An Excess of Riches

I'm learning something new about myself. When I have a full requested by an agent I like, I stop querying. It's not an intentional, "This is it. No need to send these things out any more!" It's more of a, "Damn, that's hard work. I'll get to it later." Later just happens to come after I hear back on my full request.

That's not entirely true. Later will come after a month or two before my common sense kicks me in the back of the head and says, "What are you waiting for? That's two months another agent might have been interested in your work!" My common sense wears cleats, so I don't like it when it kicks me in the back of the head.

But, here I've received a full request and here I'm not sending out queries even though I should be. Really, I should have been sending out queries for the past two months. I even had multiple rounds of feedback from Jennifer S. Wolf. So you'd think I'd be all over that.

Well, then I had a new idea for a novel, and I wrote that instead. Then I revised that novel. And the day before I finished revising that novel to send to beta readers, an agent asked me for a full of a third manuscript. So querying seems so out of place.

Oh woe is me! I sent a new novel to beta readers and received a full request for a separate novel so I don't feel up to querying a third novel. Gee, Joe, that must be a rough life you're leading there.

It's actually kind of awesome. It's also kind of confusing. My process has been: write a book, query a book, write a new book, get rejected, query new book, write a third book, get rejected, and so on. This whole revise a book, write a book, send off a full, query a book makes me all dizzy!

So all that self-aggrandizement is really meant to say, query. Don't sit back and wait. It is not in your best interest. At worse you garner multiple rejections (okay, at worse you garner someone telling you you have no talent and should stop breathing) and at best you garner multiple offers of representation and can declare a Thunderdome among agents to see who you will pick.

Either way, there isn't much reason for you to rest on your Laurels. Your Laurels are tired of you resting on them. They told me so. Get to work and give your Laurels a break. They work hard enough as it is without having to put up with your ass in their faces.

On Beta Reading

I have finished the second draft of my middle grade fantasy, PRINCE OF CATS. To make sure I'm reaching my target readership appropriately, I have enlisted many of my nieces and nephews (and a few friends who are of the appropriate age) to read the draft and give me feedback. Now, since most of them have never beta read for me (or anyone) before, I decided to write up some instructions and an explanation of what kind of feedback I really needed. While a few points are specific to what I tried to accomplish with the manuscript (specifically any words they might not have understood), I think this advice is good for beta readers of any genre, not just mg. So I thought I'd share it. I've seen some people on twitter going through their first beta and all they post about is "so and so liked it!" While yes, that's exciting, that's not what a beta is for. We always want people to like what we write. Beta review is to take what we've created and make it better. Focus less on what they like and focus more on what they don't like. You'l end up with a better novel in the end.

Begin letter


I want to thank you for being a beta reader for my latest novel, PRINCE OF CATS. This is my first middle grade story (middle grade meaning written specifically for someone of your age). The feedback you give me will go a long way in helping me make this the best story it can be.

So let’s start with, what is a beta reader? You are! :) A beta reader is someone who reads a novel manuscript before it is published. I have written the first draft then edited that into the second draft, the version you are reading now. With your (and others’) feedback, I will revise to a third draft. That is what I’ll use to send to agents and publishers and so on. You get to read this before everyone else! When it’s as famous as Harry Potter, you can say, “Hey, I read that before it was even published. It’s totally awesome because of me.” And you’d be right.

Now, what is not beta reading? Beta reading is reading this story and telling me it was good or that you liked it. Every author wants people to write what he/she writes, but from beta readers, the most important thing is good feedback. Good feedback points out specific things you like. Good feedback points out specific things you DON’T like. It’s okay not to like something. It’s okay not to like any of it. As long as you communicate that in a constructive way, I promise I won’t be upset with you. We’re working together on this now, and partners don’t get mad with each other.

So what makes good feedback? Point out any and all of the following:

• People/events you like
• People/events you don’t like
• Where the story feels like it’s dragging (Are you getting bored? Skipping ahead?)
• Where you stopped reading because you thought something else would be more fun to do
• Where something happens you don’t believe would/should happen
• Where something happens that you don’t understand

You can give me this feedback in one of two ways. You can write it up in a separate document, just like this one here (or even in a spreadsheet if you’re a child prodigy with Microsoft Excel) or you can write it into the document itself using Track Changes (if you don’t know how to turn Track Changes on, ping me on Facebook and I’ll show you how).

If you could do one other thing for me, I’m doing something special with this story. Some of the vocabulary is intentionally difficult in a few places. If you could write down any words you don’t understand, that would help me hyperlink them to the dictionary so if you read the story on an ereader, you can click to look up what the word means. (If you don’t want to do this, you don’t have to. But if you want to, it is very much appreciated.)

So with that, accompanying this Word file is a zip file with a few different formats of the story (Word, PDF, epub for your Nook, and mobi for your Kindle). Please keep in mind that this story is only meant for beta readers. This isn’t something to share with your friends. Hopefully they’ll be buying themselves a copy next year. :) While you, of course, will get a free and signed copy because you helped me and were awesome. ...assuming this is published. There’s a chance it may not be, but that’s the life of a writer.

If you have any questions, you are of course always welcome to email me or ping me on Facebook. If you need anything else, just let me know. Thank you again for helping me with my story.


Joe

When it's not epic

I've participated in a couple of Writer's Digest online seminars, one featuring Kristin Nelson and one feature Sara Megibow both from the Nelson Agency. During Kristin's presentation, she mentioned that the main plot of your book, that first serious hook, should occur within the first 30-50 manuscript pages.

Now this took me back. Having come up in epic fantasy (even though I'm currently not writing epic), the plot often started well past 50 pages. Often it doesn't start until the second book! :) Was it possible to drop the hook that early?

So I looked at the various single-volume fantasies I was writing at the time and with the exception of one, they all dropped their hooks in the first fifty pages. That one that didn't? It ended up getting rewritten and conforms to that as well (in Times New Roman, Courier pushed me over by a couple pages). It has proven to be not so much an invaluable rule as it is an obvious rule. With an average-lengthed novel (so we're not including epic), a story without a hook at the beginning just feels like a meandering exploration of the writer's imagination. That's all well and good, but we're reading the book for a story and eventually we need to start down that path.

Keep in mind I'm just talking a hook here. We don't necessarily need to blaze a trail down the story (though I fall mostly in Twain's camp¹ on what should happen in any given chapter). Just something to promise the reader, "Yes, this is going somewhere."

And that was so exciting about PRINCE OF CATS. I didn't just have the hook, I came up with a good chunk of the story all at once. (Surprisingly, it's the end that eludes me as I keep debating whether I should kill a bunch of characters or not.) The thing was, once I started writing, the hook kept getting farther and farther away. Hello page 80. I'll get to the hook soon. I promise. Just 20 more pages or so.

And it wasn't working. I had all these dramatic moments that weren't that dramatic because there were no stakes involved. Unless we're reading this thing just so we can watch Mirza and find out his uncle-turned-father² has been lying all these years about how his mother died, in which case we're all set by chapter 12.

So I took chapters 8-12 and shoved them back. They'll still appear. They're good stuff, but first I need a hook. Because once there's something at risk, then we're not just learning about Mirza, we're seeing how Mirza responds to what he learns and wonder as to the fate of Shahzadi Parisa. Then all these secrets about his mother have the heft they deserve.

Unfortunately, turning the uncle into the father and then shoving 4 1/2 chapters back has really thrown a wrench into the gears of my rhythm. I have been cranking this story out, and now I've come full stop while I insert the separator and crank everything apart. Then I have to go through and make sure everything fits together. Usually this is saved for the second draft. But hey, it'll save me reweriting in the future. Hopefully when I'm back at work and not staying home to deal with construction people³, I can get make to a more acceptable level of progress.


¹ Mark Twain famously said that each chapter should advance the plot or advance the story else it should be cut from the story entirely. While I don't hold to this 100% of the time, I hold to it 99.5% of the time.

² I realized the other day that I had fallen into the MG/YA cliche of making my main character an orphan. In adult work, I try to stay away from all the character tropes that have been bludgeoned to death over the years. I don't have characters that are orphans. I have characters that had loving, well-adjusted parents, so their own eccentricities are just that. No need for the orphan who's sworn an oath to hunt down his paretns' killer. Batman has had that covered for near on a century.

³ We had a furnace leak that grew a healthy amount of mold in our basement. This has been an incredible headache. I do not advise it.

Can I Do This?

If you were lucky enough to be Liz Poole, a hotel night auditor named LurkerWithout, or an agent with incredible literary sense, you would have had the opportunity to read my manuscript JEHOVAH'S HITLIST. This is a manuscript where I explain why just because the protagonist is 15 years old doesn't make it a young adult novel. The thing is anything but a young adult novel. ...depending on how you wish to raise your children. If you're okay with intense amounts of violence, profanity, nudity, sex, and drugs, then perhaps this is a YA book. Otherwise, we'll just assume it's not.

I've mentioned that before, so why am I saying it again? Because now I am writing a young adult novel. More specifically, I'm writing a middle grade novel (for a younger audience than YA, if you don't know the difference). Things are going swimmingly. I've only been at it for a week and I'm about to hit the 20,000-word mark. That's progress! Things are going great!

Well...yes, but I'm starting to run into something the euphoria of being so prolific has to date kept at bay. I've never written for this audience before! I write hard, cruel adult content. How am I supposed to write for 10 year olds?!?! Here I am cruising along and they have THE HOBBIT and A WRINKLE IN TIME and HARRY POTTER to read. What is this? PRINCE OF CATS? It's nothing. It's tiny. It's not my market!

*pulls out hair*

Who would have thought that the hardest thing for me to write would be content for kids. You wouldn't think so until you try it. But once you try it, you're all ooohhh, now I see.

Like if I were to write Sesame Street, this is what you'd get:

Things I Like Other than Writing

I finished my rewrite, began PRINCE OF CATS (which is going awesomely--beyond awesomely really, I'm flying), and the summer crush is over. Obviously you can tell that because I'm blogging, thus my hours are not filled with making content to educate the next generation of politicians who will hopefully ben an improvement over our current crop.

ANYWAY

As this is the end of he busy season for a few months, I have time to not only write, but to do other fun things as well. I can take days off and stuff. I'm told the funs happen on days off.

So what do we do? Well, New Hampshire keeps a lot of its funs outside, so I'll go there to find them. My buddy Britt taught me how to play disc golf and I've been practicing. I could do more of that. Especially since the local putting green was rebuilt after a really bad storm tore up the baskets.

I could...go sailing! My wife spoiled our anniversary surprise and mentioned we're going sailing. I learned how to sail through Naval ROTC my freshman year in college and absolutely loved it. It was my favorite thing about the entire experience. She's the queen of the groupon and got a good deal that we can go sailing down on the Charles River (I believe that's where it is).

Another groupon she got me for Christmas is horseback riding. I learned to ride when I was four. My family used insurance money from my father's death to go to dude ranch and mourn/cope/stop trying to kill each other. I have loved riding ever since. I do it every year and if I had enough money, I would love to have a horse of my own. Well, she got me a groupon for a two-hour trail ride and I'll be cashing in that puppy this week. I'm so excited! Woooooo!

But there is more! I need to shed about 20 pounds, but Alpine Adventures, the zip lining place up in Lincoln, NH, has a new course. What's zip lining, you ask? Watch this video of my wife zip lining from a couple years ago. She got me a gift certificate a couple Christmases back and I need to use that puppy. Once I'm less fat.

Turning it down from 11

Sorry I haven't been posting much lately. You know how they always say publishing is slow during the summer? Yeah, not so much if you work in production. I am currently the busiest I'll be all year (most likely) and while I'm not as crushed as I was in my old department, I am merrily occupied from start to finish. It makes blogging at work a little challenging. But here I am! Taking time out just for you! I missed you so much.

So what's going on with me? Well, aside from having one of the best Independence Day celebrations I've had in my life (swimming, grilling, fireworks, oh my!) I'm still hard at work on a rewrite/revision. AND not only is this manuscript better than it's ever been, but it has a new title as well.

I mentioned WANTED: CHOSEN ONE, NOW HIRING a little while ago, saying that I was taking an agent's advice and changing the main character of the story. I cut some 30,000 words and have put back in 10,000. My "scraps" file I use to keep track of everything I cut (in case I want to use it elsewhere) is currently at 175 pages long (double spaced, courier new)! That's HUGE!

My previous rewriting attempt choked on itself. I slashed so deeply that I nicked an artery and killed the story. I realized my error and have rewritten one of the POVs. I can say, without a doubt, this is the best shape this story has ever been in. I'm really enthused at what the end product will be. I may have even started on a quality query. Who knows. (If that's the case, the world is coming to an end. Run!)

I felt that this new direction required a new title as well. WANTED: CHOSEN ONE, NOW HIRING was clunky and while the story started tongue-in-cheek, it quickly evolved away from that. Also, whenever that phrase appears in the text, it always begins "HELP WANTED..." So that seemed an appropriate addition. I'd name it HELP WANTED: CHOSEN ONE. That rolled off the tongue better. But then I remembered the very first self-published novel I downloaded (it was thankfully free) named HELP WANTED: HERO. It was atrocious. This not only spoiled the new title, it spoiled the old title as well. I need to remove any kind of similarity between the two. I didn't want any of that stink on me.

So...we need a new title! Brainstorm, brainstorm, brainstorm. Come up with a bunch of crappy options. I have four characters, an underlying theme that doesn't work well as a title, and plenty of secrets. In the end, I decided to take inspiration from the end of the story. The new title is WITH A CROOKED CROWN, which I like a whole lot. (Google tells me this is a song by Bonnie Raitt, which means the last three titles I've chosen have been named after a song or a music album--I think there may be a blog post there.)

I'm only 81 pages into the revision. I've finished most of the rewriting. There's a collection of chapters coming up that will need some realignment to conform to this new approach.

The biggest work I've done so far? Changing the early plot path for my two prophets. Their introduction and the beginning of their quest leads in the same direction but is handled in a much more succinct manner. More importantly, one of the characters has seriously mellowed out. Now, he got shoehorned into this whole thing and didn't want to go. He has all kinds of secrets he doesn't want to come out and was frequently obstinate. Okay, he was a dick. But in an attempt to speed things up and change focus to the new main character, my original rewrite turned him into a HUGE dick.

And unless you're reading about porn, no one wants to read about a huge dick. I wrote the thing and he was pissing me off. He went up to 11 and he needed to be around a 6. So this new rewrite he got a serious overhaul. I don't think anyone would have read past page 50 in the previous iteration of this manuscript. He was that much of a jerk. Now I'm enthusiastic. I certainly hope others like it once I start querying. Current pace says that'll be at the end of July or so. Ugh. This thing is so big! (That's what she said.) It'll be worth it once it's done. (That's what he said.)

Why Oh Why? Oh Me. Oh My! (...times seven)

It's hard to keep track of topics when you're on a variety of soap boxes. I've written in two different live journals, hosted a podcast, and now how this blog/journal. Sometimes you think you've written about a topic when you haven't. Or, you think you've written about it in one place when really it was in another and no one is going to see it. Today's post may or may not be a redux. I'm not copying/pasting, but I know it's at least a topic I've covered on the PodgeCast, so we'll call it a redux nonetheless.

I have been pondering the rewrite of HELP WANTED: CHOSEN ONE for awhile now. An agent who read the manuscript suggested I change the main character from Nashau to Bastin, the latter being more energetic and overall more likable. I was unsure of this, because the story I was telling was most certainly Nashau's, but since I already had multiple POVs, it seemed a better way to hook the reader into the overall story. Once I made some cuts, I saw that he was right.

But something happened when I changed the main character. All of a sudden motivations I never had to explain to the reader became necessary. And those motivations seemed pretty thin. You might get away with a second character coming along because of a curiosity or amusement or the adventure of it all. Main characters need more depth than that and Bastin was my main character. So I needed to articulate the reasons he was doing what he was doing.

Now, keep in mind, I'm not making up excuses for why he's doing what he's doing. If you get to that point, your plot is too thin and you need to back up and really take a hard look at things. You should never make excuses for your characters. They do things and they do those things for the reasons they do them. You may feel it, like they do, but given enough time, you should be able to adequately articulate the psychology behind it without making an excuse. If you ever say "just because," you are required to slap yourself in front of a mirror. If your reasons make someone's eyes roll (especially our own), you have to let that person slap you.

But you don't want to be slapped! Neither do I. So it's best we find a way to articulate our characters' motivations. How do we do that? you ask. We ask the Why Tree.

The why tree is not some ancient being of untold knowledge, it is the question "Why?" asked over and over and over again. (I generally recommend seven times for those people that need a rigid number to properly implement such a stratagem.) Write the question why then draw a line to possible answers. Draw a line from those answers to another question why and so forth seven times. The ever expanding list will take on a Christmas tree-like shape. It's a Why Tree.

Bastin is my main character
Why?
Bastin will participate in the quest the prophets claim he is chosen to complete
Why?
To make amends to his adoptive father
Why?
Because he betrayed his adoptive father
Why?
He was young and dumb and didn't trust anyone
Why?
His mother was a prostitute and he ran with a street gang
Why?
His mother died, leaving him on the street
Why?
She had no family to care for him and didn't know who his father was


This has given me all the information I need. When the prophets coming looking for the descendent of a famous count, I have a con man who also doesn't know who his father is. He may or may not be the actual chosen one, something to reveal at the end.

It also gives him the motivation to pursue this quest if you throw in a well-placed "How?"

For all the whys, the HOW? is the really important question. How does all this stuff influence Bastin so he decides to go on this quest? And that's what was stumping me on this rewrite. What was Bastin's motivation that he would risk his life? Amusement? Boredom? May play for a secondary character, but you need something better for a main character. And that's when I keyed on to his adoptive father. I already show Bastin trying to make amends, repaying the money he stole that landed Jin in debtors prison where he eventually died. The thing Bastin can't do, however, is restore Jin's reputation. But here he is being offered a chance to participate in a prophecy. All he need do is tell people it was Jin that did the deed instead of him and all of a sudden, boom! reputation restored. The one thing he cannot do he now can. This doesn't just offer him motivation, but the level of emotional attachment to brave dangers without quitting and an end goal that is worth the risk.

Get excited!

Why?

Because this story is gonna rock your face!

Words and Games

The topic of custom words in fantasy has come up in a variety of places I visit lately (Book Country, et al.), and while I don't hold it against people who choose to have names for months other than January-December, I find it a distraction and a lot of work for very little return. So I keep it simple. Seconds are seconds. Months are months. And so on.

What I found today is that I'm not as complacent about games. I made a chess reference in my fantasy manuscript and it brought me to a screeching halt. The metaphor is perfect for the situation, but I have trouble accepting that chess as we know it would have occurred in that setting in the same capacity. But choosing a name unique to the setting erodes the metaphor. I may dump the metaphor all together and ignore the problem. It's curious, though, that I'd be okay with measurements but not games.

What I absolutely won't do is use idioms or reference fairy tales or other key phrases that were told to us in our childhood that we continue to use today (no old lady in the shoe or anything like that). As a reader, that kind of thing pulls me right out of a story, so I will not do it as a writer. It may be inconsistent, but I don't care. :)

The Red Pen

Your pardon at the quality of the pictures, but I took those with my phone which does not have the best camera. They get the point across, though. I received feedback from an agent awhile back, feedback I was uncertain about. I never rush right into feedback assuming that a person is right or wrong. I weigh everything on a case-by-case basis. In this case, she pointed out a "defect" that wasn't actually a defect because it was intentional (I had intentionally slowed the pacing as a parallel to the bureaucracy of the setting).

Not to dismiss this feedback out of hand, I pondered on it long and hard. Not just long or hard, but both long and hard together, which is proven to yield better results. What I found was two things. 1) She was correct that, regardless of the atmosphere of the setting, there was an element of the craft that needed improvement. I could do better. 2) Whether I write it intentionally or not, slow-paced books are not the way for a first-time author to get published.

All this meant little until I realized a mistake I had made. I made it in the original draft and thought I fixed it in the final but never went far enough on the correction. This was the key! Not only would I fix the error, but I would improve the pacing and everyone would be happy.

So that's exactly what I did. I set about taking a comb a la Spaceballs in the desert scene. I chopped something like six-eight thousand words, combined chapters, rewrote two entirely, and in the end, the story was so much stronger for it.

So I go back to said agent and say, madam you are wise and virtuous. I have followed your inspired criticism and proffer to you a better draft, should you be willing to accept it. Her response was: send me the first three chapters.

You know that sound effect where the car tires screech and then there's a loud crash? Yeah, that happened in my brain. The first three chapters? But my revisions start in chapter 4!

Again, not to dismiss things out of hand, I ask myself, could these chapters use attention as well? I had already cut some five thousand words from them just during my normal revision process (yeah, they were big). Looking at the word counts and previous feedback, it seemed like chapter two had room to give. There was a lot of cool stuff that established character background and setting but didn't do a lot for the story.

So how do we approach this? I mean, this is serious. This is the time. Make it or break it. Do it or die. We need...THE RED PEN!

I don't use hardcopy much any more. I'm 100 times faster on my computer. I write on my PC. I revise on my PC. I revise again on my PC. But sometimes there is a time when things are important enough that I have to go old school.

Now very few of you (and by few I mean 1, unless you came over from Book Country where I reviewed some others) have ever experienced my critiquing. To put it mildly, I am ruthless. I don't normally offer to review other people's work for a variety of reasons, but chief among them is that they don't like me when I'm done. (That might be an exaggeration. I made one guy cry, but we became very close after that.)

What those people don't realize is that I'm equally hard on myself. And so you don't have to take my word for it, here is my long-form photographic evidence.

Here we go, making changes.

Wow, this needs tightening. Move stuff. Get rid of that. And that.

Okay, really? What they hell were you thinking. Just...no. Just no. Don't do that.

Balkabddipagaujgewapgogpejp!!!!!!!1111!!!111111

Ooooo *shivers* Do it again!

I just had one of those moments. I love those moments. Back in the day, the reason I never finished anything was because I tried to plot things out. I might get a ways into it. I tried to get a feel for it and then write an outline, but I was convinced I couldn't go forward without an outline. What that meant is I never finished anything. 40,000 words on a manuscript and then three days working on an outline and I threw everything out.

I don't outline any more. Now I write by the seat of my pants. The pants/plots paradigm (p³) is a well established discussion on the tubes and I'm not going to tell you to do things one way or the other. Find what works for you and then do it. I will say, however, if you're not finishing anything you start, you may want to try an alternate writing method.

No, the reason the topic comes up today is because I had one of my favorite moments as a pantser. You're writing your chapter and you know where you're going and you just have to craft it to have some kind of competent literary end to the chapter. And then you get to the end of the chapter and your fingers keep typing and all of a sudden something you never considered before has appeared on the page. And not only is it good, it's awesome. The reader inside you screams, HOLY SHIT THAT'S AWESOME! Let's call that tickling the reader.

I suspect (but have no evidence and no inclination to prove my claim) that pantsing allows you to tickle the reader a little bit more because you're engaging in a higher degree of discovery along the way (I won't say you don't know where that's going because such a claim is insulting and usually only made by plotters that don't know better or bad writers who have no actual substance to their work). *deep breath* It's a matter of degree. I may not know the exact route I'm taking, but I know where I'm going and when I need to show up. Sometimes, though, you see that there's a road you thought closed that is actually open so you take it to see where it goes. And that's when your reader gets tickled.

That's a good moment. I like me the tickles.

Being Factual in an Alt History Story

I've been doing a lot of research for PATAPAN. I've nailed down most of what I needed (or what I didn't already have). I am taken aback by how many people are shocked that I would do research for an alternate history story. I'm changing the history as it's been taught to us. It's important that I get as many details as I can accurately so that readers can understand the points I'm changing are intentional changes and not just errors on the author's part.

Sure not everyone who reads it will be so into history that they know more about Benedict Arnold than he was a traitor and possibly at West Point. But it seems lazy to just write about history without keeping factual when I don't intentionally change things. A few train rides digging through Wikipedia refreshing what I already knew is enough to keep a novel set in the Missouri Territory ringing with honesty.

The story is set in the town of Arnold, Missouri just southwest of Saint Louis. The town is real (an exurb of the city) but was not founded at the time the story is set. I am writing a scene right now and the main character and his friends are crossing the river to Saint Louis. I'm curious how many people will think I've made a mistake or believe it's a change I've made for the story. Saint Louis at the time of the Louisiana Purchase was actually part of the Illinois Territory and not part of the Missouri Territory.



Here's a bit of history trivia for you. The Mississippi River didn't always flow the way you see it on a map today. The Army Corps of Engineers actually moved it, turning it from the west side of Saint Louis to the east side. If you ever go to Saint Louis and you hear about an area called Westport, you might be confused because there isn't any water nearby for a port. Well now you know. Saint Louis was the gateway to the west because leaving it crossed the Mississippi into the wild frontier (rather than being the first city you come to in the frontier as would be the case if it had been on the west side of the river).

Anything but Perfect

I'm working on a new wip and I think I've made a few mistakes in the opening chapters. Specifically, I've introduced the romantic interest a little early maybe? Or maybe I did not. I'm not quite sure yet. And you know what? It doesn't matter. Well, it matters a little based on where I go next with it, but in the long run, it doesn't matter. Why? Because I'm writing a first draft. There is a simple rule for first drafts: finished is better than good.

The purpose of the first draft is to build the framework of the house, not to build yourself a mansion that gets showed on MTV's "Cribs." It's going to suck. It will always suck. You don't publish your first draft. Never publish your first draft. You need to publish something that is mind-blowingly awesome and that is not your first draft. If you try to make something mind-blowingly awesome with your first draft, you will never finish.

All of you, I would wager, have done this when you first started to write professionally. You wrote your introductory chapters. Then you revised them and wrote a few more chapters. Then you went back and revised again. And again. And again. You just needed to get it right and that would make the rest of the book better. It was an investment, you would tell yourself. If I can make the beginning perfect, then I won't take any wrong turns later on.

Your first draft is anything but perfect. Accept that and soldier on. Don't revise the chapter you just finished. Write the one that comes after then the one that comes after that and the one that comes after that. At some point you'll get to the end of your story and then you can go back and revise.

Writing a manuscript does not make for an awesome novel. Revising a manuscript makes for an awesome novel.

Query'd

So I posted a three drafts of the query for JEHOVAH'S HITLIST (twice as primary posts and once as a response). I got some ingenious feedback from Elizabeth Poole following my third draft that took in it a whole new but slightly different direction. I am withholding the final draft until querying has passed and/or my brand spanking new agent says it's cool to post it.

Today I sent out the first query for this manuscript. Hello anxiety, my old friend. I haven't seen you for awhile. Welcome back.