More Haste, Less Speed

A while back I came across the blog post series “Take Pride in Your eBook Formatting,” by  Guido Henkel. It made sense:  What comes out of your word processing program can be undependable, and you can’t assume that Kindle or whomever will make your book all pretty and error-free for you.  You know how it should look, and if you take the time to learn some basic HTML, you can guarantee it’s published online looking that way. 

Not only that, but you’ll have an ebook file you can use on any platform, instead of having to come up with a separate format (and a separate ISBN) for Kindle, Kobo, etc.

So I bookmarked the whole series and went on to buy the extended version of Mr. Henkel’s blog series, his book The Zen of eBook Formatting.  

It hasn’t exactly been Zen for me, unless Zen entails hard work and struggle.  Instructions for Word don’t necessarily work for WordPerfect, and in several cases I’ve had to research out a work-around.  And even as I’ve inquired and probed about the best way to get my HTML conversion done, I’ve had colleagues online, both in the WordPerfect and the writing communities, tell me not to bother: WP’s HTML conversion facility is good enough, Kindle’s conversion is good enough, etc., etc.

But I want my debut novel to look a certain way, and I’m taking responsibility for it.

And I’m making progress.  

Or else, I thought I was.

Why the ambiguity?

Because I am an idiot. A week or two ago I figured out how to use find-and-replace within WordPerfect to substitute html entities for the WP code, and I was like a skier on a downhill run. Wheeeee!!! The only place I really got slowed down was with the curly apostrophes and quotation marks. I have a lot of dialogue, but what could I do?  I couldn’t find any way to do a find-and-replace that would understand which marks were right hand and which were left.  Not in WordPerfect, not in my text editor.  So there I was, putting them in, first the left single quotes, then the right, then starting on the doubles in the Prologue, left, right, soldiering, soldiering on.

And then it hit me:

Kid, you’re doing content edits while you’re doing the formatting. And you can’t remember, can you, what those edits were. Meaning the only “final” version of the text you have is this one with code all over it for the ebook.

Ohhhhhhhh, joy.

So I had to plug my entire, massively-coded manuscript into an online reverse converter and get it decoded.  Then run a comparison between the reconverted doc and the last WYSIWYG file I had saved on my computer, to bring the edits to the surface.

I got the review done a couple of days ago and saved it as the Master novel doc, in a separate directory. No, I won’t be able to resist making changes in the formatting copy; I’ll be correcting any typos I find, at the least. But I’m resolved that whatever edits I make, I will immediately make them in the master file as well. And so far I have.

For what it’s worth, most of the changes have been eliminating lines where I tell and then show. And I changed the first sentence of one chapter that began with an ellipse, because how are ya gonna do a drop cap on that?

I have learned a lot, no doubt about it.  The Zen book has been useful.  So has the copy of Murach’s HTML5 and CSS3 someone lent me.

But in the end, the most important thing I’ve learned might be that I don’t want to do it by hand.  Maybe the most efficient thing would be to plug the whole manuscript into a conversion program and get the quotation marks and diacriticals put into HTML that way. I’d have to go back and put in the italics by hand because those don’t convert, but oh, well.

(And please don’t point out that I spent all day Thursday putting the small caps back in at the chapter beginnings, and the online app won’t convert those either and I’ll have to do them all over . . . )

I’ll get this under my belt. I will. And it’s going to look pretty, yes, it will. So there.

Back Again

It's been two months and more since I resolved to step back from the keyboard, and a lot has happened--- and has not.

First, what hasn't happened.

As promised, I did not touch my draft of The Single Eye.  In fact, I didn't open it till the 20th of this month of March.

The other thing that hasn't happened is that I didn't hear from either of my Last Two Beta Readers.  That isn't to say I was never in touch with them; I just got nothing back on the novel.

Now, I could take that as a very bad sign.  Yes, the one has been through severe health issues involving herself and a close family member.  The other has a very full, not to say harried, schedule.  But there's a nagging voice that says, "If your book was any good, they'd be compelled to read it anyway.  They'd find it a solace in their affliction!"

But as much as The Single Eye involves themes that go to the heart of the human condition, as much as I hope the reader will come away having learned something about him or herself, as much as I'd love it to be the kind of book a reader will pick up again and again, it's still a novel.  It's entertainment.  And when your newborn has to be rushed to the ER because she can't clear her lungs, Mama ain't got time to beta read no novel.

So I'm going ahead and doing a last copy edit out of my own eye--- if that makes sense.  More on that later.

Step Away from the Keyboard!

This day and evening, by dint of neglecting ten other things I should have been taking care of, I finished the last of the major edits I've been sweating through on my novel The Single Eye.  In other words, this revised draft is done.

To mark the occasion I've sent it off to two beta readers.  Until I hear back from them, I solemnly swear to leave this manuscript the heck alone.  I'll pretend these readers have the only copies and I can't look at it or lay my hands on it at all.  I'll keep up that fiction for the next two months, after which I might be able to regard it with more objectivity.

If either of these readers uncovers some major structural issue no one else has caught before, that's another story.  But I'm hoping it will be just little things like typos that I can deal with when I do my final read-throughs in March.

We'll see.

In other news, it looks like I and two others from our Pennwriters area will be starting a new critique group on the 28th of this month.  Did that sound tentative?  Yeah.  That's because I've wanted to be part of a face to face writers' group for so long that it's hard to grasp that it's finally coming together.  I'll be workshopping my second novel, and it'll be an experiment in psychology to see how well I shift my head from the world of novel No. 1 to that of novel No. 2.  I mean, when the interaction between your protagonists is so much more fun than anything you're involved in in real life . . .

Home Stretch

I just may be in the home stretch of this last set of major revisions to The Single Eye.

I've done some minor rejiggering to make my female protagonist's motivations clearer as she convinces herself to do what she does at the novel's climax. A lot of that involved taking scenes out of the male protagonist's point of view and putting them into hers. All this is good for the book in general because it highlights her character arc. And I'd wondered if that was getting obscured.

One of my latest beta readers complained about the way I switch the POV back and forth between my two main characters in the course of a single chapter. She's pretty sure, she said, that that's not something an author should do. I paid no attention to this. Good and great authors do it all the time, and it's particularly kosher if you put a line/scene break between the POVs. Which I've done.

But as I communicated further with this beta, I learned the POV shifts that bothered her particularly came at the novel's climax. Far from speeding up the action, the switches between the female main character's point of view and that of the male MC only slowed things down. My reader kept having to stop and wonder, "Whose head are we in anyway?"

No other beta has mentioned that, but I think this one is right. So I've rewritten that bit so it's entirely in the FMC's point of view. This has enabled me to cut out a chunk of business from the MMC that wasn't really material, making the scene tighter and more dramatic. (Besides, the more I can cut out, the happier I am.)

I've also cut out a plot wrinkle I put in about a year ago. About that same time I got into listening to the Writing Excuses podcasts, and more than once they've emphasized that it doesn't really work to throw in one more challenge after the climax. Your reader's reached the big climactic high, they want to release their tension, and it's not fair to make them ratchet their emotions up yet again. More than that, it's hard to make them care enough to try. This point was reiterated in an episode I was playing this past week, and the penny finally dropped. I edited that plot wrinkle out today. I'd only put it in to keep knowledgeable readers from picking holes, but I'll deal with that another way.

The last challenge has to do with my FMC's character arc. To get that right involves rethinking the personality of a minor character, a county sheriff. I have to transform him from a generic intelligent nice guy into a by-the-book hardass who'll grudgingly concede a point when the facts tell him he has to. My FMC has to come out of the conversation struggling with herself over whether she did the right thing in the climactic scene or not--- and come to terms with the fact that everything in life is not cut-and-dried and under her control.

. . . Just writing that last line has got me clearer on what her arc is about. Which I hope makes this really long post worthwhile.

Goals and Deadlines

A quick reflection or two, here on New Year's Eve:

I want to get my debut novel, The Single Eye, published as soon as possible. Yes, I need to finish my current edits. Yes, I ought to and shall let it rest for a month or two before I go over it one last time and then launch it out into the fearsome sea of readership. But I've decided that late March to mid-April is my farthest-out deadline for publication. 

Why? Because I'm an egomaniac. 

*Pauses while she hits herself upside the head and calls herself a silly goose*

Sorry. Correction: I need to get it published by then so I can take advantage of a sure-fire opportunity to do some face-to-face marketing. I've won a free ride to the annual Pennwriters' conference the third weekend in May, and I'd be an idiot not to have my book there ready to show my colleagues. Heck, maybe I could even get a little space at the Saturday afternoon authors' fair (though that may be open only to those who are trad published). Imagine it: Me handing out swag and selling (I hope!) my very own book!

So how much more pre-letting-it-rest editing will I do? First, I'll finishing evaluating my beta readers' comments and incorporating their perspectives as appropriate. Second, I'll finish redoing the places I myself know need redoing, whether anyone else has told me so or not. Third, I'll get rid of those passages where up to now I've told myself, "Yeah, that's a little cheesy and even kind of narrator-intrudery, but I'll leave it in because Ms. X the Famous Writer gets away with prose like that, and besides, I'm a first-time author and no one expects me to be that good." No. If I find myself looking around guiltily hoping nobody will notice What I Did There, the word, phrase, sentence, paragraph, whatever, needs to be excised and sent to the Outtakes File.

I'm setting the end of January to complete all that. Or the third week in, preferably.

Not as Bad as I Used to Be

Is it obnoxious to claim you're a better writer than you were two years ago?

The question arises because this morning I got to thinking, "Maybe I'm using the wrong scene(s) from my heroine's past as my prologue." So, despite my mortal need of sleep, I've just opened an earlier version of my novel and read over the incident I had in mind.

Oh, dear, no. That version was too early.

Hmm.  Let me try again with a rendition dated maybe nine months later, just before I cut that scene and the extensive flashback before and after it.

. . . Sorry, no. Though somewhat improved, it's nowhere close to usable. It would need so much labor to lick into shape; it wouldn't be worth it.

How can this be? I've always liked those chapters detailing my FMC's backstory! I'd even considered releasing them all as bonus material with the ebook. But now I'd just as soon parade around outside in my underwear. In the dead of winter. No, no, nodiddy-no-no-no!

I'm nothing to brag about as a writer, but at least I'm not as bad as I used to be.

Note to Myself

Putting myself on notice:

It's good to pay attention to critique and feedback. But I have to watch out against changing my characters and their reactions according to some generic concept of "what people do." More than once in this editing process I've nearly tumbled into the pit of gutting my characters of their individuality, just to satisfy typical expectations. Yes, in a perfect, logical world people would do or not do certain things. But my world is not perfect, and my characters are not always logical, nor sensible, nor are they omniscient, nor do they always do what's in their best interests.

In the Villain's Head

I'm not happy with my rewrite of the scene where my antagonist tries to get my male protag to work for him (in more ways than he realizes).

I made an attempt to improve the scene and got some feedback. Ack, it still wasn't working. Try again.

Best approach? Redraft the middle of the scene to be from the male protag's point of view. This way, the reader can witness how he rationalizes away the odd things the villain is proposing, and, I hope, agree that he isn't being gullible, he's just going on the information and experience he has. Getting inside his head at the time will make it easier for the reader than waiting to hear him tell the female protag all about it.

But this requires that I do something I've said categorically that I don't want to do: Get inside the villain's head as well. Too bad, gotta do it. How can I show how my hero normalizes the bad guy's demands, unless I know how the villain works to make his demands seem normal?

What's more, I have to tone the villain down and stop making him so obviously villainous.  For why would he be, at this stage?  He'd want to lure the hero in step by step by enticements that sound innocent at first.  He'd reveal how dangerous they are only when his victim is entangled and it's too late.

I'm not giving the villain a point of view. It'd make the book too much longer and too much more complicated and it'd spoil the suspense if the reader knows for sure what he's up to. But for awhile I'll have to climb into my antagonist's devious little psyche. My hero must have something "real" to react against.

Two Steps Back, Three Steps Forward Equals Progress

Thinking how I wanted to get The Single Eye published last winter.  Then by the end of August.  You mind if I fall over myself laughing?

Boy, do I have a lot of rewriting left to do. As much as some of my latest beta reader's comments bug me, three or four of them make me go, "Hmmm, what about it?" Does my villain come on too strong at the beginning? Given that he behaves like a consistent jerk from the get-go, isn't my male protagonist sliding into Too-Stupid-to-Live territory by not immediately seeing through him?  I've gone through a period of insisting that I can't make him more than minimally proactive, given his position in life. But is that really true? Aren't there things he would do to deal with the trash the villain is throwing at him? Then at the end, after the female protag saves the day with her "heroics," would she still feel like an idiot after law enforcement praised her for her bravery?

I've come to the conclusion that all these things call for revision, not because I want the approval of my latest beta reader or because I feel I have to change my work to fit her views, but because I believe that once rewritten, my characters will be more true to who I already claim them to be.

I'm starting at the beginning and working my way through. This past Wednesday I got to the point in Chapter 5 (now Chapter 4) just short of the scene when the antagonist (soon to be villain) makes his pitch. This is progress.

Postponed

I really hoped and planned to get this novel onto Kindle and CreateSpace by the end of this month. It isn't going to happen, and not just because I've been too busy renovating my front room to design my cover and format my text.

It's not even that I've heard back from another beta reader, and it's clear that I'll have to make my main characters' basic motivations more convincing. And clean up some typos. And decide how much internal dialogue to put into third person indirect speech, or to cut altogether.

It's rather that, having allowed the manuscript to sit for several weeks, I'm seeing that the first part drags for sure and for real. My hero, especially, needs to be more proactive. It's true that at that stage his primary motivation is not to Defeat the Villain and Bring Down His Evil Plot for National Domination; he doesn't even know the villain has a plot for national domination.  He just wants the creep to go away and let him do his work (architecture) in peace. But as I've written him now, too many times he deliberately ignores acts that all my betas saw as the villain's dirty deeds, regarding them instead as accident or coincidence. I thought this was signalling how dedicated he is to his work. "See what he'll put up with if he can just go on designing!" But it's only making him look like a thickheaded fool.

I've been wrestling with this problem for awhile, and to some extent, this "Hear no evil, see no evil" attitude truly reflects who my MMC is.  For example, he'd definitely go out of his way to convince himself that the threatening note he receives isn't from the villain because he doesn't have time to deal with it. But after his apartment is burned out . . . is he really going to believe it was just a faulty space heater?  All logic dictates that he'll decide the bad guy is behind it after all, and he'll have to try to do something about it and fail.

This will mean some major rewriting in some places. I think I can do it without messing up my story's timeline or major plot points. But it will take more than the next nine days.

Don't Want to Think Like My Villain

My erstwhile beta reader told me that for my novel properly to fit the Suspense genre, I need to have scenes from the villain’s point of view, so the reader can worry about the awful things he has in mind for the protags and feel all the delicious frustration of not being able to warn them against it. ("Delicious frustration" is how I sum it up, BTW.)

I don’t dispute that this can be a good way to proceed. But for this novel, it ain’t happening. A) Because the book’s too long as it is, b) because I don’t want to get my mind too deep and dirty into that racist SOB’s plans and schemes, and c) because said plans and schemes involve way more people than just my protags, and it’d really get off topic if I showed him masterminding the whole nefarious plot. Besides, I don’t want to reveal the scope of the whole nefarious plot to the reader until the last part of the book. I want him or her to be uneasy . . . even though he’s not sure what he's uneasy about.

However, I definitely want to keep the reader aware that the villain is still working away against the protags, even after they’ve come more or less safely through his initial campaign against them. To that end, I’ve added a few lines to a couple of otherwise-innocent scenes, that will make it obvious to the reader that the male protag, at least, is being watched, tracked, followed, and cased out— even if at this point he’s not actually being harmed. Hopefully that will keep the ominous note going underneath, even when the main theme of a scene may be cheerful.

Demoralized

Late last night I got first comments back from my newest beta reader, and the long and the short of it is, she doesn't like my novel and won't be reading it for me any more.

The most demoralizing thing about it?  She objects most to elements that are, from my perspective, essential to the plot. She refuses to believe that my characters would react to pivotal events as I have them do. So it's not like I can say, "Oops, you're right, I slipped up on POV there," or "Oh-oh, I took my MC out of character there," and fix it. For this beta, the flaws are structural.

Then there's the fact that certain aspects of my main characters' pasts influence how they're caught up in the central conflict of the plot, and I've shown some of that instead of merely mentioning it in the narrative. And my ex-beta is right--- if this is supposed to be a romantic suspense novel, all that slows it down. But do I just want to produce a "good read," to be consumed in a summer's afternoon? What if I want to say something more?

I'm trying to remind myself that previous betas have liked the story a lot. That even the other current beta who's charged me with using too advanced a vocabulary likes my characters very much and misses them when events in her own life keep her from reading. Still I worry, what if this latest beta is right? What if I've pushed the genre so much it's distorted out of recognition and no one will want to read the novel at all?

What I need is a good editor who will read the whole manuscript with an open, objective mind, then tell me what I can take out without watering down the plot or the character development. But in that case, what I would want is nearly another month's worth of income. That's what it would cost to hire a self-respecting editor to tackle this thing.

La

It Has to End

I've spent the last month and a half editing the dickens out of this thing. Or maybe I've been editing the Dickens into it, considering that it's getting longer, not shorter. I've done my best to eliminate typographical errors and inconsistent and excessive uses of em-dashes and ellipses. I've searched through the document to make sure my curly quotation marks close the right way, and expunged the extra spaces I keep tapping in after the last sentences of paragraphs. Then there's all the words and phrasings I've changed along the way, just because the new word or phrase is better.
And you know what? It's time to stop. I've got to send this latest, final version to my beta reader, and unless she comes up with some valid reason the text has to change, I have to say it's DONE.

Not that I can't improve it. Of course I can. But I have at least three other book projects to tackle. At my age I don't have the luxury of spending three or four years on a single novel, polishing it to death.