There And Draft Again

A Fellowship of Fantasy Writers

Line Edits! And why you need them. November 13, 2013

Filed under: Publishing,Writing — thereanddraftagain @ 7:40 pm
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All right, here is my much anticipated (dreaded?) line edits post!

I first heard about the existence of line edits via Leigh Ann Kopans’ blog, where she chronicled the publication of her first novel, ONE. I had never heard of them before that, but now that I’ve done them for both Coldness of Marek and Knights of Rilch, I can’t imagine having not done them. My novels would be far less stellar pieces of work.

If you read my post last month on revising for publication, I sum up one final revision you’ll want to do if you’re going to self-publish a novel. The next step after that revision is line edits. But line edits are also a great idea if you’re querying agents/subbing to publishers, because they’re just so nifty.

Most of the revisions and tweaks you’ve been doing up until you’re ready for line edits have been macro — as in, whole paragraphs being moved or deleted, if not chapters — but you’ve probably already done plenty of line editing in the middle of all that. Line edits are all about the phrasing, the word usage, the OVER-usage, the placement of line breaks, etc. These are different from copyedits. (Copyedits involve grammar and punctuation errors, as well as other little magical things that we mortal writers might not know about, and no matter which publication path you choose, you’re not the one responsible for them. Your copyeditor is! If you’re self-pubbing, get thee down and find thyself an excellent one.)

So. How do you go doing a full-on line edit? Well, it’s exactly what it sounds like. Once your manuscript is in what you deem to be ready, publishable form, go through it line by line and question every sentence. Is it passive? Is it repetitive? Is the phrasing just right? Is there a better word for fleece, or did you really mean fleece? Did you start too many sentences with, “She” or “I”? Would mentioning the chair first be more powerful? Would it be more in character for Henry to say “I will kill you” or “I will end you”?

All these decisions are likely to make you half crazy, and I have a lovely, perfect solution for that as well. Employ your CPs. Are there any of them who are extra good at catching little line issues like this? Did they notice little things on their first pass? Great. Ask one of them (and I say one, because you can only use so much input on the line-by-line basis before you go insane, but there’s really no set limit) — bribe them, trade with them, pay them with cookies or favors — to go through slowly and laboriously and pick on every. Little. Tiny. Word. You can hire someone to do this, but the reason I say pick a CP is because you already know that they understand your voice and your writing. They’re not going to steer you wrong. Tell them you want ALL THE NOTES. You want them to be brutal. Remember, you’re releasing this novel into the wild. It needs to be nice. It needs to shine.

After you get those notes back from your trusted CP or beta reader or whomever, the ball is back in your court and it’s time to do your own line edit. Even if you did a picky edit before, it’s good to look at it again with fresh perspective. Take this:

I stepped inside the room. It was quiet — too quiet. “Jenna?” I whispered. There was no reply. Not even the sound of breathing, or the clatter of her stirring in bed.

There’s nothing really wrong with it. It’s all a matter of taste and mood at this point. I could do this:

I stepped inside. “Jenna?”

It was far too quiet. No Jenna. Not even the sound of her breath or the clatter she made when she stirred in bed.

Or this:

I stepped inside the room. The sound of my shoe echoed, then disappeared into eerie blackness.

“Jenna?” My voice almost startled me.

But there was no answer. Nothing besides thick velvet silence.

See what I mean? You can get more wordy, or less, cut down on the line breaks, or multiply them, etc. Is one of them better than the rest? I don’t know. It’s hard to say. But there are all kinds of possibilities that you may never have noticed until you got all the little pieces worked out to the point you can be micro. Teeny tiny. It sounds like it will be hell, but I swear to you, this nit-picky pass is so very freeing you will get addicted to it.

And then? A final read-through. If you can find someone who can stand to listen to your whole novel aloud, I recommend reading it to someone, not just to yourself. Because you’ve read it so many times, there might be something you say aloud that causes the listener to go “huh?”, but you would have glazed right over it. Work this thing. Work it really hard…

When you’re done? SEND IT OFF. Whether it be to your agent, your copy-editor, a final beta reader, or a pile of queries, get that thing sent off before you have a chance to question the brilliant fire it just came through.

Of course, mix and match these steps as they work for you. I found that what I did with the two novels* I’ve released so far varied slightly, and I’ll probably do something a little different for my third book. Everyone has a different process, so don’t take any of this as gospel. Just use what you need, and happy editing!

–Rachel O’Laughlin

*I went through line edits with my longsuffering CP, Darci Cole, on both of my manuscripts, line-edited myself, and then asked my incredible editor, Rebecca A. Weston, to keep an eye out for anything weird that might have slipped through us both (not all freelance editors offer this, but mine does).

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The Rough-shod Middle Earth of Your Trilogy September 11, 2013

Filed under: Writing — thereanddraftagain @ 2:44 pm
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Yup. That’s me right now. Can any of you relate? For your sakes, I hope not.

They say the second book in a trilogy is the one that does you in, and I am here to tell you, believe it. The second book will rip something out. It might be your heart, or your brain, or your eyes, but seriously, you are not getting out of here unscathed.

Why is engaging in the drafting and revision of a second book so terrifying? Well, some simple reasons, for starters. The story must go on, but it can’t be the same. It has to be deeper and more powerful. The stakes must be raised. Whatever the characters were fighting for in book one must suddenly be more of a background issue. You need fresh problems, fresh challenges to face.

Right. That can’t be too hard, can it? Well, here’s where it all gets complicated.

Your second book needs conflict and resolution. It needs clean character arcs. It needs all the same story beats your first novel had. But it CANNOT TRULY RESOLVE. At the end, you need to still have another novel’s worth of even HIGHER stakes waiting. This is where I run into the greatest difficulty. My second book is different from my first in so many ways. It has a different main character. Most of the POVs are swapped. The stakes are crazy high by the time we get to the end — so high in fact that I’m not sure everyone won’t be staring at me with this look on their face:

Everyone goes through hell in this book. Everyone gets hurt. Everyone loses something dear. And yet, the show goes on. (And yes, I have a third book full of even crazier shiz already in my head.) But I can’t help wondering if this is going to be one of those, “Like, for real? You think you can get away with this?”

The thing is, no, I don’t think I can. I’ve been revising this manuscript by chopping it up and deleting and destroying and rewriting and then ripping up the beat sheet and starting a new outline with completely different events…*headdesk*. I just completed a rewrite of 40k of it. I’m still tossing out every version of the ending that I come up with. I tweak the dialogue. I tweak the dialogue again. I kill some darlings. I haven’t even sent it to my CPs yet because it’s too messy to be coherent. If all goes well, I’ll plague them with it later this month, as soon as I can string together all the madness.

Anyone else out there writing their middle novel? Lost in the mire? Neck deep in revisions? Dude, I raise my glass and wish you the best. This is where I’ve been lately, so I thought I’d share. At least we can all commiserate together, right?

Rachel O’Laughlin