editing

Once More, With Feeling

/ Dorian Graves / Leave a comment

Hello dear readers, I hope you are all well! Things are busy here in Gravesworld, so I figure I’d best give you all an update before starting this week’s blog post.

First off, events! For those near Cottage Grove, I’ll be selling and signing books at Books on Main during the Art Walk, starting at 6 PM. If enough people show up, I may even do a small reading!

Then, come August, you can find me at SpoCon up in Spokane, Washington! Not only will I have my books available, but I’ll also be appearing on a number of panels, discussing everything from fantasy creatures to tabletop games and colonization in sci-fi. If you’re in the area August 10th through 12th, I’d love to see you there.

In other news, not only has Bones and Bourbon continued to do well, but its sequel “Corpses and Cognac” is in the works. We have a tentative release month for it over at NineStar, so long as I am able to complete a workable draft by the end of summer. I’m currently three chapters (out of twenty-one) into Draft 2, and for various reasons, I’m rewriting most of the book.

Sound scary? On the surface, but in this part of the process for me, it’s business as usual. Now that I have a couple books (well, a novel and a novella) under my belt, I have a better idea of what to expect for the jump from Draft 1 to Draft 2. Thus, today’s blog is about the refining process of later book drafts, as we slowly lurch from writing to editing.

In reality, the draft numbers are arbitrary for me; when it comes to the Deadly Drinks books, I’ve actually written them numerous times before Draft 1 is completed. These “Draft 0” stories are the preliminary runs deemed unfinished or unsuitable for publication. Bones and Bourbon’s Draft 0 was only the same in title and protagonists; it didn’t even have Nalem or Farris, much less anything even resembling the same plot. Corpses and Cognac had much of the same characters, but its various early drafts kept wandering in strange directions, ending too early or getting lost in weird concepts that didn’t fit the rest of the book.

Draft 1 is what I call the completed draft I decide I want to refine into a book. The overall characters are in place, the plot hits most of the moments I want, and I have an idea of the book’s themes. If I already have so much in place, why am I still rewriting the entire book for Draft 2? Well, there are a number of reasons…

  • Updating the writing style. I finished Draft 1 back in early 2016, after a couple years of false starts and Draft 0’s. It wasn’t an easy book to develop, so after my beta reader gave it a look, I let it sit for awhile as I started the third book and edited Bones and Bourbon. As such, I’ve written quite a bit since then, and my skills have improved quite a bit. It’s time to bring “Corpses and Cognac” up to that level.

  • Strengthening story elements. All the prior drafts were about figuring out where I wanted the plot and character arcs to go. Now that I have an idea of what I want to keep, I can cut out the extraneous details and build up what works best. This is the draft where most of the foreshadowing comes into the story, new concepts are fine-tooled to fit the story (while making sure they remain consistent with the series as a whole), and the cool descriptions come in.

  • Reworking an antagonist. Because I realized, in the middle of writing Chapter 2 of this draft, that elements of one antagonist were perhaps a bit too similar to Lady Delight’s in the first book. Even if it was just me being paranoid, I still figured it better to change things now than hope no one notice later. Hence, changing how that antagonist works—and fiddling with my outline in the process.

  • Finding the humor. “Corpses and Cognac” began as a rather bleak story, all things considered. Then again, so did Bones and Bourbon. I have to know the story first before figuring what makes elements of it funny. Humor and the darker elements of a story are delicate to balance; they best work together when they ebb and flow, so readers are eased out of the deep stuff by a moment of light and brevity.

  • Letting the characters speak. Draft 1 is a journey in what needs to be said. Draft 2 concerns how that’s spoken. Retz and Jarrod alone sound quite different from each other, from their word choices to their sentence structure. Now that I’ve worked with both old characters and new, it’s time to make sure each of them sound distinct (and for the reoccurring characters, that they sound familiar too). By the end, the goal is that readers should be able to tell who’s who even if they ignore all dialogue tags.

In the end, is that a lot? Well…perhaps it is. As it turns out, that’s the nice thing about giving the draft time to sit while working on other parts of the series in the meantime. After months (er, years) of thinking on it, the words are flowing like a fine wine. Even if the words and some of the story elements are new to me, I’ve lived with this story so long that I know where it needs to go as I write it. Armed with the first draft and a rocking playlist, I’m ready to polish this draft into the novel it needs to be.

Right now, my main goal is to treat this like an extended NaNoWriMo; write every day that I can, and try to hit a higher word count when possible. However, it’s also important not to burn out, so I’m making a concentrated effort to take time to relax, be social, and plot out other projects. Through a balance of dedication and recharging, this draft of “Corpses and Cognac” should finish up by summer’s end, maybe even with time for a pass by my beta reader and some literary polish for Draft 3 before it hits my editor’s inbox.

I’m excited. Are you, dear readers?

~Dorian

A Recipe for Deadly Drinks

/ Dorian Graves / 2 Comments

So this is what daylight looks outside of the dreaded Editing Mines! It’s a different kind of bright from a computer screen, isn’t it? Unlike the east coast, we’re getting some sun in between the bouts of rain, so it actually feels like spring, as April should.

Speaking of April, know what releases in less than three weeks? That’s right, “Bones and Bourbon” releases April 23rd, available in both print and ebook formats wherever books can be acquired online (and, if all works out, at certain bookstores and conventions)! Right now, we’re busy with copyediting, finalizing the cover art (it is GORGEOUS and I cannot wait to share it with you), and preparing to promote the book with everything from events like the Author Facebook Takeover to some top-secret projects.

It’s been a long, strange journey to get “Bones and Bourbon” to where it is now. Ever wonder how a novel comes to be? Here’s the story on how this one happened.

The journey started one Xmas morning when I was still in high school. Though I had been writing fanfiction for years at that point (some stories with enough “fan characters” and alternate settings that they were almost completely original works), it had never occurred to me to become an author; my goal was actually to write for video games, inspired by JRPGs such as Final Fantasy X and Chrono Cross. Then I opened one particular book: the writer’s digest Plot and Structure by J. Scott Campbell.

I had a revelation: instead of being beholden to the constraints of graphics and commercial deadlines in video games, I could just write the stories on my own! I could be an author! I read this book on writing as if it were the holy grail of inspiration, and as soon as I shut the cover, I closed my eyes to brainstorm a novel (as if it were so easy). What popped into my head was a man standing aloft on a ship made entirely of bones as it bore him over a churning ocean in a storm. I decided the man’s name was Retz Gallows.

He was not the protagonist.

Originally, Retz was a straight-up necromancer who used his powers to keep his deceased girlfriend alive, and was the call to action for a mild-mannered metal-bender named Samson. That story wasn’t developed enough to last beyond the first chapter, and I soon moved on to an X-Man-esque story called “Arcanum,” where certain individuals developed superpowers as a reaction to traumatic incidents. This was where Retz’s powers shifted into controlling just bones instead of the undead in general, though he was also a cowardly romantic, as much comic relief as he was a friendly rival to the protagonist. I kept adding characters into the story as I designed it; my plan was to make a long webcomic with a diverse ensemble cast, with Retz just being one cog in a complicated machine.

Cue a friend telling me about a tabletop game known as Changeling: the Lost and asking me to make a character for it. Without knowing much about the setting, I created Jarrod, a gun-wielding, hard-drinking investigator trying to clear the name of his disgraced father. When I drew him, he looked vaguely like Retz—more a testament to my art style at the time than anything—but I decided that they could be brothers. Jarrod joined the “Arcanum” cast and became the serious, non-supernatural counterpoint to Retz. As I built the plot, I decided he was a spy against his will for one antagonist, due to cursed roses planted in his skin—and if he didn’t comply, he’d turn into a plant completely, a fate his father had already suffered.

They were still not the protagonists. With how much screentime they stole in the story before they were even introduced, however, they might as well have been the stars. Individually, they each had more artwork than even the protagonist of the series! So instead of burying them in a giant ensemble cast, I decided to give them their own story to run amok in. I wrote about them in my college writing workshops and played them in tabletop RPG campaigns, which led to me spending my school breaks trying to write the first books in the “Deadly Drinks” series. Which were…only around 50k words each, the same length as a NaNoWriMo entry, and read more like bizarre episodes of Supernatural with the serial codes filed off. Eww.

Even though these early attempts will never see the light of day, they did serve the purpose of sharpening my skills and helping me figure out what I wanted “Deadly Drinks” to be about. I brainstormed a new start to the Gallows brothers’s adventures, pulling in concepts from my college classes and characters I hadn’t used in years. Giving Jarrod a steady romantic relationship from the start was inspired by my medieval romance professor’s comment on the rarity of such things in romances, though it took time before I settled on Farris, who was a surprisingly popular non-player character I’d made for a Changeling: the Lost game I’d run. Nalem was originally a god I’d created for a fantasy series in high school, and making him share Retz’s body stemmed from wanting to explore a deeper connection between protagonist and antagonist that I hadn’t seen much in fiction. Orphaned heroes too common? I made sure the Gallows brothers had BOTH parents alive…or at least undead and sentient enough to influence their lives.

Along came November 6th of 2012, a date I can only concretely recall because it was also the night Barack Obama was re-elected for a second term. During my science fiction analysis class in college, I was struck by a flash of inspiration, and a scene in the back of my mind’s eye: Retz and Jarrod fighting a multi-headed snake, leaping across gilded cages suspended from chains in a castle as they tried not to be devoured. There were creatures in these cages, including two fire spirits that the brothers had to rescue. I had to know why.

I could not tell you what that day’s class was about; I instead wrote the entire initial outline of what is now “Bones and Bourbon” in that class period. I fleshed out the opening chapters, one for each brother, during my writing workshops over the next few terms, while I wrote the novel in whatever spare time I had. I had to rewrite it as I went and the story continued to change, particularly as I realized that the brothers weren’t entirely human—instead being half huldra, which explained how they could survive in their dangerous urban fantasy world—and that Jarrod was transgender like some of my close friends. I wrangled the story together, finished the first draft on a friend’s couch at the start of my senior year of college, and immediately wrangled a few of my constant classmates to beta-read for me so I could prepare draft two.

Flash forward to last year. “Bones and Bourbon” was polished enough to send to agents and publishing presses, with the first draft of its sequel finished and the third book in the series underway. No surprise, it garnered a few rejections at first—I even rewrote most of Retz’s introduction to make it more engaging, since most submission requirements only reached partway through his first chapter. Between querying agents and participating in Twitter pitchfests, all I’d hoped for was a bite of interest. #SFFPit rolled around in June, and after crafting a slew of pitches (a different one for each hour, some of them crafted on the spot during breaks at work), I sent off this tweet:

 

It wasn’t the most popular or exciting of the pitches…but it did garner the attention of NineStar Press. I ran to my computer after work to research this publishing press. Deciding it sounded like a legitimate press that would respect my work and wasn’t in danger of folding, I submitted my manuscript—almost five years old if its ‘birth’ was the creation of its outline—and kept writing while I waited. The website FAQ told me to expect a 12 week response time. I heard back in 2—and it was a resounding YES.

Now, here we are. Less than three weeks until release date, when this story that was once scribbled on in-class notebook paper is unleashed upon the world, and those boys I imagined on a whim will finally get to share their adventures with all of you.

Dear readers, I hope you’re as excited as I am.

~Dorian

To First Drafts and Beyond!

/ Dorian Graves / 6 Comments

First, a victory announcement: I just finished the first draft of my novella for NineStar Press’ “Lost” collection! It has polyamorous alien space pirates versus mad scientists and totally-not-dinosaurs! During at least the last five thousand words of the book, I listened to nothing but Meat Loaf’s discography, and everything is glorious!

The novella also ended up clocking in at almost 35,000 words; the collection requires between 30k and 120k, but I erred on the shorter side so I’ll have plenty of time to edit before the April 30th deadline. This was a new challenge for me, since I usually either write novels that are over a hundred thousand words, or short stories that tend to be under ten thousand. Thus, today I’m going to discuss the process of creating this novella, and how it differed from my usual methods (and what tended to be par for the course.)

First, I had to settle on an idea and an overarching plot in the first place. Other than the length, the only requirements were that characters were somehow lost, and that LGBTQIA+ romance be incorporated into the story. As I mentioned in the Valentine’s blog post, I’m not as inclined toward writing romance outside of pre-established relationships, so I bounced around a couple different ideas; a superhero and supervillain who get lost together and team up to escape while falling for each other, a demon trying to help a failed cultist after a ritual goes wrong, etc. But the idea I kept coming back to was an old sci-fi staple; getting lost on an alien planet. I already had a story in mind for a space fantasy setting, but with a long plot and an entire spaceship crew’s worth of characters, I figured it’d be too bloated to cram into a novella.

What I COULD do, however, was write a prequel in the same universe. And I already had a relationship set up to explore; one protagonist’s parents, a polyamourous quartet of space sirens (the Psyrens discussed over here) who were feared and revered pirates before being scattered across the galaxy. Of course I could have these pirates crash onto a bizarre alien planet, and what could be more romantic than four alien pirates who are all in love with each other? I busied myself with plans for what alien planets would be most interesting for these pirates to get lost in—and how to make sure my plots didn’t replicate pre-existing Star Trek episodes (thanks Mom!)

Next came the outline, a process I rigidly cling to even though I always deviate from the outline halfway through like a swiftly-derailing train. I’d already settled on having two protagonists, separating the pirates so they had to find each other and a way to escape, so I had to create two storylines that would meet at the beginning and end, and figure out how to have them mirror each other. It sounds like a complicated juggling act, but thankfully writing the “Deadly Drinks” series, which alternates between the Gallows brothers’ POVs, prepared me for doing it on a smaller scale. The main difference between outlining the two was that I didn’t mark when I would switch protagonists; I rigidly stick to chapter length and alternating in “Deadly Drinks,” but I elected to be looser about scene length and when POV switches happen in this piece.

Then comes perhaps the most necessary part of my process: writing and deleting a series of false starts. I’m not the sort who can actually write scenes out of order, and it often takes me a bit to set my train of plot on the outline track, so to speak. For this novella, the false starts led to an entirely new outline; where I’d originally planned to touch on the quartet early in their pirate days, I decided to go earlier and strengthen the romance aspect by having the story be about how three of the pirates find the fourth member of their spacefaring quartet. All I had to do was answer all the questions this brought up—why wasn’t their fourth member on their alien homeworld, how do the pirates reunite, how can they escape afterwards—and the plot practically wrote itself from there.

I had also originally planned to maroon my dear pirates on a frozen planet with a blood red sun (requiring characters to snuggle for warmth, which is the height of romance in the elements, right?) and hidden underground tunnels where most of the fauna actually survived to avoid all the snow. But between images of classic sci-fi art and a few hours of wandering through “No Man’s Sky,” I decided I wanted to explore the terrors of an alien jungle instead. I decided to keep the expansive network of underground tunnels, but what would the tunnel-dwellers be hiding from? Giant, hungry megafauna, of course. (Perhaps I’ve been playing too much Magic the Gathering, with the recent cards involving Pirates versus Dinosaurs…) And then what if there was intelligent life hiding in those tunnels, unnoticed by spacefarers overhead because the signals were blocked by being underground? That means a chance to introduce *more weird aliens!*

See, that’s perhaps the most important part of writing: there has to be something enjoyable about it. We authors joke about how much writing and editing equals suffering, but if you don’t enjoy the story or its purpose, then what’s the point? Even if they don’t all make it into the final draft, I always make sure I have a few key concepts or scenes in my stories that I want to explore, like a cool fight or examining the details of a magic system. Or, in this case, designing weird aliens who are relatable and “human”, even if they grow mouths instead of scar tissue and can control others with their singing. Yes folks, Psyrens are bizarre, even when they aren’t pirates.

While I had challenges writing my first novella, figuring out issues like pacing and how much information to include or discard, it was also a lot of fun. More room than a short story to add plots, sub-plots, and extra character development, but without the time investment needed for a full novel. Plus, I’m literally writing a classic sci-fi adventure and all the ridiculous twists that entails, but with polyamorous alien pirates. What’s not to love?

I’m taking a few days off from it to celebrate its completion (returning to a for-fun project instead to keep my writing chops up), and then I’ll go back into editing with a clear head. Should all go well, it’ll be ready by the April 30th deadline, and will hopefully release with the rest of the “Lost” collection. We’ll see soon enough~

~Dorian

Time After Timing

/ Dorian Graves / Leave a comment

Before I begin this week’s blog, I must quickly apologize for how sporadic the blog’s been recently. Still trying to figure out how to balance deadlines, i.e. making sure my novella’s making timely process before its ultimate due date of April 30th while remembering to come up with blog topics. I’ll hopefully be better about this once the first draft is done and I’m onto the editing stage, but we all have things to learn as content creators, now don’t we?

In a similar vein is the topic of this week’s blog, which is one of the first things I had to learn as a writer: timing.

Back when I got my start writing fanfiction, I was notoriously bad at timing. Part of this was because I was so excited to just be writing cool ideas that I wrote whatever came to mind and let the story guide me—the ultimate pantser, so to speak. Which would’ve been fine if I didn’t write “hot off the presses” and posted updates as soon as they were written (which the posting guidelines for fanfiction.net explicitly warned us not to do back in the day). I was notorious for scenes dragging on too long, only to suddenly crash into the ending with no foreshadowing because that’s what I happened to write that afternoon. Perhaps that’s why I’m such a vicious plotter and self-editor now?

Either way, I’d like to think that years of constructive criticism from readers and workshops have helped me turn timing into one of my strengths in my writing, instead of a glaring weakness. I put a lot of thought into how I pace my stories, and that’s weighing particularly heavy on my mind this week as I near the end of my novella’s first draft. Thus, I’m going to talk about a couple of tips and tricks I’ve picked up about timing, so I can get into the headspace of puzzling out how I’m writing this ending.

  • There’s a delicate balance between action and rest. No matter how much is happening in your story, characters still need a moment to breathe and process what’s going on. Without such respites, they won’t have time to reflect on what’s happening—and neither will your readers. How much time you need depends on what kind of story you’re writing. If the action scenes are few but really need to stand out, you can get away with having more time to reflect and build character. A film that’s actually a great example of this is the movie Redline; there are two big races, one at the beginning and one at the end, and the rest is building up characters and stakes while gearing up for the ultimate race. On the other hand, if you’re trying to keep the characters and readers on their toes, however, you can actually pull off interrupting a calmer scene with a sudden beat of action, something Cordelia Kingsbridge does well in Can’t Hide From Me.

  • From a technical standpoint, reading tends to drag on if the sentences and paragraphs end up the same length; the repetition becomes monotonous. Furthermore, structure can be used to convey mood and tension. Action tends to be clipped. Clipped sentences. Short paragraphs grab our attention. But if the sentence goes on longer, it usually signifies a calm in the action…or at least that things are slow enough that the protagonist can stop to notice and think about things. Changing things up in your sentence structure like this will actually help the flow, amongst other things.

    (On a related note: Sentence structure can also be used to differentiate character voices. When reading “Bones and Bourbon,” note how Jarrod is more curt and thus uses shorter sentences that are to-the-point, while Retz has a tendency toward longer but more casual sentences.)

  • I often work with multiple protagonists in my longer stories, so timing becomes important in order to maintain consistency in the story. It’s not a matter of rehashing the same timeframe or event with different characters; seeing the same thing on repeat bores readers unless there’s enough variance between the differing POVs. I tend to utilize switching between POVs to escape lulls in the story. In “Bones and Bourbon” for example, there’s a lot of travel that takes place, and the Gallows brothers aren’t always in the same location. Readers don’t need to see the entire journey, so I use that as a time to swap, such as when Jarrod gets hired by a client and is traveling to them for more details, so I let him travel while seeing what Retz is up to in the interim.

    Showcasing the same scene in different points of view can be a little trickier, especially if you’re trying to see the same moment for both of them. The trick here is that if you rewind or fast-forward time so one protagonist can catch up with the other, to do so in small increments. When Jarrod and Retz reunite, I reach the scene first in Jarrod’s POV, where he notices evidence that his brother’s shown up, but how and why is a mystery. When I return to Retz’s POV, I only go backwards by a scene, showing his lead-up to how he leaves the evidence behind, and then continue moving forward. If I had moved too far back—such as having Retz’s chnapter start an entire day before what just took place in Jarrod’s scene—it would be too much of a difference for the readers. (Unless, of course, Retz’s chapters were always a few days before Jarrod’s, but I would have to keep that consistent.)

  • I’ve always been fascinated by parallels, callbacks, and reprises, those spaces in a story that echo an earlier event in some way. Sometimes this is to repeat an emotional response, and other times to subvert it, but either way requires timing to pull off. A silly example I remember from my childhood (so you don’t have to) was the pilot movie for the short-lived TV Show Buzz Lightyear of Star Command. In one fight scene, Buzz Lightyear is training a robot companion and says “You’re good, but I’m better,” only for the robot to destroy a bunch of enemies and repeat the line back at him, echoing the sentiments of heroism and one-upmanship…only to get shot by the main bad guy, who then echoes the line again, still boasting but considerably more sinister. While it showcases both uses of a callback quite well, it all takes place over the course of about one minute—without time for the line and its implications to settle, the repeated line just becomes annoying at best.

I could go on, but blogs are bidden to timing too in order to keep readers’ attention, and letting your eyes glaze over at this rate would defeat my point. Timing is a delicate act, and to complicate it further, everyone has different preferences over it—just look at the debate over pacing in Star Wars: The Last Jedi. In the end, like any writing technique, timing becomes a matter of not just skill, but preference, style, and what suits the story best.

Now dear readers, I believe it’s time for me to get this novella finished.

~Dorian

Madness to the Methods (On Editing)

/ Dorian Graves / 4 Comments

In lieu of blogging last week, I instead worked on the first round for editing on “Bones and Bourbon” before it releases. However, this was technically an optional round; my editor isn’t actually starting his work until February. I had a couple reasons why, so I figured I would share the most important ones with you dear readers. Even if you aren’t an author in the midst of the writing/editing process, I hope it still provides an informative look at what goes on backstage before a book goes live.

1. How Do These Work Again?

As I was originally querying for “Bones and Bourbon,” I was also working on the other books in the series. The second book was finished and sent to my beta reader and I began work on book three. Amongst other things, the third book prominently features the furaribi, Japanese fire-spirits first seen in “Bones and Bourbon.” When I started working on that, I decided to brush up on furaribi facts for ideas…and realized that more information had been dug up about these obscure supernaturals, which I had missed out on while writing the later “Bones and Bourbon” drafts because I’d lived in The Middle of Nowhere with all its dial-up internet glory.

I’d fixed most of these details before sending the novel to NineStar Press. However, now that I’ve written about half of the third book and settled on a few other worldbuilding details, I wanted to make sure that all the details for the furaribi worked between the two books. A minor example of one such detail was that originally, Aimi mentioned being only sixteen, and furaribi lifespans were implied to be much like human ones. After the research and edits, furaribi are much longer lived—Aimi still looks like a teenager, but there are hints that she’s far older than her looks suggest…

Other supernatural details also had to be doublechecked for logic and consistency, such as how huldra bodies operate (could/would a hollow body still be able to produce sweat and tears?), whether the details of the occasionally-used alchemy made sense, and so on. After seeing how other authors have changed the rules of their magic mid-story and thus created plotholes (unless Harry Potter’s Hagrid is MEANT to secretly be the most powerful wizard who taught himself wordless magic), I’ve decided to err far on the side of caution when it comes to making my universe work.

2. Wait, That’s Offensive!

Not only do I hail from the Middle of Nowhere, without access to much media, and also in a predominantly small town of predominantly average white folks. Most of what I learned from diversity was learned from my time at Mills College down in California, and then by actively seeking diverse voices in literature and social media since then. Much as I try, I’ll be the first to admit that I still have a lot to learn about being a good ally.

As I discussed earlier in a twitter thread, I didn’t realize that albinos were often portrayed as villains or enigmatic, otherworldly beings, and how damaging that stereotype is. It makes complete sense when thought about, but not knowing any albinos personally, I simply didn’t think about it until someone brought that up. Problem was, “Bones and Bourbon” originally implied that main antagonist Nalem’s original body and thus true form…was albino. Erk.

Thus, during this edit of “Bones and Bourbon,” I removed all references of Nalem being albino and even changed a couple scenes and concepts around to fit this. I could’ve chosen to ignore the stereotype, clung to how long the character had been this way (I even had commissioned art of that particular design), and simply resolved to make it up in a later story while maybe subverting the stereotype somehow in this one. But if I did that, I still would’ve added to that damaging stereotype now, and potentially hurt my readers in the process. I’d rather spend a few hours changing details in my novel than spread harmful stereotypes for however long my book is read.

Another note I should add is to doublecheck words that refer to a minority group—be it race, sexuality, disability, or any other group—and make sure that the group that word is referring to doesn’t find it offensive. Some words used to be in common use and are now considered offensive (I know I caught one that had somehow snuck its way into my book). Others are words we’re told are offensive, but the minority group actually prefers it (such as discussions I’ve seen about those who are disabled preferring that term instead of “differently abled” or other such tip-toeing phrases). We creators don’t get to decide what is and isn’t offensive to people outside our experiences, so make sure to defer to the experts who’ve lived it.

3. A Season of Consistency

When I first wrote “Bones and Bourbon,” the story was set in Autumn, right around protagonist Retz’s birthday. It was full of pure Oregon atmosphere, full of pouring rain, falling leaves, drowning rain, apple harvests, early frosts, and even more all-consuming rain. For a variety of reasons, I decided that atmosphere was better suited for the second book, and thus I booted “Bones and Bourbon” back a couple months, to the end of July and beginning of August. Contrary to popular belief, Oregon does mostly take a break from the rain during the summer, especially during the last couple years where it’s instead been on fire.

I thought I’d edited out all the rain, save for one scene where I planned to keep it in (because what’s Oregon without at least a little rain?) Readers, I had to rearrange whole fight scenes to remove mentions of splattering mud and blood intermingling with the rain. I even found other consistency issues I’d somehow glossed over, including a reference to an encounter that was no longer in the book. Glad I caught that before readers could ask what that fight was about and how a taser got involved.

4. Making a Career of Evil

Villains are fun to write. Villains are also hard to write, because it’s so easy for them to seem funny instead of scary. Dracula may sound scary, but how terrifying can an elder vampire be when he’s seen bashing himself against a window in bat-form because there’s too much garlic in the way?

Many great villains get a chance to monologue about their evil plans, and Nalem gets his chance to shine in the middle of the book. When I read through this speech during my edits, however, I found it to be all style and no substance. His rivals were right to mock him, and I almost joined in! You can’t take a villain seriously if even the author thinks he’s all bark and no bite. I’d also developed a bit more about his past schemes and modus operandi while writing the later books, so I rewrote his speech both to sound more sensible to his audience and to better fit his plans later in the series.

These are by no means the only edits I did, and I’m sure the editing process is far from over, but at least I got these four main issues out of the way. Now more than ever, I’m excited that I’m actually in the process of publishing my first novel, and in a few short months, it will be available for the world to read. I must admit that it’s a little scary too, mostly because once this book is published, so many details for the rest of the series will be set in stone, and that means no more last-minute edits to fiddle with details like this. As an author, that’s just something I’ll have to learn to contend with: to finally let the story just be.

Hope you’re as ready for the final form of this story as I am.

~Dorian