Tag Archives: Writing Tips

Let’s Talk Agency

Every first draft I’ve ever written has had agency problems. Which sounds like a bunch of guys in suits with dark glasses should be pulling up in a black van and hustling my draft into the back, but it’s nowhere near that exciting. In fact, it’s kind of the opposite of exciting.

Agency is, basically, your character’s ability to affect the plot in pursuit of their goals. It’s something I think a lot of writers struggle with, and I think it can be especially difficult in fantasy because a lot of our favorite tropes steal agency from the main character. Fantasy tends to have the plot kicked off by a villain doing Bad Things, and often that villain continues to drive the plot forward doing More Bad Things, and all our character can do is run around putting out fires and trying frantically to stop Yet More Bad Things from occurring.

This feels pretty natural, right? For me, at least, when I first come up with a plot, it’s often a series of nasty surprises the characters must deal with. I love the “OH SHIT!” moments SO MUCH, and I often build my plot around those to some degree—and they can turn out to be some of the most intense moments in the book. But there are some problems that come with lack of agency.

One of the most important is that it undermines character. Moments of choice are vital to defining character; but if I’m too busy dodging assassins and following prophecies as if they were cake recipes, I’m not making any important decisions. Having goals and motivations is also central to character, but if all my goals are created for me by the villain (stay alive, save my friends, protect the village, etc), they don’t illuminate much about who I am, and what inner drives propel me forward.

For this reason, lack of agency also sabotages the story’s through line. The main character’s pursuit of their goals is the thread running through the entire story, the current that pulls the reader inexorably onward and keeps them turning pages. If our hero doesn’t have personally significant goals to actively pursue, and is just reacting to a series of events—no matter how exciting—the story falls flat between those events. Like, WOW, thank goodness we escaped those assassins! Now we’ll, uh, sit around drinking tea and talking about what a close call that was and how we wish we knew who was trying to kill us until the NEXT exciting surprise happens, I guess. (My first drafts are often SUPER GUILTY of this.) This drops the tension on the floor, leaving the reader with nothing to draw them onward.

So, okay, agency is important! How do you check whether your main character has it? Ask yourself these three questions, both in general and on a scene-by-scene level:

Does the character have a personally important goal (with something at stake and serious consequences if they fail to attain it)? This doesn’t even have to have anything directly to do with the main plot. Maybe the main plot is to defeat the dark lord, but what our hero really wants is to find her missing sister, or for her parents to finally accept her, or to show the world that her invisibility device can WORK, dammit, so they’ll never laugh at her again.

Are they taking actions to pursue that goal? We need to see them doing stuff to try to get what they want, and not just sitting on their hands hoping someone will hand it to them, or letting some mentor figure drag them along the path to victory.

Are the actions they’re taking having an effect on the plot? This doesn’t need to be the effect the character intends, mind you. Their plans can go horribly wrong, thereby saving you from a premature happy ending on page 75. Unexpected twists can derail or reroute their efforts, or their actions could even make things worse because they didn’t understand the true situation. But things should be different because they tried.

If you realize your character lacks agency in some or all of your book, don’t despair! Not only can you fix this, but fixing it often will take your book to the next level.

For instance, let’s say you have a plot point where your character gets captured. How the heck can getting captured be a result of them pursuing their goals? Well, maybe instead of getting captured when they’re jumped by kidnappers while walking down the street, they get captured when they’re in the midst of sneaking into the castle of Count Sardonico, looking for murder evidence, and WHOOPS he’s unexpectedly ready for them! Or someone in the party HAD to try to steal the thing behind the magical alarm wards, or there was this clue about your MC’s missing sister that she HAD to check out even though there were guards patrolling that area, etc…make it character-driven, so the choices your characters make are important. (Just make certain those choices are relatable and not plain old stupid. No one likes that guy who throws himself on the enemy’s swords because DRAMA.)

Or let’s say you need to drop a big stunning information bomb on your characters. (Your missing sister IS the dark lord! There is a traitor among you! Your entire world was MADE OF CHEESE all along!) Instead of having some mysterious figure swoop in and announce this, or having them stumble across the crucial info, have them obtain it in a hands-on way while pursuing their goals (even if it’s not the info they thought they were getting). Maybe they actively go spy on the bad guys to overhear their plans, or retrieve the ancient world-cheese artifact from antiquities smugglers, or trick the info out of the Dark Lord’s sinisterly charming lieutenant at a fancy party. It’s cooler if they have to work for it.

Some of my favorite moments in my own books have come from a realization that I needed to increase agency. It’s hard to give specific examples without getting spoilery…But for instance, there’s an, uh, decision Amalia makes at a party around the end of Chapter 4 in The Defiant Heir which has a huge effect on the course of the book. In my very first partial exploratory draft, this was a decision her mother made for her. But I quickly realized that it would be SO MUCH COOLER if she made it herself, and that one change made the entire book SO MUCH BETTER.

Obviously the antagonist’s actions are also still important, and it’s okay for our heroes to be caught completely flat-footed sometimes. But overall, it’s important to make sure our main characters are propelling the plot forward, not being dragged limply through it. Sometimes they may accidentally roll their Sisyphus boulder off a cliff instead of up the mountain (oops), or it may slip in their grasp and run them over as it tumbles back down the hill, but they need to keep trying. If Sisyphus takes a nap, the tension is gone, and we put down the story.


Floon and Flying

My second published book, THE DEFIANT HEIR (sequel to THE TETHERED MAGE), is now out! YAAAYYYY!!!!!!!!!!! I absolutely love this book and am so thrilled to share it with the world. I am super proud of it!

The process of writing it was very different from my previous (usual? former?) writing process, mostly because deadlines change everything. Before, I could revise and polish to my heart’s content before showing my book to anyone, and go at my own pace. Now, I had to finish my first draft and each round of edits by a specified date, no matter what.

There’s a myth out there that you can’t force creativity. That you have to wait around for your muse to show up. HA HA HA HA HA HA HA oh, wow, if that were true, let me tell you, I would be SO SCREWED.

Luckily, being creative on demand works just fine after all—at least for me. If the reviews I’ve seen (and my own feelings) are to be believed, THE DEFIANT HEIR (which I wrote under heavy time pressure) came out even better than THE TETHERED MAGE (which I initially wrote at my own pace).

So, yeah, I learned a ton from writing my first deadline-driven book. One of the things I learned was about the strange and complicated relationship between creative enthusiasm and creative success. Spoiler: IT’S REALLY WEIRD and doesn’t work at all like I’d thought it did.

First of all, I need to define a term. In one of my circles, there is this fantastic word for creative energy, inspiration, and enthusiasm: floon. When you’re all fired up to work on a creative project, you have floon for it. When you stare at your screen like ugh, and wander off to catch up on laundry instead, you’re low on floon. Or you might have floon for a specific thing, like dinosaur floon or drawing floon.

Every writer grapples with the capriciousness of the floon fairy, whether they use the term or not. Some days you sit down to the keyboard bursting with electric enthusiasm, and other days…not so much. Or you might be staring down a deadline on Project A when you actually have huge floon to work on Shiny New Project B.

It’s easy to believe that if you’re not feeling it, your writing will be crap. That maybe you should just wait for an hour or a day when the juice is flowing freely, or you’ll wind up writing uninspired sludge.

Well, when you’re writing to a tight deadline—as I was with THE DEFIANT HEIR, for the very first time—you don’t have that choice. You have to write anyway, floon or no floon. And I learned a couple of interesting and seemingly contradictory things:

Thing 1: It’s a myth that your writing will be crap if you force it when you’re not feeling it. You can write great stuff on days when you’re dragging each word out over a bed of nails, and you can write garbled drivel on days when you feel like you’re channeling the primal font of divine inspiration.

Thing 2: If you’re feeling persistent reluctance to write a particular section, listen to it. Your instincts are trying to tell you something.

This second one turned out to be really important. With both THE DEFIANT HEIR and with my first draft of Book 3 (which I just turned in last month, wooo!), I got pretty far in—like 50K words—and hit a wall. I had absolutely no floon for the thing I needed to write next. I had plenty for stuff later on, and for stuff earlier, but this whole big middle section was proving to be torture.

In both cases, I stopped and listened to my own reluctance, and realized that I was instinctively digging in my heels because I was trying to force the story in a direction it didn’t want to go. There were structural problems I needed to address before I could continue. With a deadline looming, it’s hard to make yourself go back and rewrite, eating up valuable weeks, rather than forging ahead to finish a draft—but that’s what I did, and it was a huge relief. It made the story so much better, and I could continue with much more momentum.

On a day to day basis, however, I’d often wake up and feel like I couldn’t possibly write—the kids and pets were being too distracting, I was too tired or stressed, I wasn’t feeling the passion I needed. I didn’t have the floon. But I made myself write anyway, because AAAAAH DEADLINE is a great motivator, and more often than not it turned out just fine.

So when the embers of floon are burning low, ask yourself: Why is this hard? If it’s just the blahs, or self-doubt, or stress, you can keep going (unless you need a break for self-care, in which case absolutely take that). Your writing will not automatically be crap just because you feel like it’s crap. If you can’t light the fire, travel in the dark, and you can still make it to wonderful places.

But if you’re reluctant because your instincts are resisting where you’re taking the story—if your feet are dragging because they don’t want to go into the writing swamp ahead which you could avoid if you backtrack and take that bridge you saw—then listen. Figure out what the problem is, and fix it before you continue.

Of course, figuring out which is which can be tricky. But if it’s just a vague “eh, I’m not feeling it today,” don’t let that stop you!

Weirdly enough, you don’t actually have to believe in yourself to fly.

So Many Notes

I just finished my first full draft of Book 3 of Swords & Fire last night (yay!). This morning I’m making an edit triage doc, and I thought it might be fun to make a quick writing process post on how many notes I make while drafting. (Spoiler: A LOT.)

For this draft alone (and there will be many more drafts), not counting the two restarts I did along the way (one of them 60K words in to the draft), I had the following supplementary notes files:

Initial brainstorming doc (20 pages): Contained rambly brainstorming, basically talking to myself on paper, with sections titled things like “Maybethot” and “Ruminating.”

Initial outline (26 pages): Contained an outline, to do list, and schedule, but also quickly deteriorated into pages of notes on ideas for ways I might change the outline.

Revised outline brainstorming (5 pages): Starts with a weird little poem in which I tell myself to get my act together and figure out what this book is really about, then some more really deep thoughts about theme and character arcs (This came before the pivotal moment when I restarted at 70K words and was kind of a mid-book crisis on paper).

“Midway Notes” doc (19 pages): Lots of brainstorming (lists of scenes, talking to myself,  character arc notes, through line notes, scene ideas, you name it), mostly focused on rewriting the first third of the book.

Version 3 Outline (20 pages): More organized list of scenes and what needs to be in them, with a space at the end to make notes about edit ideas I didn’t have time for now but would have to get in a later pass.

That’s 90 pages of (single spaced) notes for a 386 page (double spaced) draft. And there will be many more pages of notes for revisions, oh yes, let me assure you. (Like this edit triage doc, which breaks up edits I definitely want to get in before handing in this draft to my editor on Friday versus edits that can wait until next round.)

In writing this book, I found it particularly useful to talk myself through important scenes on paper before I wrote them, so my notes will be like “OKAY. So she walks in thinking X, and then Y is there, and it’s like OH NO! And then maybe Z happens, AAAHHH! And then she’s like OH NO YOU DON’T and then BOOM! Everything is on fire.” (Not an actual quote from my notes or scene in the book, but you get the idea. I like capital letters.) Then I have the major beats of the scene clear in my head before I write, and my first pass at it is less flail-y. So a lot of the page counts on my notes are me thinking through scenes or plot arcs to myself like that.

This all ties into how I answer the classic “plotter or pantser” question. I’m a plotter, in the sense that I make these pages of notes and outlines, but I’m also flexible and constantly reworking the outline and changing my plans as I go.

Everyone’s process is different, and mine even changes from book to book. But that’s been mine for this draft, anyway! And remember, kids, if you have a mid-draft crisis, never be afraid to restart. For me, at least, it always leads to a better book.


Isolating Plot Arcs for the Win

People often ask if I’m a plotter or a pantser, and the truth is I plot like crazy in advance, but also am always rethinking and editing my outline as I go. As I’m working on Book 3 there are a couple of tricks I’ve found really useful for refining my outline in mid-draft, and I thought I’d share them with you.

Today’s technique: separately plotting individual arcs! This has been SO HELPFUL for me in identifying places where the story is weak and needs a bit more.

I was plunging into the second half of Book 3, and wanted to figure out what exact senes needed to occur to resolve the remaining plot. I had an outline, and I could tell something was wrong with pacing or stakes (or possibly both) in one large section of it. But I couldn’t figure out what.

So I pulled out each of the four major plot threads and made lists of the remaining scenes or moments in each thread, separate from the rest of the outline. This showed me the structure of each thread standing on its own, without all the other stuff cluttering it up.

And here’s what I found for one of them, generalized to avoid spoilers (each bullet point is a scene):

  • Yup, still bad.
  • That bad thing? STILL SO BAD.
  • Hey, that bad thing is still out there, in case you were wondering. Being bad and all.

I hadn’t noticed when it was all mixed in with other plot points and scenes, but I had this big dramatic plotline that just didn’t move at all for a long stretch despite having a feeling of urgency and a lot of emotional importance. I had scenes planned that would punch the sore spot, as it were, but they didn’t change anything or move the plot forward.

(As a side note, I think this particular structural pitfall is a REALLY common and seductive one for writers. We have a great idea for dramatically kicking off conflict and another great idea for dramatically resolving the conflict, but we are way more vague on what happens in between these two points.)

Once I spotted this problem, it wasn’t too hard to fix—I just had to think of what could change and what could be at stake in those middle scenes. But I couldn’t see it until I pulled it out from the rest of the outline and looked at it on its own.

This trick was also really useful for checking the through line of each separate plot, making sure that each action naturally set up the next one and that there was a compelling flow from beginning to end. It made it easier to make sure that the relevant characters for each thread were changing and having an inner or emotional arc that paralleled the plot arc. And it made it super easy to spot redundant scenes.

Once I’d cleaned up each separate arc, I could weave them back together into the outline, paying careful attention to the overall through line to make sure I had a coherent, smoothly flowing story and not a patchwork of unconnected pieces. I’m sure it still needs work, because this is an early draft, but wow, it’s a lot better than it was!

I’ve also sometimes done this for major characters, pulling out the scenes or moments that are important touchstones for them in their personal arc through the story, and I think it can be very helpful in making sure your characters have compelling and coherent personal arcs. It’s especially useful when you want to strengthen an important non-POV character like a BFF or love interest who you might otherwise wind up seeing only through the lens of how they fit into the main character’s story.

I think this can also be a really useful thing to do between drafts, when you’ve got the basic story down and are trying to figure out how to hone it into its sleekest, deadliest form! (Uh, well, maybe not deadly if you’re writing, say, a cozy romance? I dunno, I like stories with murder in them, what can I say.)

I hope that’s helpful if you’re struggling with structure! GO YE FORTH AND MAKE BULLET POINTS!

Writing Female Characters

I’ve now had a few variants on the question, “How do you write such strong female characters?” This always makes me blink a bit, because you know, they don’t ask people “How do you write such strong male characters?”

BUT! It occurred to me that maybe I should actually answer this question in a blog post. Because I’m sure there are many writers out there (guys and otherwise) who would really, honestly like to do right by the fictional women in their writing lives, but aren’t sure how.

So here are some handy, friendly tips to help you!

(Disclaimer: This is by no means definitive, opinions may vary, I’m sure I’m missing stuff, etc. This is only a start, and you don’t have to follow every one of these rules all the time. But I like bullet lists, so here you go!)

The 50% Rule:

  • Make 50% of your characters women. This might sound crazy, but is actually how it works in the real world! (And you may be shocked if you stop and think about the overwhelming proportion of movies and books in which this is not remotely the case.)
  • Carry that 50% through to all levels of narrative importance. Main characters: 50% female. Random passerby: 50% female. Etc.
  • Also carry that 50% through all different roles/jobs/etc. Military and political leaders? 50% female. Caring parents, innocent victims? 50% male. Good guys and bad guys? 50% each. Obviously you don’t need to hit exactly 50% all the time—that would be weird—but shoot for it, roughly speaking. If all your generals are guys and all your hapless murder victims are girls, that kind of perpetuates a really creepy narrative.

Great! Just by following the 50% rule, you are already so, so far ahead of so, so many books out there. (Including, to be clear, many I absolutely love.)

Also, I should add that nonbinary characters are extremely awesome to include, too.

Treat Characters Equally:

  • Make your female characters as competent as your male characters. And make them stay as competent as your male characters. Nothing is more disappointing than doing a character intro where a woman seems to be a badass and then she’s just kidnapping bait for the rest of the story. (Glares bitterly at certain anime and also a certain Robin Hood movie)
  • Avoid sexualizing your female characters more than your male characters. (Sure, if your POV is a horny hetero dude, he’s going to be seeing the world through a certain lens, but think about how your female characters are presenting themselves to the world, and make sure your lens as a writer is more objective than your character’s, if that makes sense.)
  • Make sure you have important female characters who have their own role in the story, besides “Mother figure” or “Love interest.” Don’t always define women by their relationship to men.
  • Make sure most or all of your female characters’ backstories and character arcs would work equally well if they had no reproductive equipment. One grows weary of reading womb-and-vagina-based backstories all the time.
  • Relatedly, avoid including rape or sexual assault as a cheap plot device. Murder works just as well to show how bad your villain is or to give your hero a reason to want vengeance. Maybe they could even murder the hero’s male best friend rather than his childhood sweetheart!
  • Avoid sexy=evil (I mean, let’s face it, evil is sexy, but that’s very different than sexiness being a sign of evil). Also avoid pretty=good (and its nasty corollary, ugly=evil). This is not at all to say you can’t have sexy evil people or pretty good people, but make sure it’s not, like, a hard and fast rule in your universe, and that the relationship between appearance and alignment does not come off as causational.
  • Basically, just write your female characters as people. If you could gender swap the character and the story would still work, you’re probably doing a good job.
  • Remember to let your guys be sensitive and caregivers and fashion-conscious and so forth, too, and to portray “softer” male characters in a positive light!

If you’ve written stuff that breaks some or all of these rules, don’t feel bad. These stereotypes have been around a long time, and it’s hard to weed them out of your own brain. Honestly, MOST SFF breaks these rules, including many of my favorite books. (Though not all SFF! A great example of a recent book written by a male author which is fantastic about following these rules is Stephen Aryan’s MAGEBORN, for instance.)

I would loooooove to see more new books that really treat female (and enby!) characters with the same seriousness they treat male characters. If you would, too, perhaps consider these tips as a non-exhaustive starting point to being part of the solution.


So Many Drafts

Hey there, writers in the trenches! Let’s have a little talk about tweedle beetles drafts. Specifically, numbers of drafts.

I know that when I started out writing novels, I had no idea how many drafts a book went through before it got published. Thinking back on it now, I get all Ming the Merciless and want to tell my past self, “Pathetic writer. Hurling your manuscript out into the void, without the slightest inkling of what is out there. If you had known anything about the true nature of publishing, anything at all, you would’ve hidden from it in terror.”

Uh, no, really, actually, it’s totally great and awesome. BUT! I sure as hell needed to revise more.

So, in case any of you are despairing about how many times you’ve overhauled your book, here is a bit of data for you on my debut novel:

THE TETHERED MAGE went through around 6-7 drafts before it was ready to go on sub to publishers. Once Orbit accepted it for publication, it went through several official rounds with my editor—a major structural edit, minor structural edits, little fine-tuning kind of edits, copyedits, etc. But I did a couple rounds for each of the structural passes before my editor saw them. So it came out in the end to around 13 drafts.

Now, some of those drafts were me getting 20K words in and then going “Ugh! Start over!” Other drafts were just polish passes, where I was buffing up the language to a high shine and not making any major changes. But one of them was me revising from YA to adult, historical fantasy to epic fantasy, AND adding 50K+ words (almost doubling the length of the book from first completed draft to final draft), so I feel like it all evens out.

I created the doc for the very first draft of THE TETHERED MAGE in early 2014. I took some time off from it in there to work on revising an earlier book, but finished the draft that went on sub to publishers around the beginning of 2016. It sold in June of 2016 (BEST BIRTHDAY PRESENT EVER), and I continued to revise it for several months; it finally comes out next month (WHEEEE!).

Mind you, that wasn’t the first book I wrote. The book that got me my agent went through about 10 drafts before it did (I started querying it way too soon, though, on like draft 5). And I wrote other books before that.

Every single page I wrote, every revision pass, made me a better writer. The me of 2 books ago couldn’t have written THE TETHERED MAGE. Heck, the me of draft one of THE TETHERED MAGE couldn’t have written draft 13. Revision is where I learned the most, and still where I do my best work.

I’m working on revisions for THE DEFIANT HEIR now (the sequel to THE TETHERED MAGE). I’m really excited about them! I feel like this draft is going to be a big step up from the last one, and it feels so good to see the shape pulling true, and the pieces falling into place. I used to hate revision, but now that practice has given me a better understanding of how to spot areas for improvement and fix them, it feels awesome to make my book sharper and shinier with every draft.

Writing on a deadline, with an editor, is very different than writing on my own, and I don’t have the luxury to allow myself draft after draft. But I’m nonetheless already on draft 5 by my own count (my editor saw draft 4 as my “first draft”), and the version I’m giving her next month will probably be draft 6.

So, my as-yet-unpublished writer friends, if you haven’t already done so, I urge you to embrace revision! The difference between my first drafts and my final drafts looks a lot like the difference between my writing 5 years ago and my writing now, and that’s not a coincidence. You never know how many times you’ll have to tear down and rebuild before you get it just right, but it’s well worth the effort. Every draft teaches you something, and takes you one step closer to the end of the publishing rainbow…


Reset to Save

I just turned in the first draft of THE DEFIANT HEIR, Book 2 of Swords & Fire, to my editor today! YAY!!!

BUT WAIT! Let’s walk that back. While this is the first draft Lindsey is seeing, this is not even close to the first draft I wrote of this book. In fact, I couldn’t even tell you what draft it was. Because in the process of writing this book, I kept going back to the beginning so much, I might as well have been trying to fight the end boss with insufficient levels and mid-tier equipment.

And you know what? It worked out really well for me. So now I’m going to tell you about it, in case this is useful to anyone else.

My saved-off incomplete drafts look something like this:

Early drafts: 15K words

Middle draft: 70K words

Late draft: 125K words

Final “first” draft: 140K words

Weird, right? I KNOW! Here’s how that happened.

One different thing about writing this book was that since my publisher wanted to put a teaser chapter at the end of THE TETHERED MAGE, I had to get the beginning into really good shape very early in the process. So I wound up writing several drafts of the first 3 chapters before moving on to the rest of the book.

This was actually SUPER helpful. It gave me time to re-find the characters’ voices, feel my way into the story, and get some new characters and elements more solidified in my head before proceeding. It got the early, derpy, HA HA I’M JUST SPLASHING AROUND IN THE WATER I CAN’T ACTUALLY SWIM DURRRHHH stage of drafting out of the way.

After that, I was in a strong position to launch into the rest of the book. I forged ahead, pushing onward even when I hit a section that I knew I wasn’t nailing, because there was this pivotal sequence I was really, really excited to write and I just had to get there and get it out of my system. Both because I just HAD TO WRITE THIS PART, but also because it was SO pivotal that it was going to affect how I looked at the rest of the book.

After I finished that part, I was at about 70K words. I was halfway done—though at the time I thought it was more like 2/3, but that’s another story—and I was eyeballing that section I’d blown past which I knew wasn’t working. I had ideas on how to fix it, but they were story changes that would affect how the rest of the book would turn out.

It was a tough choice. Press ahead and finish a draft I could show my alpha readers, to get feedback while there was still time to act on it? Or go back and do some significant rewriting, so I could do a more final first pass at the rest of the book? It was especially tough because I had a deadline staring me in the face, and if I went back to rewrite, I’d miss the first draft milestone I’d set for myself.

I decided to rewrite. And it was the right choice. I had a much better sense of where I was going because I now knew where my characters had been. The new stuff I wrote when I caught up to where I’d been came out well on the first try.

Then I got almost done, and I hit another dilemma: I was writing the climax, and I was second-guessing my plans for the ending. I had ideas for more changes to that same @$!#$% section of the book that had given me so much trouble the first time around, and I also needed a sanity check on a few other elements of the book, and all of it might affect the ending.

So I sent the 95% complete draft to my patient alpha readers, with an incoherent email basically going “GUYS I DON’T EVEN KNOW IF THIS IS ANY GOOD WHAT IS HAPPENING I’VE BEEN WRITING ALL DAY EVERY DAY AND HAVE LOST ALL PERSPECTIVE HEEEELLLLP MEEEEEEEE.” And they were really awesome about getting back to me super quickly with encouraging noises and their thoughts on the various dilemmas I was facing. It gave me the clarity and morale I needed.

I had to go back and edit that one stupid section AGAIN, and then write the ending, and FINALLY I had a draft I could show my agent to get her feedback! It was much later than I’d wanted to get it to her, but… BUT… the draft I sent her was SO MUCH STRONGER than it would have been if I’d pushed ahead and finished that earlier draft instead of going back and restarting all those times. I’d worked through a lot of problems on my own, and the draft I sent her was in good shape and much closer to done. In the end, it SAVED me time.

So I guess my takeaway is this: Trust your instincts. If your instincts are telling you to go back and fix something before you keep going, DO IT. The rest of the book will be much clearer and better and more on track as a result, and you won’t wind up writing a bunch of stuff you’re just going to have to rewrite in the next pass. But if your instincts are telling you to press ahead, because you’ve got some other stuff you need to sort out first before you go back and edit, do that.

There is no magic in a completed first draft. It’s okay for the first complete draft to actually be the third, or the seventh. Or, hell, the fifteenth, if that’s how you roll.

This book will still go through a lot of revisions before it’s done. But I’m really glad I got some rounds of them out of the way when it was only 15K words, or 70K, rather than 140K!