{"id":4084,"date":"2020-08-01T16:26:14","date_gmt":"2020-08-01T23:26:14","guid":{"rendered":"http:\/\/stage.myliquis.co\/alane-adams-studios\/?p=4084"},"modified":"2021-07-07T20:34:45","modified_gmt":"2021-07-08T03:34:45","slug":"from-first-draft-to-final-draft","status":"publish","type":"post","link":"https:\/\/stage.myliquis.co\/alane-adams-studios\/from-first-draft-to-final-draft\/","title":{"rendered":"From First Draft to Final Draft"},"content":{"rendered":"

Welcome back to The Iron Jaw, a monthly column on the writing life. This month we\u2019re talking about the editing and revision process. If you\u2019re an author, you know that feeling you get when you type these final two words into your manuscript\u2014The End. A sort of tingling joy runs through you, a sense of euphoria that the mountain of doubts and fear have been conquered. You want to dance around the room and shout out your victory at having wrested the plot into a coherent tale from the tangled web of thoughts that bounced around your head. And then comes a compulsive need to have someone read it\u2014to share it with a best friend, spouse, or parent, and it\u2019s with great excitement you wait for the accolades to roll in. It\u2019s amazing, they say. Your mother thinks you\u2019re remarkable. Friends who have never written a fictional sentence in their life (besides their dating profiles) think you\u2019re a wizard. I am author hear me roar<\/em><\/p>\n

If you\u2019re new to writing\u2014you might actually believe these early readers which can lead to an ego-jarring let down when you send it out to agents. Don\u2019t get me wrong, their sincerity is not in question\u2014it\u2019s their ability to be impartial and have a critical eye. In her Happiness Lab lecture series, Yale professor Lori Santos claims \u201cknowing is not<\/em> half the battle\u201d, meaning we may know something to be true but still not accept it. To illustrate her point, she shares a familiar image of two parallel lines identical in length, but one has angles pointing inward at the tips, the other pointing outward. Our puny human brain will swear the outward pointing line is longer\u2014and it doesn\u2019t matter if we measure it and prove they are the same, our brain sees what it sees. So accepting that you\u2019re not impartial, but then assuming you can make yourself impartial, is most likely false. If writers could just write and write and write, we would be the happiest people on earth. But the cold hard truth is that first draft you\u2019ve worked so hard on is probably terrible in every sense. Sure it has potential, but like a diamond in the rough, unless the author undertakes the very hard next steps to polish and refine it, they will find themselves in a state of confusion when it is rejected out of hand over and over again.<\/p>\n

So what should you do when you finish a manuscript?<\/p>\n

Forget it exists.<\/strong><\/p>\n

Huh?<\/em><\/p>\n

What I mean is, when you complete a draft of your story, close the file and walk away from it. You\u2019ve just spent months, if not years, forging characters, plot lines, sub-plots, conflict, tension and twists out of the dark recesses of your mind. It\u2019s exhausting and draining. Take long walks. Binge-watch all the shows you\u2019ve missed. If you occasionally think of something you forgot to do, make a note of it in passing then get back to relaxing. The last thing you want to do is try to shift gears too fast. Imagine you\u2019re driving seventy-five mph down the freeway and decide to throw the car into reverse. Watch your transmission drop onto the freeway! It\u2019s the same for your brain. Creating the story is one speed, but when you shift into the editing stage, watch out\u2014stuffs about to get real!<\/p>\n

After you\u2019ve let your manuscript sit idle\u2014two weeks even up to a month\u2014you\u2019re ready to start the next step\u2014the hardest part of all in my opinion. Now every word, every comma, every nuance must be taken out and examined in the harsh light of a critical eye and this can be both exhausting and demoralizing when you begin to understand how much work is still to be done.<\/p>\n

When you dust off your file, \u00a0have a clean notepad at hand and a strong cup of coffee. It\u2019s time to read what you wrote. It will feel strange reading your words fresh, almost as if another person had written them. You can make small changes as you read through it, but my advice is to mostly take notes as you go and let the story flow and just see how it feels. By the time you get to the end, you\u2019ll begin to have a sense of the structural problems, timeline errors, slow moving parts and plot holes that raise a red flag. Now you\u2019re ready to roll your sleeves up and really begin to grind.<\/p>\n

I frequently read and reread a manuscript thirty, fifty, even eighty times before I\u2019m happy with the flow. Each time I go through it I eliminate problem areas, smooth gaps, add tension, and sprinkle in more details. Its tedious and time-consuming but you will only really see what\u2019s wrong if you take the story completely apart and then put it back together piece by piece. You may have your own method of doing this but it mostly involves critically examining the work with the goal of elevating the story to its highest form.<\/p>\n

When you\u2019ve worked through it until your eyes bleed and you literally cannot imagine reading it again, start on the nit-picky items. Learn your bad habits\u2014all authors have them. Mine is starting sentences with phrases like \u201cbegan to\u201d \u201ctried to\u201d or \u201cstarted to\u201d For example, I might write, \u201cHe began to run,\u201d because as I\u2019m writing the story it\u2019s happening in real time in my mind. But it\u2019s much more active to just say, \u201cHe ran.\u201d Be sure to find your bad habits and take note of them, they will reoccur often in future novels.<\/p>\n

Another powerful way to weed out weak writing is to listen to your book read out loud to you. No, you don\u2019t need to pay someone to do a voice-over or beg your spouse to run through the lines. There are many great text-to-voice programs available today that are inexpensive and synthesize the human voice very cleanly. You can even pick the accent and sex of the voice. Some stories sound better with a gravelly male voice while others might be more suited to a smooth female pitch with a British accent. You can choose the speed the words are read and pause anytime to make corrections as you follow along with your laptop. The benefit of hearing your words is that your ear can pick up things that your eye can\u2019t. Repetitive phrases and descriptions will jump out at you. Dialogue that doesn\u2019t make sense will jar the ear. Plus it forces you to listen to every word\u2014sometimes when we\u2019re reading we skip over parts, especially if we\u2019re familiar with that part of the story. You will be amazed at how many things you never noticed sticking out like a sore thumb. Another benefit is the ability to listen to your story in the car while you\u2019re driving, turning idle time into productive writing time.<\/p>\n

Writers often hear the words \u201cshow don\u2019t tell\u201d but it really should be followed up with, \u201cand whatever you do, don\u2019t show AND tell.\u201d If you\u2019re not clear what show don\u2019t tell means, it\u2019s like this: you can write \u201cJohn was nervous\u201d\u2014that\u2019s telling<\/em> the reader what John is feeling. It can feel flat and uninteresting as compared to this: \u201cJohn\u2019s fingers tapped on the desk. Sweat pooled down his back and his collar felt too tight to breathe.\u201d That\u2019s showing<\/em> the reader that John is nervous without ever saying it. The reader gets to imagine it based on the signals given. What\u2019s worse than telling? When the author considers the reader too dumb to pick up on the clues and so feeds the answer like this: \u201cJohn was nervous. His fingers tapped on the desk.\u201d It gets annoying to the reader to be told and then shown what is happening. Search out sensory words like feel and felt, hear and heard, see and saw, and try to change as many as you can into more active and dynamic verse.<\/p>\n

At this stage, your manuscript is getting tighter and tighter. It\u2019s time to do some repetitive word search and eliminate clich\u00e9s. There are lots of programs that search out repetitive phrases and they are incredibly helpful at varying the descriptions. It\u2019s always amazing to me that even after reading my manuscript so many times I don\u2019t always see glaring repetitions. A reviewer of my book The Red Sun<\/em> once pointed out that in spite of five different editors going through the manuscript and countless proofreads, I used \u201clike a lamb led to slaughter\u201d not once but twice in the space of a few pages! Obviously, it was a mistake, but I should have caught it and worse, it was with an overused clich\u00e9! With all that said, in the midst of trying to make your manuscript grammatically perfect, with active voice, and properly placed commas, remember to retain your unique voice and writing style. In the end, there are no rules we must follow. We can convey sahcasm with a properly misspelled word. We can make up words if you grok what I\u2019m saying. What matters is the story on the page is the absolute best it can be before we send it out into the world.<\/p>\n

I\u2019ve Done All These Steps But My Book Is Still Being Rejected<\/h4>\n

You\u2019ve put the time in and done the work but no one, besides your mom, is excited about your story. It\u2019s easy to think the world just doesn\u2019t appreciate your talent, but the truth might be:<\/p>\n

    \n
  1. It\u2019s as good as you say it is but your query isn\u2019t getting you a first look. Queries continue to be the key to opening a door to an agent\u2019s interest, and there are no firm guidelines to follow to know whether your query is connecting<\/li>\n
  2. It\u2019s as good as you say it is but they don\u2019t think they can sell it\u2014if an agent doesn\u2019t think they can sell a book because its been done too many times or dominated by one author, they won\u2019t take it on no matter how good it is.<\/li>\n
  3. It\u2019s not as good as you say it is. That one\u2019s hard to accept but it could be time to hire a professional editor who can give you a comprehensive overview of what\u2019s wrong with the story if you\u2019re willing to invest in their expertise.<\/li>\n<\/ol>\n

    Remember even the best authors make mistakes every day and it\u2019s only for the grace of their fabulous editors that they aren\u2019t published for the whole world to see!<\/p>\n","protected":false},"excerpt":{"rendered":"

    Welcome back to The Iron Jaw, a monthly column on the writing life. This month we\u2019re talking about the editing and revision process. If you\u2019re an author, you know that feeling you get when you type these final two words into your manuscript\u2014The End. A sort of tingling joy runs through you, a sense of […]<\/p>\n","protected":false},"author":2,"featured_media":4098,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"footnotes":""},"categories":[30],"tags":[],"class_list":["post-4084","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-iron-jaw"],"yoast_head":"\nFrom First Draft to Final Draft - Alane Adams<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/stage.myliquis.co\/alane-adams-studios\/from-first-draft-to-final-draft\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"From First Draft to Final Draft\" \/>\n<meta property=\"og:description\" content=\"Welcome back to The Iron Jaw, a monthly column on the writing life. 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