Fixing It in the Mix by Martha Reed

I love talking with other writers and learning how their creative process works. Whenever I meet a newbie writer, the first thing I get asked is: How did you write your book(s)? Beginners wish for that magic pill or that benevolent muse who will do the writing for them while they’re busy doing other things and living their lives. I break it to them gently. They’ll need to prioritize their possibly lengthy commitment to finishing the story, and they’ll need to do the work.

How they’ll do the writing is up to them. Some writers are plotters using extensive outlines. Some are “pantsers,” trusting to a wing and a prayer as they draft their way forward and see the story manifest before their eyes. I’m a hybrid – a plotser? A panter? I use whatever tool I need since each book I write seems to require a different supporting narrative framework.

Three of my mysteries are straightforward narratives. One has a complex three-family multi-generational genealogy that supports the story like an internal DNA strand. My latest NOLA Mystery has a concrete religious calendar time constraint. 

Instead of being hurdles, each of these challenges are what made devoting the year it took to write the story worthwhile. Overcoming the challenges kept the act of constructing the story interesting and that kept my brain engaged.

What I tell newbies is: There are thousands of ways to write a book. The trigger is making the commitment to do it, taking that first step (Chapter One) and getting started.

It doesn’t even really matter where you begin because chances are it will all change in the editing phase. This is why I encourage writers to break new ground. Swing for the fences. Jump in with both feet because we have a built-in safety net, an editing phase where we can remove any warts and polish the story to perfection.

I keep a desktop folder filled with half-baked stories, interesting snippets, and curious ideas. Whenever I have down time, I’ll pull out one of these stories and take another stab at it. I may reconsider the setting and add or remove details. Refine the characters or mull over the plot. Somehow, occasionally stirring the pot keeps the story on the back burner in my subconscious, quietly bubbling away. And then, the next time I examine the draft, I’ll have fresh ideas and suggestions to try out. It’s a form of creative play.

When it comes down to getting serious and starting the editing phase, I go deep. I turn on an instrumental jazz channel, put on my headphones, and tune in.

• I’ll read the story at 10,000 feet to make sure the plotting structure is correct.
• Next, I’ll use Microsoft Word’s Review>Read Aloud function to listen for any clunky word choices, phrases, or overly fat sentences.

When it comes to editing, I’m a ruthless character identifying name tag culler. I’ll admit that as I near the 85,000 word mark, I’m usually running out of steam, but I push on and make the extra effort to finish strong by continuing to eliminate the ‘he said, she said” tags. If you don’t need ‘em, delete ‘em.

For example, in “Up Jumped the Devil,” my Crescent City NOLA Mystery releasing in October, here’s how I used character names to identify who is speaking while simultaneously supporting the action during a chaotic and crowded crime scene:

Alma looked at Jane. “She on anything we should know about?”
“No. This is natural.”
Cleo gripped the edge of the gurney. “Can I go with her to the hospital?”
“You family?”
“No.” She slowly let go. “Not really.”
“Only family in the ambulance. Ready to lift, Ronny? On three.”
“Cleo, give me a hand up.” Jane wobbled to her feet. “We’ll take The Boat. Detective Trahan? Are we under arrest?”

“Not currently. I might change my mind later.”

What’s your favorite part of the creative writing process? Do you have any editing tricks to share?