Hi, Maria, thanks for inviting me over.
I have a confession to make - I quite like
editing. Not the fiddly stuff at the end so much and definitely not when an
editor has asked for changes after I thought I was finished, but I enjoy the
first stages of editing. I think that's when the writing really starts. My
first drafts are always a mess, but once I have one I have something to work on
and almost anything I do will improve it.
Editing is our chance to fix mistakes but
it's much more than that. We can add stuff too.
For example during the first draft of my
novel, A Year and a Day, none of my characters had a birthday. The story covers
a whole year (and a day - but you
guessed that) so that was a mistake to fix. Because I knew the characters very
well by that stage I knew what sort of birthday they'd like and whether the
people close to them would make that happen.
I didn't just write in a couple of birthday
party scenes though. I used them to show more about the character's
relationships and to advance the story. That meant deleting some earlier scenes
and incorporating others into the new setting. Just tidying up the first draft
and adding in the missed birthdays would have been far quicker and easier, but
writing is about more than getting to the end as quickly and easily as
possible.
My editing tips for short stories and
novels -
Try not to edit as you go. It's OK to
experiment and make mistakes in the first draft.
Keep a copy of the draft, especially if you
intend big revisions. It's easier to be brave if you can change your mind
later.
The delete key is your friend.
Take a break between each stage and work on
something else for a while.
British author Patsy Colllins is the author of many published short tories and three published novels. She lives in England with her husband. Her latest novel is A YEAR AND A DAY.
A YEAR AND A DAY
Despite Stella's misgivings her best friend Daphne persuades her to visit a fortune teller. Rosie-Lee promises both girls will live long and happy lives. For orphaned Stella, the fortune teller's claims include a tall, dark handsome man and the family she longs for. Stella doesn't believe a word, so Rosie-Lee produces a letter, to be read in a year's time, which will prove her predictions are true.
Stella remains sceptical but Daphne is totally convinced. She attempts to manipulate Stella's life, starting by introducing Stella to her new boss Luigi, who fits the romantic hero image perfectly. In complete contrast is Daphne's infuriating policeman brother John. Despite his childhood romance with Stella ending badly he still acts as though he has a right to be involved in her life.
Soon John is the least of her worries. Daphne's keeping a secret, Luigi can't be trusted, romantically or professionally and both girls' jobs are at risk. Worse still, John's concerns for their safety are proved to be justified.
John, and Rosie-Lee's letter, are all Stella has to help put things right.
Get this at Amazon and Amazon UK
A YEAR AND A DAY
Stella remains sceptical but Daphne is totally convinced. She attempts to manipulate Stella's life, starting by introducing Stella to her new boss Luigi, who fits the romantic hero image perfectly. In complete contrast is Daphne's infuriating policeman brother John. Despite his childhood romance with Stella ending badly he still acts as though he has a right to be involved in her life.
Soon John is the least of her worries. Daphne's keeping a secret, Luigi can't be trusted, romantically or professionally and both girls' jobs are at risk. Worse still, John's concerns for their safety are proved to be justified.
John, and Rosie-Lee's letter, are all Stella has to help put things right.
Get this at Amazon and Amazon UK
