I finished my proofreading! In the future, I really need to avoid doing two books back-to-back like that. I need to do other kind of work in between, not just for my brain but for my voice. I proofread by reading out loud — the best way to make sure you’re reading what’s there rather than what you think should be there, as well as a great way to spot awkward phrasing, repeated words, etc. Reading entire novels out loud for weeks at a stretch when I’m used to not talking much on a normal day really seems to have strained me because my throat’s a bit sore (though some of that may be due to high mountain cedar levels). I may have to give myself vocal rest this weekend (and remember not to talk to myself out loud).

I let myself sleep late and have a lazy morning today because wrapping up a book should be celebrated, and then this afternoon I have to dive into planning my next projects.

One thing I have to figure out is what my heroine wants. That’s such a basic part of fiction, but I realized once I got started thinking about it that although I have what felt like a fleshed-out character, I have no idea what she might want, aside from the story goal (which I’m also not entirely clear on). The one thing I can think of feels like it’s overused and a bit of a cliche, but being different and doing the opposite thing means the story has no drive. People wanting something bigger or more than where they are is such a standard thing (“Somewhere Over the Rainbow”) but content people make terrible protagonists, unless something absolutely forces them out of their contentment. I don’t want to blow up her world, and I don’t want to make her hate having to do the thing she has to do, which means I have to make her something less than content. This is going to take some thought.

Meanwhile this is a “secondary world” story, so it’s not based in our world, and that’s rather liberating. I’m somewhat basing it on a particular period of our history (clothing, technology level, society), but I can change things I don’t like. For instance, I can have lovely late 18th century-inspired dresses but skip the powdered wigs on men and women. In my world, they don’t do wigs. I can also have less sexism, so girls can do things they wouldn’t have been allowed to do in our world’s history. I just have to decide how much their world follows ours — we moved into the Directoire style that morphed into Empire, with the kinds of dresses you see in Jane Austen movies, in part because of the French Revolution and looking back at Greece as a model democratic society, so women tried to dress like they were Greek statues. In a world without a Greece or a France, would the same kind of transition have happened? Or would it have happened for a different reason — some fashion leader is seen outside in her nightgown, and soon everyone’s dressing that way? Or maybe there were still statues in flowing robes for another reason, and people start emulating that style. That style change was so drastic that it makes a lovely visual shorthand to separate those who are on the leading edge of fashion from those who are more provincial, like the latest season of Poldark, in which the women who’d been to London dressed very differently from those who’d stayed in Cornwall, and once a Cornwall woman had been to London, she returned home wearing very different clothes. Cornwall was still in Georgian style, with a tight bodice and full skirt, while London was in Regency style, with the column silhouette and high waist.

And, no, thinking of setting a book in a world that emulates this era is not merely an excuse to watch a bunch of Jane Austen movies. Really. (Though it may have been influenced by the fact that my PBS station is rerunning the Pride and Prejudice miniseries.)

I’m working on copyedits for Enchanted, Inc. book 9 right now. This is the phase when I look at the manuscript that the copyeditor has marked up and insert the changes into my copy of the manuscript, deciding which ones to accept or reject. The copyeditor is essentially a professional nitpicker, not only spotting things like grammar, spelling, punctuation, missing words, misused words, typos, and the like, but also keeping track of continuity — she was wearing a hat in the previous scene, but now there’s no mention of a hat. Is she still wearing the hat or did she take it off? Where did she put the hat when she took it off? Does she put it back on when she goes outside again?

I have a wonderful copyeditor, but I still struggle with this phase of a project because it takes me right back to my school days. It feels just like when you’ve had a paper or essay graded and the teacher hands it back to you, covered in red marks. It isn’t actually like that at all because a copyeditor isn’t judging you (except maybe inside). You’re not being graded. It’s a partnership to make the book better. The editor is helping you. It’s more like giving your paper to a friend to read over it for you and make suggestions before you hand it in to the teacher to be graded. Your friend’s marks don’t count as part of your score. They just help you improve your work before it is judged or graded. I’ll have to remember that analogy the next time I get copyedits and spend a day procrastinating furiously because I dread looking at my manuscript and seeing marks all over it.

I suspect I’ll still cringe when the copyeditor calls out an obvious mistake. I swear, words go missing between the time I review the manuscript before handing it in and the time the copyeditor sees it. Most of my edits, though, have to do with compound words and keeping straight which are written as two words, which are smashed together to make one word, and which are hyphenated. That all depends on which style guide you’re using. I learned Associated Press style in journalism school, but publishing tends to use the Chicago Manual of Style, and they sometimes do them in different ways. In a lot of cases, there are several “correct” ways to do it, but you go with what’s in the style guide you’re using for the sake of consistency.

And I swear, they change the rules between books because I try to internalize them on each copyedit and do what the editor said the last time, and it still ends up getting changed.

The other thing a copyedit will make glaringly obvious is which are your “pet” words for that book. You’ll think you’ve caught those words you overuse and you’ll be sure you cut them all out, and then you’ll get a note from the editor saying, “You used this word 60 times in the book. You should probably cut most of these uses.”

The really annoying thing is that in spite of this kind of edit and proofreading after making the edits, you’ll still end up with at least one error in the finished book.

I seem to have finally hit the “hey, this is actually pretty good” state on this book. Writing a book is a love/hate relationship. When you first get the idea, it’s the most brilliant thing ever and you’re madly in love with it. Then you start writing, and it loses its luster once it becomes reality. It’s not quite the book that was in your head, but you can’t seem to make it be the book that was in your head.

Then you hit the middle, when you’ve gone past all the initial ideas you’ve had but you’re not yet at the thing you had in mind for the ending, and you really start to hate it. Maybe it wasn’t such a great idea. What made you think you could write this thing? You don’t like the characters. You want to just scrap it and start over. This is when a lot of people give up, especially on first books. You realize writing isn’t fun all the time. It’s hard, and you’ve run out of enthusiasm. You start to doubt yourself. This is also when the Shiny New Ideas tend to hit, and you’re tempted to give up on the thing you’re working on that obviously isn’t going well to work on that Shiny New Idea that’s even better.

But you power through, and you get an energy surge that gets you to the end. Though, if you’re like me, you get impatient to get to the end and kind of skim through the conclusion, so that’s the first thing you have to go back and rewrite. Now you’re feeling pretty good. You have a whole book, and you think it might be pretty good.

Then you go back to rewrite/revise/edit, and that’s when you notice the plot holes, the repetitions (how many times did I use that word?), the little inconsistencies, the scenes that aren’t working. What were you thinking? Was that line supposed to be a joke? You wrote it, but you don’t get it. Hack, slash, change. It’s a mess. Who would want to read this? Maybe you should just start over.

And then, finally, you do one last read-through. I read it out loud so that I’m forced to really read every word. That does make me spot some things like repeated words or phrases, but on the whole, I find that I really like the story. I remember what I liked about the idea, and while it’s still not quite the perfect book that lived in my head before I started writing, it’s a good book. I love the characters and feel a little sad to leave them behind.

That’s where I am now. I’m starting to remember that I liked this idea, and I’m enjoying reading the book.

I’ve wondered if authors are ever tempted to go back to an old idea and try writing it again — the execution the first time was okay, but it wasn’t quite the book they really envisioned, and now that they’ve grown as a writer they could try again to get to what they initially thought that book would be, and it might come closer to that perfect vision this time. There have been authors who had similar books at different times in their career, but they came out very different. For instance, David Copperfield and Great Expectations have a very similar pattern and a lot of things in common, but are very different books at different points in Dickens’ career. Was that a case of him going back to an idea he’d already written and executing it differently? I think today people might accuse an author of being a hack with just one good idea, but it would be an interesting experiment.

A number of years ago, I noticed that many of the “people who bought this also bought” books on the listings for my Enchanted, Inc. books were cozy paranormal mysteries. That made me curious, so since I love mysteries, I tried reading a bunch of these.

I could definitely see the comparison. Like my books, these had a sassy first-person narrator who had to deal with some kind of crisis, and there was a slow-burn romantic relationship over the course of the series. The only real difference was that in my books the crisis involved magical mayhem while in the mysteries it was usually a dead body, and in the mysteries it seemed that the romance was usually with some law enforcement officer.

This made me think that I should look into writing this sort of thing. It really seems to be right up my alley, a mix of fantasy, mystery, and romance. I even came up with a setting/scenario for who my sleuth would be and why she was there. Oddly enough, the hard part was coming up with the paranormal element. The main difference between the paranormal mysteries and urban fantasy seems to be in the world. In the mysteries, the world is more “normal” and the sleuth is the paranormal part, so there’s some conflict between her and the world. She has some kind of ability that’s what gets her involved in the mystery — she can talk to ghosts who complain to her about their murder, she can touch an object and learn something about its owner, she can enter a space and tell what happened there — but because it’s paranormal and she’s in a world where that’s not commonly accepted, she can’t exactly tell the cops how she knows who was murdered and how, and her evidence isn’t the sort of thing they can use to get an arrest warrant or even a search warrant. Sometimes, knowing what she does can even make her a suspect. In fantasy, on the other hand, usually more of the world is magical. There’s some kind of magical subculture, so if the heroine has powers, she’s not the only one. She still might clash with the normal cops, but there’s a network of magical beings around her.

I’m more used to doing the fantasy kind of thing, so my first stab involved inverting the usual setup and having my heroine be the normal one who’s trying to use evidence while the rest of the town is all going, “Yep, a wizard did it,” but then I realized that would be difficult to sustain for long. It was hard coming up with some sort of ability that only the heroine might have and that would be considered odd in the world and that hasn’t been done to death. I also love the “strange little town” story, so I wanted the heroine to be a semi-normal outsider trying to fit into the strange little town, but then how is she going to solve mysteries?

I think I may finally have an idea that could work, so I guess I’ll be adding that to my list of things to try to write. It just shows you how long it can take to go from “I should write this” to having something even remotely viable. It was 2012 when I did all that mystery reading and first started thinking of this. It hasn’t usually been front-burner, but still, that’s a long time to gestate an idea before even getting to the point of developing it.

I’m considering last week a kind of trial run at the new year. I tried to treat the week after New Year’s Day like regular working days, but the epic ordeal of waiting for a plumber for days on end disrupted my schedule. But now the last holiday party is over, all the Christmas stuff is down and out of the way, and I’m back to what passes for “normal” around here, so the new year is beginning in earnest, for real this time. It’s time to get out of holiday mode and back onto my usual schedule (well, until the next plumbing appointment for the serious work required to do the repairs the plumber assessed when he finally came).

That means I really have to get to work on this book that’s due in a couple of weeks. I’m in the phase of revision in which fixing one thing means going back and tinkering with something else. I’m also having the “hey, wait a second” moments in which I question things I’ve written. For instance, I’ll know why my viewpoint character is in a scene, but then I stop to wonder why the other characters are there and realize either they shouldn’t be there or I need to come up with a reason for them to be there. But then when I come up with a reason for them to be there, that changes something else.

I seem to be working both forward and backward. As I move forward fixing things, it brings up fixes I have to do in the past, which bring up other fixes I need to track back and do.

But I can feel the book getting better, and that’s a good feeling.

I started writing a new book yesterday afternoon. I don’t know where it will go, but more and more of it kept coming to life in my head until I had to get it out, and I got close to 2,000 words written. So I guess I’m doing National Novel Writing Month with a bit of a late start. We’ll see what happens with it, but I did the usual “shiny new idea” thing by writing down what I knew about it, and it kept building and developing instead of fizzling out. Now I have fleshed-out characters and a world with history.

So, I guess I have a new story in the works. We’ll see where it goes from here, but so far, writing has been fun and I’ve looked forward to working on it. I got up this morning and wrote more than a thousand words. When work feels like play, it’s a good sign.

Now, about 25,000 words from now I’ll be struggling and another new idea will hit and it won’t be as much fun, but I’ll enjoy this while it lasts. Even if it doesn’t go anywhere, it’s good to be reminded that I started doing this for fun and only later made any money at it. This is reminding me of when I used to scribble in spiral notebooks in my bedroom when I was a teenager, making up stories. I just hope I finish this, unlike those things I wrote as a kid. I was really bad about getting an idea, starting to write it, then getting another idea that was even better, and starting to write it, and so forth.

Now I really want to get back to the story because something good is about to happen and I can’t wait to see it.

I’m on the verge of starting to write something new. The opening scene has been playing out in my head in different variations, and the one that hit me last night as I was falling asleep feels like it’s the right one. That led to seeing the second scene, and that means that the characters are pretty solid in my head and I’m seeing the movie of this book in my mind. That’s when it gets exciting and fun.

It’s a cold day and I still have a bit of a cold, so spending a day playing in an imaginary land sounds like the way to go. I’ve got my adjustable bed in what I call “recliner mode” so that it works like a chair, I’ve got the electric blanket, and I’ve got a pot of hot tea in the thermos. I’m all set.

Now watch me sputter out after an hour of writing, and I’ll know that there’s more work to do or maybe the idea isn’t viable. That’s why this is a fun/scary/exciting phase of writing, when that perfect, wonderful story in my head crashes into reality and I see what it really looks like.

Fortunately, the cold weather isn’t supposed to stick around long, but it’s been below freezing enough to kill off the mosquitoes, so I’ll be able to enjoy the outdoors even more. Now let’s just hope my cold goes away that quickly.

I’ve had a busy day so far. I’ve written a thousand words, I’ve taken a walk, I’ve gone to the library, and I’ve voted. Normally, I vote on election day since my precinct is usually pretty quiet during the day, but the early voting place is at the library, and I needed books anyway, so I figured I’d get it taken care of now in case election day is rainy or I get sick. Now I don’t have to worry about it.

I tried writing before getting online this morning, and that worked pretty well. I’m not normally a morning writer, but I thought I’d give it a try. I could probably have gone on, but I needed to look up info for some of the down-ballot candidates, and I wanted to get to the polling place before people started taking lunch breaks to go vote. Next week I’ll really see how far I can get before I check in online.

I’ve discovered the feature in Scrivener that takes your due date and your word count and calculates the number of words you need to write each day, then recalculates after each day’s writing session. I’m using an arbitrary date for this draft to make sure I have enough time to tinker with it before I need to turn it in, and although the daily total I need to make that deadline is a bit higher than I usually write, it’s not higher by much, and going over my needed count for the day will drop the daily goal on subsequent days. It’s amazing how motivational that is.

Because of my early start, just hitting the usual number of words I do in an afternoon will let me go above the current target. I’m more than halfway through with this draft, and I think I have a good idea of what will happen in the rest of the story, though a new idea that will alter things somewhat struck me on my walk this morning, so I need to play with that.

I’ve got a library book festival this weekend, and in addition to being on a panel, I’m doing a workshop on story structure. I spent much of yesterday working on my workshop, and doing that made me realize where I’m going wrong in the book I’m working on. It’s not a massive course correction, just some subtle things, but I’m glad I caught it now rather than after a draft when those little things had become major.

Some people seem to think of structure as a restriction or a constraint. I find it a useful tool. In a novel, you don’t really have to force it into a particular structure. I find that looking for the various stages is a good way to find the story and to stay on track instead of wandering all over the place. Just filling in the very basic elements of structure is a good way to test an idea. I think, to some extent, the difference between an idea and a story is putting some kind of structure to it — what does the hero want, what’s stopping him from getting it, what will he have to do to get it, what big decisions will he have to make along the way?

This is why I like doing workshops, even when I’m busy. I learn as much from preparing as any of the attendees do. It forces me to take a step back and evaluate what I’m doing instead of falling into bad habits or going on autopilot.

If you’re in the North Texas area and want to know more, I’ll be doing this workshop at the Mid-Cities Teen Book Festival on Oct. 20. Come see how story structure can work for you.

After some regrouping in previous days to fix some elements of the book before I moved forward, I made good progress yesterday.

Some of it may have been thanks to one of the sessions I went to at the event this weekend. It was about creativity and got into discussion of the “flow state.” I’d read the book on the subject when it first came out. Well, started to read. Then I had to return it to the library because it was due and there was a waiting list so I couldn’t renew it. I may have to pick it up again and make another stab at it.

Anyway, a flow state is when you just start doing something almost automatically. The critical part of your brain gets turned off and you lose track of time. It’s like you blink and an hour has gone by and you’ve written a couple of thousand words. I’ve experienced this, and it’s wonderful. I haven’t been doing a lot of it lately because I’ve been so busy analyzing what I’m writing.

One of the ways to help get into a flow state is to listen to classical or jazz music. Apparently, there’s something about that kind of music that distracts the part of the brain that normally trips you up, and it frees you to just create. Normally, I write in total silence, but I thought I’d give it a shot. I did get a fair amount done when I put on a Chopin CD, but I found that I focused a bit too much on the music because the music was so familiar to me. Next, I opened my Amazon Prime Music app and played my new choir director’s album. When she’s not directing our choir, she’s a concert pianist and has a lovely album of reinterpretations of classical Russian pieces for piano and cello. The new arrangements mean the pieces aren’t so familiar that they’re distracting. That worked well enough that I was startled when the album ended. Then I found a playlist of classical music for focus, and that also worked, except when a familiar piece popped up and I had to see what it was (in one case, it was a track from a CD I have).

So, it seems that playing unfamiliar classical music is the trick. I have written to movie soundtracks in the past, and that can work. Then the music becomes so familiar I can tune it out. It doesn’t work for John Williams because I just want to listen. One of the best CDs for tuning out the world and writing for me is the fifth Harry Potter soundtrack (Order of the Phoenix). But it just doesn’t work for me for this book. It’s the wrong mood/tone.

Now we’ll see if it works again today or if it’s just a fluke.