't necessary? Dig deep and be prepared to shred and re-order!

Why? Coherency and intent. A well-developed story doesn't make people keep running for a glossary, discerning your context or having to page back to find something that only vaguely supports (or disproves) another fact.

Line/Style Editing

This one digs even deeper if things just aren't working. You're getting to the nitty-gritty of the sentences and paragraphs. This one will work most intimately with your voice and phrasing. Very often, you might be hitting roadblocks with odd turns of phrase, conflicting character traits, and lackluster development. There's a reason why Yoda is a Muppet of few words. It's fine to have that Ye Olde English character, but people don't write in Shakespearean phrase anymore for a reason-- it just doesn't flow in modern thought and requires a lot of interpretation to the uninitiated.

How do you do this? A lot of writers swear by text-to-speech options where it reads your writing aloud and you can hear those painful missed commas and odd turns of speech. Run-on sentences are busted here too. This is very much a form of grammatical editing but the focus is more on style and placement than spelling. This is editing that fits alongside content and development well, but may need specific attention if you're just slamming into too many trees.

Why? You're probably purple, but with all the delight of a bruise. Some people love purple prose, some despise it, so this is a sensitive place for some. People may very well enjoy your voice, but you may be overconfident in how well it works for your story. This isn't a hack job by any means, but it will require a very critical mind for editing.

Copy-Editing

Continuity errors. His eyes were green, now they're blue and there's no event to justify the change. The three bedroom house now has four. Your character lost a foot but they're dancing like a pro with no prosthetic in sight. Copy-editing is where you check for all of the consistency and cohesion. This is something every genre needs and is where you make sure that body covered 75% in hair isn't 30% or 65% later. Every element worth writing about and writing about again shouldn't contradict without damn good reason. Advertisers use this to avoid false advertisement. If your air-conditioner's output is 5000 BTU, more or less is bad business.

How do you do this? You can actually use the content editing strategy here and quickly refer to certain scenes, chapters and characters thoroughly. In fact, you can technically lump content/development/style in one edit over several passes. I'll always recommend several passes of editing no matter what you focus on. This is a place where a professional is super helpful and often where they charge the most because it's so important. It does involve grammar checking as well, so don't skimp there.

Why? Of all the disciplines, I'd say this one is a biggie. It balances all of the editing styles and done right, should be a confident step towards the final product (and why it's toward the end of the list-- don't escape a thorough edit!).

Proofreading

This is one you can do or you can't. It's not just for grammar or spelling alone, but also important if your first language isn't the one you're writing in. This one does deal with structure, phrasing, spelling, but strictly speaking, doesn't need to focus on content or style at all. If you don't want your MS touched in content, asking specifically for a proofread is just going to focus on making sure what you have is grammatically sound.

How do you do this? A firm background in grammar or the patience to look it up. You may not know what doesn't sound right so if you did poorly on your last writing assignment for school, there's a good chance your own eye won't cut it. You can use services like Grammarly or Hemingway but even those don't just wave a magic wand and you'll need a discerning eye to catch some mistakes. You may not speak an English dialect that grammar loves, so you do need some love of standard English to get by. (No bias here, but I'm assuming someone isn't using Google Translate to read my blog and it is in English.)

----

Hopefully, this sheds light on some of the details that go into editing. I've brought up some methods I've used, but I'd keep in mind that this can be a hit-or-miss skill and I'd only recommend it if you have cultivated a talent for it. I'd still advice other eyes on it, but really weigh that one on personal factors. Plenty of people will insist on shelling out for covers and editing and, while they're not wrong, they're not you. You are able to weigh the consequences and reputation you want to build. You are here to challenge yourself and tell your story the way you think it should be.

Querying may strengthen your need for a solid manuscript. It's true enough that some people get accepted for their mediocre first draft, but just as many wade the entire pool and get no bites. It's true enough that mediocre first drafts past muster in traditional publishing and you can practically see the editor's only marks are the drool stains on their keyboard.

My only addition here is to vet editors carefully. They don't need a degree, but I'd consider if they come off as jaded, just putting in the paces or overcharging and expecting you to pay on good faith before you even see if they're right for your work. I'd advise not handing off entire unpublished manuscripts to just anyone. Throw a few chapters at them to test their interest and skill. No decent editor will balk at your polite hesitation to blindly trust them. Diplomacy is important to all professionals.

And that includes you. Yes, you. If you're working towards publishing your work, YOU are a professional. Develop humility and confidence, understanding that even when you hire someone, you are attempting to establish a relationship, a rapport, and it affects both of your reputations. Don't become blacklisted for treating them like indentured servants and getting the reputation for being hard to work with or having an undeserved ego problem. Don't smudge their record just because you're hurt that they decide not to work with you. I say time and again that I like to steer away from 'don't's but not being a dick is a good policy for success. Total dicks CAN be successful, but it's really an exception, not the rule.

For a new writer/editor, it can be disastrous. Rich people can usually afford it. However, famous YouTubers do usually disappear after one stupid comment, so don't assume success is always a blanket for a bad attitude or a careless action. (I still think James Gunn got tanked for no good reason. Like Jim Jefferies said, he's a bad comedian, not a bad guy.)

You and Me on the Ceiling

Choosing a topic can be difficult at times; not because there's nothing to talk about but because of the sheer number of possibilities. Rambling is fun too, but on occasion, I've thought it might be even more fun to grab-bag some topics, tackle them with my own perspective.

Pulling from a list of possible 'writerly' topics, I came across: how do you come up with characters for your stories?

The simplest answer is in the heading: one-on-one conversations with a best friend, staring at my ceiling. I have sloped ceilings in my bedroom. I'm not fond of bright light or too much blank space. I don't really do much eye contact when talking, so I usually end up talking while staring off in the direction of my ceiling. When I'm doing some of that rambling, I'm not exactly talking about my characters or my story at all, but often, it's the act of doing nothing related to thinking about my story that makes them as real as the life I want them to have.

Sure, I guess sometimes, we tend to borrow snippets of people we know, observe, idealize, loathe. Maybe even pets or a favorite character in our consumerism becomes the inspiration. 

Brainstorming can be a ripe pain in the ass for me. If it wasn't such a spoiler, I'd take a snapshot of the word vomit I just made of a couple pages in a notebook. There are some things clearly labeled, things like ADD TO SCENE or CHARACTER DEVELOPMENT or PLOT, (all caps because my inner muse screams at me in a German accent) but most are squeezed in scribbles of an 'oh, yeah, put this somewhere too.'

And my Scrivener notes on characters? Never to see the light of day. I end up really yanking a character from their ideal to a more organic development once they breathe the air of the world I put them in.

Sometimes I draw them, sure, but I'm really not a big fan of always defining what the reader sees. Granted, I did do that with my first series, but magical humans and hybrid creatures are not something I wanted to throw away with 'whoa, dude, there was like this big venus flytrap only it's blue and eats people! RAWR!' I see a lot with the young ones, this insecurity about providing fan art, maps, visual references that are supposed to enhance the reader experience. While I certainly use such things for expression and the writing process, let's not forget that book readers are there for the words. When you see popular series with their artbooks, maps, etc. these were often done later, so it's also entirely possible to just focus on the writing and worry about dressing it up for fans later.

When it comes to aids for character design, I often end up with folders with images of fashion types, hairstyles, bits and pieces rather than just the picture of an actor or model. I use these specifically for when their clothing becomes part of the plot-- a raincoat, a half cape, a corset with loose laces, etc. While head to toe, I'm usually mentally dressing them for their appearances, this is only a practice for me because my focus is still on keeping it interesting to read. If I mention them wearing a hat, there's always that place in mind that makes sure that, unless it's pinned firmly, it might be falling off or getting wet or burnt or otherwise assaulted by its environment, so do I really want it there?

More often than not, even though I do play with planning and deliberation, the dynamics of conversation and development are more likely built in cracking jokes, heart-to-hearts, emotional or light talks with someone who doesn't mind my brain dumping.

With my feet on my sloped ceiling, looking at and talking about nothing in particular.