Final Draft? - Enough is Enough

It's hard to know when you've finished a creative work. How many times do you continue polishing, hoping to improve what went before? When do you ever finish?

Answer: As many times as it takes.

For me, I normally do about five 'Final Drafts'. It's crazy. Each time, I save the next draft as 'Draft_FINAL' and it never is. There's Draft_FINAL One'; 'Draft_FINAL Two' and so on. My personal favourite? 'Draft FINAL_FINAL'.

Each time I review a draft, I find more errors, or more room for improvement. Each re-draft takes less time than the one before, but each re-draft is harder, more freaky, because each time I re-read it I realist that there's still so much wrong.

So I suppose for me,  a piece is finished is when I can't bear to read it again. If I work on this story anymore I will go insane.

And then I take a deep breath, package my finely crafted work up and sit it on it for four to six weeks.
I dread the next part, the sending it out into the wide wide world. Because as soon as that happens, I start getting rejections.

Rejections are almost inevitable. But, oh, how they hurt.  So instead, I keep working on a story, trying to make it perfect, delaying the inevitable pain.

Third Draft Woes

Where are we now?

• you know your story premise
• your characters are all fleshed out
• you know what will happen to them
• you know who narrates your story
• you've written your first draft. 

[Quickly, or slowly: either way, it doesn't really matter - although there was a time limit on the title of this sequences of blog posts, so I've been a little bit under pressure. Because - did I say this? - dear reader, I'm doing this along with you.]

• you've edited your first draft
• you've shuffled your story around, creating your second draft

And Now: Time for the really meaty bit: THIRD DRAFT.

For me, third draft is about copy-editing. Tightening the words, so everything is succinct, where the writing is powerful and immediate and interesting. Third draft makes sure the right word is in the right place.

I like doing my third draft. I work in hard copy, sliding a ruler under each line, and read line by line down the page, following the ruler. This stops me skimming, makes sure I consider each word carefully. I often do this in a cafe, just for a change of scene.

I save my draft two file, make a new one, called 'Draft Three' - duh - and type up the changes.  It's time consuming, of course, but it's also fun, because it's a chance to see if the premise and themes I dreamt of so long ago are coming together, that the story kind of hums along.

The big problem that I have is the continual second-guessing. Oh, but will this appeal to a reader? To an agent? To a publisher?

Which is where I introduce an important little tip: at third draft stage, it's helpful to consider a Critique Partner (CP). 

A CP is someone who reviews and comments on your chapters. preferably, someone who will be brutally honest, without fair of reprisals. Don't use a family member, or a neighbour, or a friend. You need someone to tell you the parts that are boring, or which scenes don't make sense.

Personally, I don't find it too useful to have a CP until draft three, because up until this point, there's so many changes. But after draft three, it's invaluable. Especially for the all-important first three chapters.

Why are The First Three Chapters so Important?

Because these are the ones read by agents, editors and readers. Actually, the first three words, the first three paragraphs, the first three chapters. If you spend time polishing anything, polish these parts of your story.

Where Can I Find a CP?

• If you're doing a creative writing course, well then, it's obvious. You'll have more than enough eyes on your manuscript. 
• You can join a writing group.  Google writer's groups + [the town you live in]. Or look up your local Writer's Society. Here's the link to the New Zealand Society of Authors
• You can join a special interest group - such as a Romance Writers Association
• Or - and here's a special tip from me to you - you can join Ladies Who Critique - and no, they're not paying me. LWC is kind of like a speed dating service for writers, matching writers with critique partners. I've found it useful and its a good way to chat with other writers, all from different parts of the world, with varying experiences. Ignore the 'ladies' bit. They welcome men, too. :)

Finally: A Warning.

You will probably lose a lot of words in draft three. I usually lose about 10 - 20 percent. This means that if I'm aiming for a final word count of say 50,000 (average for a YA novel), I need to write about 75,000 to ensure I still have enough words for my manuscript to stand half a chance of acceptance.

And at the end of Draft Three - will my (good) novel finally be finished?

It's up to you. If you are happy with it, then yes, perhaps. But for me - no. I will keep going on redrafting for quite a little longer.

And Lastly: An Apology

I now have a job that pays me ACTUAL MONEY. Unlike writing, which doesn't. So blog posts will be infrequent for a time. But don't worry, I'm still writing, just much slower than before.

Draft Two

Okay, so hopefully your first draft is finished, and you're quietly (or not so quietly) celebrating.


The good news?
Finishing the first draft is a massive milestone; an exercise in tenacity and sheer bloody-mindedness. Word after word joining chapter after chapter, until finally you have enough content to make a book.

For me, the first draft is the fun part, where the story-telling happens.  I'm not bound up with grammar or word-appropriateness or even too much plot. In the first draft I am feeling my way into the story.

The bad news?
The hard work is just about to start.

Beauty and Murder

So this is what I do.  At the end of the draft one - which takes anywhere between six weeks and five years, depending on number of words and time and circumstances and life just getting in the way - I put the manuscript aside.  Usually for about four to six weeks. For some reason this seems to coincide with other breaks, like school holidays or Christmas or something, so this has never been too much of a problem.

Once the six weeks is over, I re-read it in hard copy with a critical eye. I try not to get too bogged down in the words at this stage (although of course I do, a little), but for me, draft two is all about STRUCTURE. What goes where.

The point of Draft Two is to kill your darlings. Heighten the tension. Compress the narrative.  I find it a very hard process.

In Draft Two I shuffle scenes about. Sometimes I write in the margin - 'Compress.' 'Tighten.' 'This drags.' 'Do I need this scene?' If I think a scene should be somewhere else, I circle it, draw a big arrow to where it needs to go.

You can do this in other ways. Some people use post-it notes, drafting a short, cryptic summary on each, and putting them on a big wall. Some use index files, or software.

The point of any method is always to ensure that everything in your story has a purpose; that each scene drives the story onwards. Do whatever works for you. It's not like there's a right and a wrong here - it's the outcome that matters, not how you manage your process.

When I've ruthlessly worked through the manuscript, I start back on the computer. I make another file called 'Draft Two' and work through the marked-up edit points. I start a file called 'leftover' and anything I'm not sure about deleting I cut from Draft Two and paste into the leftover. Most of the time I won't need this pasted material, but it's like a security blanket, just in case. It's pretty hard to let my darlings go completely.

I find Draft Two the hardest stage. It's when I realise that my shining gem of a first draft is actually only a damaged pebble.

Although even a pebble has beauty; Draft Two is about exposing that beauty.

Awards Season: or Getting Drunk on Fiction

Writing is like Wine

This post is a digression from my 'How to Write a [Good] Novel Series, so if you're looking for writing tips, please just check my earlier posts, or wait for a week and then I'll be back to normal.

The Big One

I would just like to say: this week has been a big week for me. I'm currently negotiating a job offer and, after much patient waiting, I am finally allowed to crow about The Big One.

There are three major awards in New Zealand for my kind of writing. These are:

- The Sir Julius Vogel Awards for Science Fiction and Fantasy Writing
- The Storylines Notable Book Awards
 and (the Big One) - the New Zealand Post Book Awards.

My first novel (indeed, my only novel, so far) has been shortlisted for all three, and last week, was awarded one.  A Necklace of Souls is now a Notable Book.

What does this mean, you ask? Surely, now you'll be rich, Ms RL Stedman? You'll be like JK Rowling, won't you - after all, she had two initials?

Ah, no. It doesn't work like that.

It means there's a sticker on my book.

Like a supermarket wine. You know how they have stickers on them, to say they've won gold or silver at a competition?  No doubt winning the competition meant a great deal to the winemaker who put their heart and soul into the wine's crafting. But to the purchaser, it means; this wine must be good because look - there's a sticker!

Which brings me to the Deep Part of the Blog: Why Do We Write?

I've had to think about this a lot recently. And if you're venturing on a writing journey, you should too.

As a writer, you should never assume that awards equal profit. Sure, they might help.  But is profit the reason for writing?

I write because I love telling stories. Other people write for posterity, to craft images that will outlast them. Some writers love playing with words, with metre and rhyme and seeing how prose looks on a page. Some have something burning to say. And others just want to make a living.

So before you get any further into your novel writing process, take some time and think, why do I want to do this?

Because once you're sure in your own mind about why you are writing, it helps deal with disappointments, like rejections or criticism or poor sales or reviews. And it helps you enjoy the process more.

Stickers on a book are nice, and so are good reviews and sales, but in the end it's what you think of your own work that matters.

Feel the Fear and Do It Anyway.

More About the First Draft.

The first draft is the most important part of your writing. Why? Because without words on a page, there will be no story.

If you find the first draft hard work, it's worth thinking: Does the problem lie within?

Personality Barriers to Finishing the First Draft

• Impatience.  If you are the sort of person who likes things to happen fast, you'll have to adjust your expectations. A novel appears slowly: word after word, page after page. Sure, you can read a book quickly. But writing one takes time.
• Commitment. If you are serious about your writing, you will have to make space for it. Not just physical space, although that helps - but time. Turn off your phone, ditch your job, whatever. It won't happen if you don't let it. Words do not appear by magic.
• Inadequacy. For me, this is the biggest block. Sometimes, writing a novel is like jumping off a cliff; feel the fear, but do it anyway

More Practical Tips.

• Routines are a writer's friend. Get up early, write late, when your kid has a nap, when you get home from school. Doesn't matter. Important thing is - that you write.
• Carry a notebook with you. That way, you can squeeze in writing at down times - when your son's late from his tennis lesson, or when you're at lunch. For short-burst writing, I find notebooks easier than electronics. Transcribing is quicker than creating, though, so once it's in your book, you only have to type it up. (Some people find an iPad works for this too, but I find the keyboard annoying.)
• Have a word target. I've said this before, and believe me, it really helps.
• Create a dedicated writing space. Because you know where everything is, a special writing place saves you time.
• Don't ask for feedback too early - remember, first drafts are not polished gems.
• Watch your back and your posture. Getting repetitive strain injury will slow you down. And give yourself regular breaks from your keyboard.
• More is not necessarily better. I can only do about two hours on a first draft piece.  After that time, the creative part of my brain gets tired and sluggish. When that happens, it's time to walk away.
• Most importantly: Back up your work. 

And tell yourself - "Well Done!" 

The First Draft is Always Shit

The purpose of the first draft is to get stuff out of your head and into words.

Hopefully, after planning in so much detail, you will avoid extensive re-writes because you will have a (sometimes vague) idea of where the story is going and who is telling it.

BUT: Don't expect great things from your first draft.

My First Draft Process

1. Every day I write something new.
2. First draft stuff is written early in the day, when I'm still feeling creative.
3. I have a word target. I do not get up from my chair until I reach this target. It might be 500 words, it might be 2000, but whatever it is, I keep going until I'm there.
4. I begin by reviewing what I wrote the day before.  But I try not to edit it too much, otherwise I get stuck in Edit Mode. There's a big difference between Edit and Create.
5. Once I reach my word target, if I'm in the zone, I keep going. (If I'm not, I go for a walk. I find walking clears away the cobwebs, helps me think knotty issues through.)
6. Every day, I tell myself 'well done'.
7. Repeat this process until finished.

And I DO NOT get worked up over what is happening until the story is finished.
Worrying about plot holes is a sure fire way to procrastinate.

Something like Nanowrimo can help - the way you get a little graph at the end of the day is quite cool. Plus, its nice to feel you're not alone.

Of course, this is all wonderful stuff. I break my rules all the time.

More  Information 

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The Voice

I'd like to issue a big apology to those of you reading this from Goodreads. There seems to be some sort of a glitch with the images. I have tried to change it, but seems as though the blogger platform is just the way it is...

Anyway, this week's post is on Voice.

So: Here is where we are:
- you have the idea for your story
- you have your basic plot outlined
- you know your characters
- you know which of them (if any) will narrate the story.

Voice

The last thing you need to know is - how will the story be told.

I am calling this Voice. Some people say 'first person' or 'third person'. But here's a lot more to story-telling than just point of view.

To me, Voice is what makes a story come alive. It's when you believe in the character so absolutely that you fall in love.  It's more than the point of view (POV); it's the tone of the whole story.

Examples of Great Voice

• Harry Potter 
• The Curious Incident of the Dog in the Night-time. 
• Sherlock Holmes
• How We Live Now
• Lolita
• The Fault in Our Stars

Techniques for Developing Voice

Point of View

Write a few paragraphs as first person, a few as third person. What works best? What makes the story come alive? For example, when I wrote A Necklace of Souls, I started writing Will's section as a third person and it just ....worked. So I stuck with it. Dana's sections, on the other hand, are in first person.

Tense

Write a few paragraphs in past tense (he said) and a few in present (he says). (Future rarely works but I suppose if you're being creative you could try it!)

Present tense gives a sense of immediacy to the story, as though the character is right there, in the moment. It's used in The Hunger Games to great effect.

Past tense is more suited to a narrative style, and I think it's easier to sustain the reader's interest, because sometimes present can grate.

Language

Think about the dialogue of your characters. How do they talk to each other.

If your character is a young child, they will have a more limited vocabulary than say, a university professor.

Use words that reflect the personality of the narrator. In Curious Incident, the narrator is an autistic boy - so Haddon uses concrete language, expressed in plain terms.

And, as always in writing, try and avoid passive nouns: 'had', 'was', 'were'. They slow the story.






Next week, we'll hopefully start actually writing.