What I'm Writing:
Today marks the switch back to THE POISON DAUGHTER. Truthfully this past month was rough trying to get started on BALLAD OF THE HEARTLESS. I think I was burned out from pushing so hard to finish the TPD draft in January and that combined with five audio releases in as many months has me feeling spread a little bit thin.
I was afraid that might happen, so I took most of this month to catch up on a truly insane amount of admin work and read a ton of books. I did some plotting for Ballad, but generally, my attention was really divided.
I think it's important to mention that I am not someone who does a good job of compartmentalizing in the current political climate. I wrote THE LOST GOD series during covid, but, as bad as things were then, there was a sense of steadiness to that time. The constant churn of chaos has been difficult to adjust to. I'm frustrated by that but not totally surprised, and one of my goals for this year was to slow down and be more intentional. This is forcing that at a time when I'd rather not, but I suppose there's a lesson in that.
THE POISON DAUGHTER - Current Stage: 1st Developmental Edit
Developmental Edits bring about lots of complicated feelings: dread, angst, sulking, excitement. I have my notes back from Liz and Tanya and both are overwhelmingly positive, which is excellent news because I would have had a small menty B if this gigantic book had to be completely rewritten. I'm so in love with this story and these characters.
So where does one even begin? Well, let me start by talking about what I mean by a developmental edit. This is the kind of edit that looks at the larger plot arc of the story. I look for issues with pacing, twists, reveals, and character arcs. Generally, I deal in the big picture issues that require more substantial rewrites.
I take stock of my notes from my two critique partners and see which pieces of feedback resonate with me. Liz and Tanya are really good at what they do, so to be honest, they are usually right about everything (Shut up, Liz. I can hear you gloating from here in the past).
I go through all their notes and highlight the "MUST URGENTLY FIX" items in one color, the "less urgent fixes" in a second color, and the "nice to have but not at this editing stage fixes" in a third color.
Next, I make a list of the MUST URGENTLY fixes. These are the biggest issues in the story, so I usually start with addressing them, not just because they're critical to the larger plot cohesion, but also because fixing them makes me feel like I'm gaining momentum with edits.
This part usually requires a healthy dose of sulking and whining to Liz or Tanya or Liz AND Tanya, about how sad I am that I am not, in fact, the first writer to write a perfect first draft. Then, I propose some solutions to the issues they found or talk through anything I'm unsure about.
Finally, it's time to get to work. I start with the Big Fixes, then move on to the medium ones, and if I still have time before betas, I move on to the smallest issues.
This book is so very long I can almost guarantee I'm going to have to reread it at least once in the process because editing requires so much zooming in and out that I can lose track of what I'm doing as I go.
My hope is that I can have this edit complete and the manuscript ready for Betas by ALOS release weekend (sometime between 4/11-4/13). That will keep me on track for the rest of the plans I have this year.