Jumping through hoops - by Lu Hersey

So you think you've finished writing your book - it's taken ages, you've gone over it carefully, there's a beginning, a middle and an end and you've taken out all the saggy bits (usually saggy middles, a kind of middle book spread - the writing equivalent of soggy bottoms). So now it's time for someone else to read your masterwork, whether that's your critique group, your agent or your editor. In my case, it's my agent, who tells me what changes he thinks the book needs before he sends it out to publishers.

And this is when the editing process really starts. You may have read through your manuscript a million times, and spent months (if not years) making all the changes you think it needs - but your reader won't necessarily see your book the same way you do.

'The end needs some restructuring - far too much happens after the death scene.'

Restructuring? *swallows* That means quite a lot of work. But yes, now it's pointed out to me...

Two months and one restructure later... 'I really like that cave scene - you need to make it at least twice as long.'

Do you realise how long it took to write that cave scene? And that it is practically perfect in every way? AND THAT'S WHY YOU LIKE IT, RIGHT??

Best not to say that out loud. Smile and say 'hmmm'. Try not to make it sound like you're being strangled. Just rewrite the cave scene. Add in a lot more cave and a lot more claustrophobia.

Oh. Maybe agent was right. More cave is really working out well. But now the perfectly formed bit before and after cave scene will have to change to fit extended cave scene. Adding an extra three pages in one chapter can mean another total restructure to keep the continuity. OF THE WHOLE BOOK. 

But you're pleased because the book is better. You send it back to the agent.

'I think chapter 7 has too much tell and we need to see that scene.'

Dammit. Have to admit, that's a slightly saggy (but plot necessary) bit I glossed over. Now I have to make it not boring and saggy but an exciting, tense episode where we meet the baddie....but of course that means the current meeting of the baddie in the next chapter will need to change completely, oh and that changes the whole continuity of the book, SO NEED TO CHECK THROUGH THE WHOLE THING AGAIN...

Back to agent. Boy this book is SO perfect now.

'You need to explain the red crystal. I don't get it.'

*Eye roll when he's not looking* 'Maybe I could just take it out.'

'No, I like the red crystal, I just need to know more about where it came from.'

'Hmmm.' I am the master of the neutral expression.

'I can feel you bristling and getting defensive, but just think about it...'

Obviously I'm not the master of the neutral expression. 'Okay.'

While you're at it, why is the bead yellow? Why isn't it blue?

BECAUSE IT'S A BLOOMING YELLOW BEAD, OKAY? Best not say that out loud. Think about why on earth he thinks it should be blue.

Oh. Actually blue possibly would work better...but then I'd have to change the next chapter, the previous chapter and, you guessed it, read through THE WHOLE THING AGAIN.

And that is how editing works. It's a process where you sometimes want to tear your hair out, rend garments and SCREAM... but it's worth it. Your agent/editor is trying to make it the best book it can be. Just another week or so, and I think I'm there. Blue bead and all.

Then, if I'm lucky, a publisher will like the book...and a whole new round of edits can begin.


by Lu Hersey
Twitter: @LuWrites
Web: LuHersey.com