I have no more than a thousand words, two thousand at most, to go on my second draft. 

Many plans have already been laid for the third draft. Thinking about it makes my blood pump. 

In honor of NaNoWriMo, I'll be doing my level best to finish draft three by the last day of November. Once it's finished, draft four should consist only of mild revisions and inserting worldbuilding. 

Draft four will probably be the one I send out to agents.

Seasons change every year. It’s a fact of life -- but one of the more beautiful ones. 

As I sit at my computer, the taste of tea on my lips, I close my eyes and wish fall into being. The cool mist of the morning, tricking you into rapid blinking; the warm tones of people’s smiles as they bundle up in their sweaters and plan their holidays; the crisp gold and red against the muted color of the evergreens, preparing themselves for more foreboding times.

And yes, part of me cannot wait -- will not wait -- for this season of leaves and harvest festivals. But the rest of me wishes to stave it off. For what follows autumn but the chill, relentless march of winter? But my wish cannot hold back a feather, let alone entire torrents of weather. So I sit on my porch, warm cup in my hand and knitting on my mind, staring into the cool distance.

Fall is coming.

Sterling motivation

Imagine holding your novel in your hands.

You look down and rub your eyes and blink and pinch yourself. Is this real? Is this really real? After leaving little bruises on your arms, excitement floods your veins.

This is your novel. Your book, written by you, with mental blood and physical sweat and tears. Something like your child. Harder and yet easier to make than a flesh and blood child, this paper and ink babe is nonetheless all yours.

Open it. 

Smell the pages.

You wrote this. 

What are you waiting for?

my own worst vice. . .

Some people struggle with realizing their own faults in their chosen craft. While I struggle with this as well, I have realized one of my worst faults as a writer.

I enjoy very long sentences. 

You may have noticed this in reading my writing. It crops up in my casual speech as well, though not as much. It's very hard to curb! Two words? In a sentence? Say it should not be so!

It's getting better.

(by Paulo FLOP)

(by JHamel)

music in writing

My current novel has a lot of singing in it. In order to write better songs for it, I'm taking a free songwriting class (from Berklee, through Coursera).

It's interesting, and useful not only for song writing, but for a musical flow of words in writing.

I'd recommend it for anyone interested in music or songwriting, though I'm not sure when they'll offer it again. It's a six week course. We're in week four.

Whistle

Wind roars about the house. I can hear the dry crackle of last fall's leaves as they fly past my window and dance merrily with the gale. 

Golden sunshine deceives the casual onlooker. From inside, the merry gleam of afternoon light peers through the trees and beckons to the viewer. It seems as if all is right with nature for that moment, and that it is a moment to be seized.

When you step outside --! oh! The torrential gusts nearly knock over some of the smaller people outside, and throw handfuls of leaves in the faces of others. And too, the sun does not do its work. The warm sparkle of light means little, for the air still holds a tinge of cold. Just enough to leave one wishing for a jacket, or a scarf, or something warm to hold on to. 

But the flowers peek from beneath the dark, winter-stained soil nonetheless, hopefully unveiling white and purple heads. 

Spring.

I still need to find a couple of beta readers. One of the ones I had dropped out, and it turned out the other one didn't actually agree to do it.

I must admit frustration.

Revising!

One of the most important things to do when self-editing is, of course, to read it all over first. I've been making notes in the figurative margins of my novel, but I've also been doing something else! 

I have a different independent document open, and when I finish reading a scene, I will number it and describe what happens in that scene with two or three sentences. Then I'll sit and puzzle for a moment to try and figure out, "What is the purpose of this scene?" If a scene has no purpose at all, or if its reason is identical to an earlier scene, it doesn't need to be there. So far I haven't binned any scenes, but I have pegged three or four for making the purpose and desire in the scene clearer.

It's turned to be intensely helpful so far.

Which of these archetypes does your villain fall under? I must admit two out of my four 'villains' are lunatics without apology.

16 Villian Archetypes

The TYRANT: the bullying despot, he wants power at any price. He ruthlessly conquers all he surveys, crushing his enemies beneath his feet. People are but pawns to him, and he holds all the power pieces. Hesitate before getting in this man’s way – he’ll think nothing of destroying you. The BASTARD: the dispossessed son, he burns with resentment. He can’t have what he wants, so he lashes out to hurt those around him. His deeds are often for effect – he wants to provoke action in others. He proudly announces his rebellious dealings. Don’t be fooled by his boyish demeanor – he’s a bundle of hate. The DEVIL: the charming fiend, he gives people what he thinks they deserve. Charisma allows him to lure his victims to their own destruction. His ability to discover the moral weaknesses in others serves him well. Close your ears to his cajolery – he’ll tempt you to disaster. The TRAITOR: the double agent, he betrays those who trust him most. No one suspects the evil that lurks in his heart. Despite supportive smiles and sympathetic ears, he plots the destruction of his friends. Never turn your back on him — he means you harm. The OUTCAST: the lonely outsider, he wants desperately to belong. Tortured and unforgiving, he has been set off from others, and usually for good cause. He craves redemption, but is willing to gain it by sacrificing others. Waste no sympathy on him - he’ll have none for you. The EVIL GENIUS: the malevolent mastermind, he loves to show off his superior intelligence. Intellectual inferiors are contemptible to him and that includes just about everyone. Elaborate puzzles and experiments are his trademark. Don’t let him pull your strings – the game is always rigged in his favor. The SADIST: the savage predator, he enjoys cruelty for its own sake. Violence and psychological brutality are games to this man; and he plays those games with daring and skill. Run, don’t walk, away from this man – he’ll tear out your heart, and laugh while doing it. The TERRORIST: the dark knight, he serves a warped code of honor. Self-righteous, he believes in his own virtue, and judges all around him by a strict set of laws. The end will always justify his nefarious means, and no conventional morality will give him pause. Don’t try to appeal to his sense of justice – his does not resemble yours. The BITCH: the abusive autocrat, she lies, cheats, and steals her way to the top. Her climb to success has left many a heel mark on the backs of others. She doesn’t care about the peons around her – only the achievement of her dreams matters. Forget expecting a helping hand from her – she doesn’t help anyone but herself. The BLACK WIDOW: the beguiling siren, she lures victims into her web. She goes after anyone who has something she wants, and she wants a lot. But she does her best to make the victim want to be deceived. An expert at seduction of every variety, she uses her charms to get her way. Don’t be fooled by her claims of love – it’s all a lie. The BACKSTABBER: the two-faced friend, she delights in duping the unsuspecting. Her sympathetic smiles enable her to learn her victims’ secrets, which she then uses to feather her nest. Her seemingly helpful advice is just the thing to hinder. Put no faith in her – she’ll betray you every time. The LUNATIC: the unbalanced madwoman, she draws others into her crazy environment. The drum to which she marches misses many a beat, but to her, it is the rest of the world that is out of step. Don’t even try to understand her logic – she is unfathomable. The PARASITE: the poisonous vine, she collaborates for her own comfort. She goes along with any atrocity, so long as her own security is assured. She sees herself as a victim who had no choice, and blames others for her crimes. Expect no mercy from her – she won’t lift a finger to save anyone but herself. The SCHEMER: the lethal plotter, she devises the ruin of others. Like a cat with a mouse, she plays with lives. Elaborate plans, intricate schemes; nothing pleases her more than to trap the unwary. Watch out for her complex designs – she means you no good. The FANATIC: the uncompromising extremist, she does wrong in the name of good. She justifies hers action by her intent, and merely shrugs her shoulders at collateral damage. Anyone not an ally is an enemy, and therefore, fair game. Give up any hope of showing her the error of her ways – she firmly believes you are wrong, wrong, wrong. The MATRIARCH: the motherly oppressor, she smothers her loved ones. She knows what’s best and will do all in her power to controls the lives of those who surround her – all for their own good. A classic enabler, she sees no fault with her darlings, unless they don’t follow her dictates. Don’t be lured into her family nest – you’ll never get out alive.

Here's a world building checklist I found particularly useful. Though initially developed for DnD, it's still useful for just regular old writing! It's very indepth, and you might not need some of the stuff it talks about. However, it's easier to have your world fleshed out and not need it, then need your world fleshed out and not have it.

A snippet from the list:

Economy

What goods are produced and where are they produced?

What are the major trade goods? Are there trading centers?

What economic systems are used?

Are there banks? Do people barter or use money?

It goes over economy, government, land, and all sorts of stuff. Pretty neat!

5 Things You Need to Know About Your Characters

Some writers will outline their characters down to the finest details before writing a word of their novel, while other writers like to let their characters develop and reveal themselves while they write. There’s no right or wrong to this, but there are some essential things you should always know about your characters before you start.

What they look like.

Their family background. Remember that this will include both blood relatives and people they regard as family.

Their cultural and ethnic heritage.

What they want. What your characters hope to achieve during the story is the basis of your plot.

Who/where they are in their life at the beginning of the novel. Throughout your story your characters will evolve, change and grow.

And there is one essential thing that you should learn about your characters while writing your novel.

How they cope in a crisis. Your characters have what they want to achieve; when you throw an obstacle in their way you can learn just what kind of person your characters really are. And they may well surprise you.

Because writing is a journey, for both your characters and for you, and there’s always new things to learn along the way…

Revising!

I've started rooting through my first draft and identifying things I need to change. The comments box feature in Pages (and Word!) is a lifesaver.

This pass through is for just big changes -- deleting scenes, adding scenes, changing the flow and pacing of the story in places. I'll definitely have to slow it down a bit, as the entire thing happens in less than a month at this juncture. I want it to be a bit more spread out so the characters and story have a chance to flap their wings. Right now, it feels a bit rushed. 

Ironically, my other book has exactly the opposite problem. . .it's too slow. Hopefully the revisions will help me balance out the pacing.

I also need to hunt down beta readers. I have two, with a tentative third. Ideally I'd like four or five, with at least one who's willing to be mean to me.

Take a minute and compare some of the male and female protagonists you know. 

I think the main difference between a hero and a heroine in traditional narratives is that a hero’s strength is defined by how much he can win, while a heroine’s is defined by how much loss she can endure.

I think that’s kinda messed up.