What it sounds like in my head during "official" edits

Quick update: we just finished content, or "overview" edits of the Moonlit sequel, which is currently called "Windswept." That means the plot for the sequel is pretty much set in stone (sqquueee!!!) and that we're moving on to inline edits, where my editor comes after my sentence structure and word choices like they owe her something. And, in fact, they do. She makes sure every word, every sentence, deserves a place on the page once they're finally printed.

In my head, the whole content editing process sounds something like this:

1. Right after I've submitted the manuscript to my editor: I can't wait to see what she says! I can't wait to get started and tear it apart and make it better better better!! (then, this tiny voice says: what if she LOVES it and there's nothing to do? Bwahahahahaha. Hilarious.)

2. Once I've received the edits, I typically glare at the screen - not at my editor's notes, but my own words. How could I have thought this was any good? Why in the WORLD did my publisher accept this novel? There is EVERYTHING to do. Then I dig in and rearrange, shore up holes, apply pressure to the bleeders. Things get better, but aren't sewn up just yet, the fact of which really ticks me off.

3. I submit the first round, and then I avoid my laptop at all costs for fear I'll delete the whole manuscript on a whim and attempt to pick up a new hobby. True story: A week ago I got a puppy because I couldn't handle the down time of two weeks (fyi - that's like super insano lightspeed in the publishing world) between round one and round two. I am an idiot, a busy idiot who is now training a very energetic 4 month old dog.

4. I received the second round of content/overview edits. While the second round is usually lighter, I have found that with Moonlit and Windswept, they make me dig deeper. The first round merely made incisions in the body. The second round probes for the source of the bleed. And boy howdy does it bleed. Everywhere. You'd think by the second round of edits the major cuts were over. Nope.

5. And then, the best feeling on earth: Here it is! This is the giant traffic jam/plot hole to nowhere/personality disorder my manuscript is suffering from. And this is my favorite part, because now that I've identified the offender, I can seek and destroy it faster than that very energetic puppy can rip up a pair of undies. In Windswept, Tanzy opens the sequel with an axe to grind and a very large chip on her shoulder. That big heart of hers was nowhere in sight. The original opening not only made Tanzy practically unlikeable, but also foiled her emotional development in the rest of the story. Tanzy's journey in Windswept has a lot in store for her, and if she's already burned up inside by page 10, we have no where to go. Once I realized I'd plugged the wound in Tanzy's bleeding heart with my own southern-born, grudge-holding, short-fused temper, it was an easy (and lengthy) fix. The story is so much better now that I've taken myself out of the equation

When my editor - who I adore, okay worship... possibly stalk... anyways, when she suggested I soften Tanzy I thought: had she forgotten how Moonlit ended? Wouldn't she be royally brassed off if someone had pulled the pin on the grenade of her life and walked away? In truth, I have no idea how my awesome editor would handle the situation in reality, but I'd also forgotten how Tanzy would handle it, and put too much of myself in the opening chapters. There's a reason I'm not a heroine in a book somewhere.

We still have work to do. In truth, I was a little intimidated by the sequel as a whole. I have fans - actual, legitimate, they-don't-know-me-outside-of-this-book fans. What if Windswept doesn't deliver? What if I'm not good, I was just... lucky? The story line is so different, the pace so blinding... Then I think back to the state Moonlit was in pre-edits, the holes, the weak places, the choppy sections, and I realize we're right on track with Windswept. We still have work to do, and I'm sure I'll stumble around a few times and eat my way out of a writer's block or two. But I'm finally learning all of those steps and feelings and frustrations and breakthroughs are just par for the course.

Sharing is caring: what tips do you have for an author in the editing stage? Tell us about what you're up to, too!

The story of the sequel

The sequel did not at all go like I planned.

For starters, I had to do a major rewrite - scrapping 60K words I'd written before we finished the plot edits on Moonlit, because part of those edits was cutting a character who didn't play a big part in Moonlit, but was spotlighted in the sequel. Oops.

So I began again, and somewhere in there, I got lost inside Tanzy's head and forgot her feet. In Moonlit, Tanzy comes face to face with some of the darkest places of her soul. She even shocked me, and I know she scared herself. So I think we had to acclimate to each other again, who we both were, emerging battle-scarred from the grenade dropped at the end of Moonlit. In the process, we wandered over the choices she made without moving forward. I wasn't really inspired. I was just sad, and more than a little despondent.

Around the time I sent a draft of the sequel to beta readers, Moonlit was making the rounds on a couple of blog tours. I read a couple of feverish posts, new members of the Moonlit tribe who understood Moonlit and Tanzy, and were eager to dive into the sequel, and I started to panic. The sequel isn't right. It's wrong. WRONG. But how? Why? What is missing?? My beta readers felt the same way. They loved the plot I'd crafted, but the fire that lit the "explosion in reverse" fuse of Moonlit hadn't carried over into the sequel. It was a hard truth, but it was the truth.

Then I read a couple more posts from other new fans, and several mentioned how they thought the coming war would play out. ...... war? what war? there's a war? ..... HOLY $#*%! There's a WAR!!! Inspiration struck like a freight train. That night, I gutted the sequel again, saving only about 20K of the original words, and started over.

This pushed my self-imposed May 31st deadline back A LOT. A war between a few people would be boring and over in a paragraph or two (maybe a couple of pages if there's a lot of witty dialogue exchanged between the blows.) So I had to explore all the sides of this war, this brand new, breathtaking, crystal clear moment in my head when all sides converge on the veil. It's a spectacular sight, and I can't wait to write it. But not yet... when you have a WAR on your hands, you have to thoroughly understand each side's motivation, the complexities of alliances and traitors, the gray that exists between good and evil.

I'm so excited to introduce you to this growing cast of new characters. I wrote the first book for myself - to get the story out of my head and to explore Tanzy's voice. But this second book is for my tribe, for those readers who took a leap of faith and dove head first into Tanzy's life and saw the shifting world through her eyes. I want it to be perfect for my tribe. I want to give them what they're hungry for.

Years of working mostly alone around horses inspired Moonlit. But my readers - my tribe - inspired the sequel. I think it's the coolest thing to happen to me since becoming published. I submitted it to my publisher a few days ago, and I'm eager to see what my fantastic editors think. They loved Moonlit as much as I did - even though they helped me work on Moonlit, I also consider them members of the Moonlit tribe. Their opinion means everything to me, both professionally, and as readers. I'll know I did right by my readers if my acquisitions editor gives me the green light. You better believe I'll let you know as soon as I hear back - either way.

Until then, I'll do my best not to stalk my inbox. To keep myself occupied, I'm drafting a scene to add where Tanzy and readers alike will be able to see exactly what Lucas is capable of when someone he loves is in jeopardy...

Enough about me. What are you up to? :)

Once upon a head injury

"Be Seeing You" was literally inspired by a dream. I'd taken a head-dive off of a horse (not a dream) and landed in the E.R. with a bad concussion and a neck injury. I was doped up to the high-heavens on pain medicine and had the wildest dream: deserts and sexy, half-dressed, greek-god looking men and a tough chick with black hair and a soul the color of stardust. I woke up and thought: man that would make a good story. That was November, 2009. I "finished" the story this March and started querying away. (And boy-howdy do I have a lot to say about querying. But I digress.)

By May I had almost 20 rejection letters to my name. (Side note: for those of you who are in or about to begin the querying phase, www.querytracker.net is an awesome resource for lists of agents and publishers who are accepting unsolicited queries.) Yes, they stung. But they also helped. Those rejections made me tighten and clean and change and hone. Those rejections were my teachers. Don't get me wrong, most days I thought to myself: well clearly so-and-so just didn't get my vision. But once the thanks-but-no-thanks started piling up, I realized they might have a point. So I took a break, and then took a long, hard look at my manuscript all at once. I had some work to do. I also kept revising my queries, and stored my rejection letters in an email folder to keep myself motivated. (I can move mountains when I'm trying to prove someone wrong.) Those rejections made my story right at the right time.

I think back to a quote that kept me going - that is literally taped on my desk so I can see it whenever I start toying with the idea of pretending I never wanted to be a writer in the first place: "Because the 64th time was yes." It's a quote from a book called "The Wednesday Sisters," a group of mothers who meet at a playground and form a writing group. One mother has been querying her tail off in secret, and finally, on the 64th attempt, gets a yes. It just takes one.

I promise the next post won't be a proverbial happy dance, but I'm on cloud nine and I really want to spread the love. :)