Category: writing

Revision Vs. Obliteration: When to STOP Revising Your Book

Editing is an addictive process for me. I love editing. I love digging into the guts of my story and tinkering with things, fixing typos and grammar, revising dialogue, picking better words to describe action and thought. It’s a huge amount of fun for me. Alas, like most things in life, too much of a good thing can be very bad indeed.

I go through many drafts, and in each draft I find something new that can be improved. And improved again. And again! As soon as I finish, I see something else that needs fixing. Eventually, the quotation marks of irony rear their ugly heads and improve becomes “improve.” Yes, I’m making my story “better” by constantly carving it and nitpicking it until there’s nothing left. I need to remind myself: You must set yourself a stopping point.

But the perfectionist in me screams out: What if you missed something? What if there’s a misspelled word somewhere in there? What if you misplaced a comma? What if there’s an extra space between words? What if, what if, what if!

I’ve gone through my drafts, I’ve had my book edited, and I’m going through my final proofreading. It’s almost done. And I must remind myself that it’s almost done. No last-minute check-ups that turn into another round of revisions. Done is done. Finis. Ready for publication. But am I ready to publish? Is anyone ever truly ready?

What if I missed something? Ah! There it is again! The dreaded “what if!”

In theory, authors could revise their books forever. The process can go on and on until, quite literally, nothing is left. You don’t have a book anymore. You’ve “revised” the living daylights out of it, cutting and cutting, until what made the book great has been destroyed by picky perfectionism.

Maybe that’s part of growing as an author, accepting that you, at any given point in your career, are NOT perfect. That your work is flawed, try as you might, and you must recognize those flaws, learn from them, and apply your lessons to the next project.

But I can’t perfect my craft by obsessing over one work forever. I must set myself a deadline and mark it as DONE, like it or not. Maybe that’s just my quirk. Maybe my fellow authors have struggles that are quite the opposite, or maybe you can relate. Feel free to share in the comments.

Finding the Right Words

Sometimes I wish there was a checklist for writing the perfect story. If I had a step-by-step guide that included everything I needed to put into a book to make it a guaranteed success, it would make life so much easier. All I would have to do is check off each step, and bam, instant bestseller.

Naturally, it’s not that simple. Grammar and spelling are one thing. There are rules for sentence structure that can be looked up easily enough. But what about choosing the right words for the story?

How do I know just the perfect words for a description, or exactly how to phrase a piece of key dialogue? How do I write down something precisely as I want it to be read? I confess, I don’t fully know. I’ve studied creative writing in school and written poems and short stories. I’ve dissected classic literature until I was left with a mess of symbols and metaphors and analogies. As an aspiring author, I’m learning more than ever. But for all that education, writing fiction involves as much instinct and intuition as it does obeying the laws of grammar.

Words have power. I think we can all agree that words can encourage or depress us. There are pieces of writing that really move us, maybe even motivate us to take action. So, I’m like a guy holding a lit match. I have to be careful where I set it. Or maybe I’m more like a guy juggling 50,000 matches who has be verrrrry particular about where each one lands. Words are nothing to be trifled with, but the thing is, a writer really doesn’t know what the damage is until the reviews start coming in. Maybe it’d be useful if my draft spontaneously combusted. Then I’d know if I was doing it right or not.

Finding the right words is a bit of a crapshoot. I’ve only just really developed a feel for what my writing style is, and I’ve gotten beta readers to give me feedback that helps me see my own work more objectively. Even so, sometimes I feel like I’m groping in the dark. How exactly do I convey what I see in my mind’s eye? How do I communicate it? Even harder, what should I leave out to allow readers to fill in the blanks for themselves?

I don’t know if anyone ever gets it right the first time. To paraphrase Ernest Hemingway, the first draft of anything is crap. There’s always another go-around, and another, and another. It’s like a sculptor chipping away at the marble until the proper shape is carved out of the stone. It takes time, thought, and effort to find the right words.

Does that make writing boring and tedious? Not at all! It’s part of the fun for the writer. It’s a game of imagination combined with a jigsaw puzzle. You cook something up out of your own head, look at what ended up on paper, then try to fit the pieces together into something remotely resembling what you originally envisioned. It’s a challenge. I think we writers like challenges. We certainly like tormenting ourselves over finding just that perfect word to use in that one sentence on page 72 that we know only five people on Earth will ever notice.

Will I ever find the right words? The perfect words? Maybe. Maybe not. It’s worth the struggle to try.

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Pace Yourself! What Can Make or Break a Story

You start reading a book, or watching a movie, and the beginning is a banger. You’re hooked. The characters are great, the story is enthralling, and the action is incredible. The first act is a masterclass in storytelling.

As you continue, though, you feel a nagging sensation that something has gone wrong. You aren’t gripped like you were in the first twenty minutes. Why all this pointless dialogue? Why spend five minutes on a scene that has no impact on the rest of the story? Did someone put the plot on a lifeboat and set it adrift? It’s just … wandering aimlessly.

But wait! You get to the end, and the last ten minutes suddenly pick up. Boom. Bam. Bang. The plot is resolved, the heroes win the day, end of story. It’s satisfying enough, but you’re left wondering why 70% of the story just dragged on and on.

Or maybe you run into a story with the exact opposite problem. You feel out of breath after finishing it, like you were never given a chance to rest. Who’s this person and why are they – never mind! Moving on! More action! More spectacle! Can’t contemplate our navels now!

You’re rushing from set piece to set piece at breakneck speed. Movies especially love to do this. The story is just an excuse to show off the cinematography. Maybe there IS a good story there, but it’s been broken up by a frenetic pace that prevents it from properly unfolding.

Pacing. That’s the keyword. A good story has good pacing. It’s the invisible, unappreciated ingredient that is key to cooking a good meal. Folks know when they dislike the protagonist. They understand bad writing. A poorly constructed setting betrays its flaws just by being experienced. Audiences know these things. But pacing is more subtle. When the pacing’s poor, you don’t always know what’s wrong, but you can sense that something is off.

Pacing is the speed at which the story is told, in which everything, everything, you’ve written is unveiled at the times that best serve its progression, its development, the audience’s entertainment, and the impact of key scenes and events. Pacing is to storytelling like a metronome is to music. Go off-beat, and everything goes out of whack.

As the metronome helps the musician keep the proper rhythm, so does a writer keep their story at the proper pace
“Metronome” by jronaldlee is licensed under CC BY 2.0.

To continue the earlier food analogy, a story is like a meal. Pacing is the speed at which you eat the meal. Eat too fast, and you barely get to taste the food. Eat too slowly, and the food is so cold and stale by the time you finish that it can hardly be considered tasty anymore. A writer needs to be like Goldilocks and find the pace that is juuuust right.

Naturally, stories being organic things with a knack for growing beyond the writer’s original intention – things that you could swear have minds of their own – there is no magic formula to apply to a story. Each tale is unique. There are so many factors to consider: the genre, the story’s message (if any), the amount of dialogue versus action, the length of the story, et cetera.

Moby Dick is a classic of American literature. It’s also all over the place with its pacing, stopping suddenly to discuss the physiology of whales and the philosophical repercussions of pursuing vengeance against the natural world. But it is as much a philosophical and encyclopedic work as it is a fable of the cost of revenge, and its opening chapter tells you to strap in for a long, introspective ride. There are certain expectations one automatically forms when seeing how much space that monster takes up on the shelf.

On the other hand, a short story is quite the opposite. It’s a short story, and a reader doesn’t go in expecting long, drawn-out retrospectives on life, the universe, and everything. The plot is much more straightforward, and the pacing moves swiftly. If you expect to finish a story in one sitting, you aren’t going to be pleased if nothing worthwhile happens in that time.

I could go on and on about this topic. Its poor execution is one of my biggest pet peeves in writing. But then, a blog post is a short piece of literature, too, isn’t it? Yes, even blogs need good pacing, and though I may complain about it, I’m no master myself. Live and learn, and occasionally complain about things you yourself aren’t very good at. But not too much, that’s just bad form.

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Tragic Writing Mistakes I Learned Firsthand

They say failure is the best teacher. If that’s true, then I am a very, very good student. I’ve already made some doozies in my nascent writing career. I’m glad I did.

A God Walks Up to the Bar isn’t the first book I’ve ever written. Way back when I was a wee college lad, I wrote another book. I put a lot of effort into it, and I was proud of it at the time. Looking back …

It’s absolute garbage. I’ll never let it see the light of day. So, what went wrong?

Mistake the first: I starting writing without any sort of pre-planning or outline. OOF.

Now, I know that there are some writers who are able to wing it and don’t rely on outlines and plotting out story beats ahead of time. I’m not one of those people. I need something more than nebulous ideas. Good preparation not only organizes my ideas, but I develop new ones and discover the real plot of my story as I outline.

Having done none of that for my first-ever project, the plot, such as it was, was confused and schizophrenic, and the pacing was a jaw-dropping mess. As a naïve beginner, I just figured all writers knew what they were going to write, as if by some magical gift granted to all authors. That belief has since been thoroughly exorcised from my brain.

Mistake the second: Overambition.

Have you ever started a novel thinking it’s going to be a grand six-hundred page epic that will sell thousands of copies, change the literary landscape, and maybe even get audited for a film adaptation? That was what I believed when I first started writing. Again, this was in regards to a book I had not even bothered preparing for. I wrote and expected, oh, it would just be good. Magically.

I crammed about three novels’ worth of material into one book, I was tracking multiple characters across multiple locations at once, I ended with a big epic battle … and I thought all this was setting up more sequels. Again, I had never written a novel before and I didn’t really know what I was doing. Oh, such hubris! Oh, such an education!

Speaking of sequels …

Mistake the third: I wrote for the sequel, not the current story.

When I wrote my horrific-yet-highly-instructive first novel, I wasn’t writing it as a standalone. I was writing for the sequel, and the installments after that. I didn’t give my current project the attention and respect it deserved.

It’s a presumptive way to write a story, treating it merely as the setup for a larger franchise. It isn’t given time to develop its own identity, because you’re too busy teasing at future events and building up to payoffs that may never happen. Thus, the current story is robbed of its own identity.

So, I learned that every story I write, even if part of a bigger universe, should be able to stand on its own merits regardless.

Mistakes aren’t something to fear. They will happen, so I might as well get used to making them. Ah, well, I got some of the worst of my inexperience out of my system, and I like to think I’ve gotten better. I suppose I’ll find out for sure after I get published, eh?

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Why Even Bother? Thoughts About Motivation

What motivates me? I want to be a published author, but why even bother in the first place? And why stick to it after I’ve started?

Well, going after big questions today, aren’t I? Before I dive headlong into existentialism, I think I better draw the boundary right here: Why am I motivated to write and publish a book?

For me, the impulse to start a task comes in waves. I’ll begin a writing project and when I first start, I’m just thrilled. Think of all the things I’ll get done! Come two days later, I can’t muster up the effort to finish it. The document languishes in the depths of my computer’s files, neglected and lonely. But then, six months later, I’ll come back to it, because suddenly the urge has hit me again.

Truth be told, coming this far with my current novel is a milestone in my life. I started a project and stuck with it, whether I felt like it or not.

What’s the deal? What does it take to stay motivated?

Motivation. How is that word used in conversation? “Be motivated.” “Got to stay motivated.” “Keep yourself motivated.” We make it sound like a state of mind. Remain in that state and only then will you get things done.

You can accomplish a lot when you’re motivated enough …
“Climb Ev’ry Mountain“//jermudgeon//CC BY-SA 2.0.

I don’t know about you, but I flip through about three dozen states of mind every day. Maybe it’s just me, but my emotions tend to jump around constantly. It’s kind of annoying, really. But it doesn’t matter. Seriously motivated people aren’t focused on their emotions, they’re looking at the goal. The climber ascending the mountain and the runner approaching the finish line aren’t driven by their feelings, they’re driven by what’s at the end of the struggle.

I’ve worked on my book when I was angry, when I was discouraged, when I was happy, and when I was convinced I was the hottest new thing in the industry. But it didn’t matter how I felt. The book had to get done. No amount of psyching myself up or putting it aside until I was “in the right mood” was going to produce tangible results. I just had to sit down, shut up, and do the work.

Motivation isn’t a state of mind. It’s actively striving. I didn’t just keep myself motivated; my motivation kept me in action.

I’m almost finished with my book. I’ll be releasing in within the next two months. I want people to read it and enjoy it. That’s my goal. That’s the thing that motivates me to finish it. And I believe that’s worth working towards.

Why bother? Because I choose to. And on that last, suitably dramatic note, I wish you a good day and your own goals to motivate you to do something great.

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Being Patient in Today’s World

We live in the world of “now.” Want a cup of coffee? Stop by Starbucks and get it now. Want to watch a movie? Stream it online now. Want to talk face-to-face with your third cousin twice-removed who lives on the other side of the planet? Schedule a Zoom meeting on your computer right now. This is the age of the instantaneous. Everything can be gotten at the moment you decide you want it.

I’m not knocking on modern conveniences. Technology has improved life across the board. Medicine and communications and transportation have all benefited from technological progress. But progress has its price. We don’t value patience that much, anymore. And I can only really say that because being a writer has made me much more aware of the importance of patience.

Writing a book isn’t a quick and easy task. I have to invest a great deal of time in crafting my story, outlining it, going through multiple drafts, editing and formatting the final product. It’s easy to feel antsy at times and just want to push it to the side because I’ve been working on it for over a year and still don’t have a published product. Will it ever get done? Is it worth it? Should I just move on to something else that yields immediate results?

Patience isn’t something that comes naturally to everyone. Maybe there are people out there who don’t struggle with staying level-headed and calm in all situations. I’m not one of them. I tend to rush through life and need to remind myself to slow down. It isn’t a virtue I’m inclined towards because, quite frankly, being patient is scary.

“Hourglass” by John-Morgan is licensed under CC BY 2.0.

After all, to wait for something implies trust in that thing’s value and worthwhileness. Grabbing an egg sandwich from McDonald’s is different from cooking an omelet. One is quick and easy, the other takes time and effort to prepare. And time is precious, isn’t it? It’s the ultimate currency. We only have a fixed amount in the bank. So, what we are willing to wait for determines what we value the most. And when you spend time on something, that’s time you can’t get back.

Writing has taught me patience, bit by bit. The value of taking time to prepare the story and to make sure that I’ve chosen the right words. The time to submit my work to others for evaluation and feedback. Patience leads to quality, too. A rushed product is often a shoddy product. The best things in life take time to make. And patience takes courage. I invest time in writing because I trust it is worthwhile in the end.

One last thought: Patience entails an assurance and certainty that waiting will bear results. It is a form of faith, if you will, because it requires one to trust that a future we cannot yet grasp will yield something positive for us. Otherwise, why wait for it at all?

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Urban Fantasy is … Where, Exactly?

So, my last couple posts have discussed what urban fantasy is and what it isn’t. Now that your curiosity is piqued, some among you may be wondering: Where can I find works of urban fantasy?

Everywhere, really.

Just to encompass how versatile urban fantasy is as a framework for storytelling, here’s a brief list of films, books, video games and comics that can be defined as urban fantasy.

Percy Jackson & the Olympians

The Tenth Kingdom (the first episode, at least)

Ghostbusters

Gremlins

Kingdom of Landover series (sort of)

Evil Dead

Any Marvel or DC product with magic in it

Any Scooby-Doo movie where the monsters are real

It’s a Wonderful Life

Dog Soldiers

The Secret World

Dracula

Grimm

The Dresden Files

Night at the Museum

The Shaggy Dog

The Shadow Over Innsmouth (most of H.P. Lovecraft’s works, actually)

Alan Wake

The Picture of Dorian Gray

And so many, many more.

Urban fantasy is vast, so expansive in scope that it can serve more as a thematic foundation for different types of stories than a specific genre in and of itself. After all, Dracula and Night at the Museum are very different, but both meet the criteria for urban fantasy. One is horror, and the other is comedy.

Urban fantasy is a genre, but it is also a theme. It is flexible enough to encompass virtually any story you can imagine.

I’ll leave you with a visual representation that I think captures the spirit of urban fantasy very well: https://www.youtube.com/watch?v=MX6vSOAPAF4

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Urban Fantasy is … When, Exactly?

Last week , I shared my definition of urban fantasy. To reiterate: Urban Fantasy is any work of fiction that features supernatural and magical elements juxtaposed with real life in the modern day.

Now, I have a confession to make: This definition isn’t quite right, either.

But wait, you may ask. Your previous post discussed the issue at length. What else is missing?

Well, this definition is ignoring a very important question:

When exactly is modern day?

Charles Dickens’ A Christmas Carol features a fantastical story of ghosts set in Victorian London. A historical piece, right? From our point of view, maybe, but not from Mr. Dickens’ perspective. He wrote in what HE would recognize as modern day. So, technically, by the definition we’ve arrived at, A Christmas Carol is urban fantasy.

“Modern” is a relative term, isn’t it? The current year as of this writing is 2023. But a hundred years ago, if you asked someone when modern day is, they would reply that it is 1923. And a thousand years from now, the time we currently experience will be ancient history.

It’s all quite relative, isn’t it? But, before you start dreading some sort of lecture on Einsteinian physics, let me reassure you that all I am saying is that phrasing more specific than “modern day” is needed to explain urban fantasy.

Any piece of urban fantasy I or any other author publishes this year won’t be “modern day” in fifty or a hundred years. But while it is not modern, it is contemporary.

Surprise! Urban fantasy isn’t just a genre, it’s a subgenre. It falls under a much larger and broader heading: contemporary fantasy, also known as modern fantasy. It’s exactly what is sounds like. Any fantasy story that takes place in the author’s modern day is contemporary fantasy.

Remember when I said Harry Potter isn’t urban fantasy, but it is fantasy that takes place in modern times? I still hold that urban fantasy as a genre is dependent on the juxtaposition between real life and fantasy, which carries in certain parts of that franchise, but not at all times. But Harry Potter undoubtedly always falls under contemporary fantasy because its story takes place within the time in which it was written (give or take a couple years). Sometimes urban fantasy, but always contemporary fantasy. It’s a mix. Stories do that, because nothing ever falls into simple, cleanly defined categories, do they?

Anyway, let’s revise that definition one last time.

Urban Fantasy: Any contemporary work of fiction that features supernatural and magical elements juxtaposed with real life.

In other words, urban fantasy is fantasy meets real life at the time the author wrote it. Therefore, A Christmas Carol is urban fantasy. So is It’s a Wonderful Life, for that matter.

Genres sure are surprising things, aren’t they?

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Urban Fantasy is … What, Exactly?

Urban fantasy is a hot genre right now. You see works labeled as such in stores, sold on Amazon, talked about in online forums. But what IS it, anyway? Well, as someone who is writing a book that falls under the urban fantasy genre, I thought maybe I should dedicate some time to explaining my take on things. After all, words are just words until they’re explained, and genre names get bandied about too casually as it is.

You got two words, urban and fantasy. Okay, let’s break that down. “Fantasy” is magic and the supernatural and things that can’t be explained by science. Dragons and wizards and monsters and such. “Urban” is cities and industrialization and modern technology. So, urban fantasy is … fantasy in a city?

Merriam-Webster.com defines urban fantasy as follows: A genre of imaginative fiction featuring supernatural characters or elements in an urban setting.

So, fantasy in a city.

That seems a wee bit limiting, don’t you think?

In my humble opinion, the name is a misnomer. “Urban” is misleading. This is a genre that encompasses far more than just metropolises and towns. What about fantasy stories in a tiny hamlet in midwestern America or rural England? What about a story that takes place on a ship at sea, or in a forest cottage? I propose my own revised definition, because as an aspiring writer who hasn’t even been published yet, I’m TOTALLY qualified to do that, heh, heh.

Urban Fantasy: Any work of imaginative fiction featuring supernatural characters or elements in the modern day.

That’s a good start. It’s broader, but still succinct. But it’s missing something. It’s still not quite right.

There are plenty of fantasy works that take place in modern day that aren’t technically urban fantasy. Take Harry Potter, for example. Sure, the series takes place in the modern era, but its primary setting is so far removed from our mundane existence that it could be mistaken for a straight fantasy. Rarely do the supernatural elements interact with the “real” world. Sometimes, sure, but it’s not the core of the setting. Compare this to, say, The Dresden Files, which features the supernatural interacting with real life on a more consistent basis. In a pure urban fantasy, the magical and mundane collide regularly.

That’s the fun of the genre. Two disparate worlds clashing and coexisting. Goblins and fairies living alongside soccer moms and salarymen. The contrast is the striking and memorable part of urban fantasy. It’s like driving down a busy street and seeing uniformed men on horseback trotting past you.

“Queen’s Guard | Changing of the guard on horseback” by jikatu is licensed under CC BY-SA 2.0.

So, here’s a revised definition. Urban Fantasy: Any work of fiction that features supernatural and magical elements juxtaposed with real life in the modern day.

That sounds a bit better, doesn’t it? We’re getting at the themes of the genre. How does magic exist alongside the real world? Does the fantastical hide itself, or does it live alongside what the readers recognize as normal? How do the two sides interact?

“Urban” fantasy covers a far broader range than its name suggests. My hope is that anyone who decides to pursue this genre, either for consumption or to create their own stories, won’t feel constrained by the label.

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Cover Art is Here!

The cover art for my upcoming book has arrived! A hearty thanks to Ebook Launch for their great work and professionalism. They were a joy to work with.

A God Walks Up to the Bar, my very first published book, will be available later this year. Stay tuned!